A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
MacDonald A. (1995) Performance Practice in the Presentation of Electroacoustic Music
Computer Music Journal 19(4): 88-92.
MacDonald A. (1998) Performance Practice in the Presentation of Electroacoustic Music
Journal of Electroacoustic Music 11: 21-24.
Machover T. (1981) Le compositeur et l'ordinateur : quelques réflexions
Le compositeur et l'ordinateur. Paris: IRCAM, Centre Georges-Pompidou, 1-5.
Machover T. (1983) Fusione fugace. Testo esplicativo (Fusione fugace. Explanatory text)
Bollettino del Laboratorio permanente per l’Informatica Musicale della Biennale (LIMB) 3: 39-55.
Machover T. (1984) Computer Music with and without Instruments
Contemporary Music Review 1(1): 203-230.
Machover T., Giugno G. d. (1985) Entretien avec Giuseppe di Giugno
Quoi? Quand? Comment? La recherche musicale. Paris: IRCAM, Christian Bourgois, 185-196.
Machover T. (1986) A Stubborn Search for Artistic Unity
The Language of Electroacoustic Music. London: Macmillan, 191-215.
Machover T. (1996) Thoughts on Computer Music Composition
Composers and the Computer. Menlo Park: MIT Press, William Kaufmann, 88-111.
Machover T., Subotnik M. (1996) Interview with Mort Subotnick
Live Electronics. Contemporary Music Review 13(2): 3-11.
Machover T. (2002) Instruments, Interactivity, and Inevitability
International Conference on New Interfaces for Musical Expression .
MADDEN C. (1999) Fractals in Music. Introductory Mathematics for Musical Analysis
Salt Lake City: High Art Press.
Magnusson T. (2006) Screen-Based Musical Interfaces as Semiotic Machines
International Conference on New Interfaces for Musical Expression : 162-167.
Mailliard B. (1981) Un studio numérique de travail sur le son
Le compositeur et l'ordinateur. Paris: IRCAM, Centre Georges-Pompidou, 38-45.
Malham D. G. (2001) Toward Reality Equivalence in Spatial Sound Diffusion
Computer Music Journal 25(4): 31-38.
Malsky M. (2003) Stretched from Manhattan's Back Alley to MOMA: A Social History of Magnetic Tape Recording
Music and Technoculture. Middletown: Weslyan University Press, 233-263.
Malt M. (1996) Lambda 3.99 (chaos, et composition musicale)
Journées d'Informatique Musicale : 44-54.
Malt M. (1999) Reflexiones sobre el acto de componer (Thoughts on the act of composing)
Música y nuevas tecnologías: Perspectivas para el siglo XXI. Barcelona: L'Angelot.
Mandolini R. (2006) Musique informelle, musique électroacoustique : une convergence insoupçonnée ?
Analyse perceptive des musiques électroacoustique. Lien 4: 47-65.
Manning P. D. (1992) Towards a New Age in the Technology of Computer Music
Companion to Contemporary Musical Thought. New York: Routledge, 355-373.
Manning P. D. (1999) The Evolution of Interactive Graphical Control Interfaces for Music Applications
Organised Sound 4(1): 45-59.
Manning P. D. (2003) The Influence of Recording Technologies on the Early Development of Electoacoustic Music
Leonardo Music Journal 13: 5-10.
Manning P. D. (2004) Electronic and Computer Music - Revised and Expanded Edition
Oxford: Oxford University Press.
Manning P. D. (2006) The significance of techné in understanding the art and practice of electroacoustic composition
Organised Sound 11(1): 81-90.
Manoury P. (1990) La note et le son: un carnet de bord
Musiques Électroniques. Contrechamps 11: 151-163.
Maratti A. (1996) Music and Science: An Interview with Martino Traversa
Computer Music Journal 20(3): 14-19.
Marcenaro O. (1997) Max and Tabula Vigilans: Two programs for algorithmic and rule-based composition
Organised Sound 2(1): 43-56.
Marchetti L. (2005) Catalogue des œuvres musicales
Michel Chion. Portraits Polychromes. Paris: INA-GRM, CDMC, 103-125.
Marcías G. (2004) Les origines de la musique électroacoustique au Mexique
La musique électroacoustique: un bilan. Lille: Université Charles-de-Gaulle Lille 3, 43-55.
Marie J.-É. (1969) De quelques expériences d'électro-acoustique musicale
La Revue musicale 265-266: 129-149.
Marrin T., Picard R. (1998) The “Conductors Jacket”: A Device for Recording Expressive Musical Gestures
International Computer Music Conference : 215-219.
Mary M. (2006) L'orchestration électroacoustique. Une approche particulière à la composition électroacoustique. Ses liens avec la musique instrumentale et ses applications dans le domaine de l'analyse musicale
Analyse perceptive des musiques électroacoustique. Lien 4: 66-70.
Mase K., Yonezawa T. (2001) Body, Clothes, Water and Toys: Media Towards Natural Music Expressions with Digital Sounds
International Computer Music Conference .
Mase K., Ventura D. (2003) Duet Musical Companion: Improvisational Interfaces for Children
International Conference on New Interfaces for Musical Expression : 91-94.
Masri P., Bateman A., Canagarajah N. (1997) The Importance of Time-frequency Representations, with Application to Sound/Music Analysis-Resynthesis
Organised Sound 2(3): 207-214.
Masri P., Bateman A., Canagarajah N. (1997) A Review of Time-frequency Representations, with Application to Sound/Music
Organised Sound 2(3): 193-205.
Mathews M. V. (1975) L'ordinateur en tant qu'instrument de musique
La musique en projet. Paris: IRCAM, Gallimard, 69-79.
Mathews M. V. (1991) The Radio Baton and Conductor Program, or: Pitch, the Most Important and Least Expressive Part of Music
Computer Music Journal 15(4): 37-46.
Mathews M. V. (1995) The Esthetic Situation and Actual View of Electroacoustic Music Performance
Aesthetic and Electroacoustic Music. Bourges Academy. Bourges: Mnemosyne, 65-73.
McAdams S. (1982) Spectral fusion and the creation of auditory images
Music, Mind, and Brain: The Neuropsychology of Music. New York: Plenum Press, 279-298.
McCaig G., Ali M. A., Vogt F., Fels S. (2002) Tongue ‘n' Groove: An Ultrasound based Music Controller
International Conference on New Interfaces for Musical Expression .
McCaig G., Fels S., Takahashi S., Kaastra L. (2004) Evolving Tooka: from Experiment to Instrument
International Conference on New Interfaces for Musical Expression : 1-6.
McCartney A. (1995) Inventing Images: Constructing and Contesting Gender in Thinking about Electroacoustic Music
Leonardo Music Journal 5: 57-66.
McCartney A. (2000) Soundscape Composition and the Subversion of Electroacoustic Norms
eContact! 3(4).
McCartney A. (2000) Hildegard Westerkamp's Moments of Laughter: Recording Childhood, Performing Motherhood, Refusing to Shup Up, and Laughing
Perspective of New Music 38(1): 101-128.
McCartney A. (2000) Sounding Places with Hildegard Westerkamp
New York: Electronic Music Foundation Institute. Webpage.
McCartney A. (2002) Sharing Experiences Towards the Possibility of an Electroacoustic Ecology
Soundscape 3(1): 22-22.
McCartney A. (2002) Alien Intimacies: Hearing science fiction narratives in Hildegard Westerkamp's Cricket Voice (or ‘I don't like the country, the crickets make me nervous')
Organised Sound 7(1): 45-49.
McCartney A., Gasior L. (2004) From Mixing Board to Museums: Diane Leboeuf, Sound Designer
Musicworks 90: 44-51.
McCombe C. (2006) Videomusicvideo - Composing across Media
Contemporary Music Review 25(4): 299-310.
McGinley R. (2001) Stockholm Soundscape Project: New Directions in Music Education
Soundscape 2(2): 25-29.
McLean P. (1989) Fire and Ice: An Inquiry
On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press, 148-154.
McNabb M. (1986) Computer Music: Some Aesthetic Considerations
The Language of Electroacoustic Music. London: Macmillan, 141-153.
McNutt E. (2003) Performing Electroacoustic Music: A wider view of interactivity
Organised Sound 8(3): 297-304.
Mead P. (1986) The Problems of Tape Presentation
Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain 2(3-4): 24-25.
Melby J. (1989) Computer Music or Computer Music
On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press, 90-96.
Menezes F. (1997) To Be and Not To Be: Aspects of the Interaction Between Instrumental and Electronic Compositional Methods
Leonardo Music Journal 7: 3-10.
Menezes F. (1998) La spatialité dans la musique électroacoustique. Aspects historiques et proposition actuelle
L'espace : Musique/Philosophie. Paris: L'Harmattan, 351-364.
Meng T. H. Y., Verma T. S. (2000) Extending Spectral Modeling Synthesis with Transient Modeling Synthesis
Computer Music Journal 24(2): 47-59.
Merlier B. (2003) La main, le geste instrumental et la pensée créative. CG3D, contrôleur gestuel tridimensionnel
Journées d'Informatique Musicale .
Merlier B. (2005) Réflexion à propos de la mise en espace de la musique électroacoustique dans les logiciels audionumériques
Journées d'Informatique Musicale (2005) .
Merlier B. (2006) Vocabulaire de l'espace en musiques électroacoustiques (Vocabulary of space in electroacoustic musics)
Paris: Le Vallier, Delatour.
Merrison B., Orton R., Hunt A., Kirk R. (1998) A Generic Model for Compositional Approaches to Audiovisual Media
Organised Sound 3(3): 199-209.
Meston O. (2003) Jean-Claude Risset et les nouvelles technologies musicales: l'ordinateur, maître-mot
New Sound 21: 87-94.
Metzelaar H. (2004) Women and ‘Kraakgeluiden': The participation of women improvisers in the Dutch electronic music scene
Organised Sound 9(2): 199-206.
Meyer-Eppler W. (1959) Informationstheoretische Probleme der musikalischen Kommunikation (Musical communication as a problem of information theory)
Revue Belge de Musicologie 13: 44-49.
Meyer-Eppler W. (1965) Informationstheoretische Probleme der musikalischen Kommunikation (Musical communication as a problem of information theory)
Gravesaner Blätter 26: 93-102.
Miereanu C. (1974) Une musique électronique et sa “partition” Artikulation
Musique en jeu 15: 102-109.
Milicevic M. (1996) The Impact of Fractals, Chaos, and Complexity Theory on Computer Music Composition
International Computer Music Conference : 473-476.
Milicevic M. (1999) Aesthetics of Designing an Adaptive Fuzzy System for Evaluation of the Computer Music
International Computer Music Conference : 538-541.
Minjard J.-F. (1994) La transparence, matériau et écriture, dans l'œuvre de François Bayle
François Bayle parcours d'un compositeur. Lien 3: 131-133.
Mion P. (2001) La grotte, extrait de Hétérozygote
Luc Ferrari. Portraits Polychromes. Paris: INA-GRM, CDMC.
Mion P. (2007) Analytical commentaries of Les voix de Pierre Schaeffer by Christian Zanési
Organised Sound 12(3): 267-276.
Miranda E. R. (1994) From Symbols to Sound: AI-based Investigation of Sound Synthesis
Contemporary Music Review 10(2): 211-232.
Miranda E. R. (1994) The Role of Artificial Intelligence in Computer Aided Sound Composition
Journal of Electroacoustic Music 8: 6-8.
Miranda E. R. (1998) The Role of Speech Synthesis in Requiem per un veu perdida
Organised Sound 3(3): 235-240.
Miranda E. R. (1999) Music, Machines, Intelligence and the Brain
Journal of Electroacoustic Music 12: 32-33.
Miranda E. R. (1999) Música y nuevas tecnologías: Perspectivas para el siglo XXI (Music and New Technologies: Perspectives for the 21st Century)
Barcelona: L'Angelot.
Miranda E. R. (1999) De los orígenes de la música a la vida artificial (From the origins of music to Artificial Life)
Música y nuevas tecnologías: Perspectivas para el siglo XXI. Barcelona: L'Angelot.
Miranda E. R., Hoggar S., McAlpine K. (1999) Making Music with Algorithms: A Case-Study System
Computer Music Journal 23(2): 19-30.
Miranda E. R., Correa J., Wright J. (2000) Categorising Complex Dynamic Sounds
Organised Sound 5(2): 95-102.
Miranda E. R., Corino G. (2003) Digital Music: online tutorials on computer music
Paris: UNESCO. Webpage.
Miranda E. R., Livingstone D. (2005) Orb3 - Adaptive Interface Design for Real time Sound Synthesis & Diffusion within Socially Mediated Spaces
International Conference on New Interfaces for Musical Expression : 65-69.
Miranda E. R. (2005) Artificial Phonology: Disembodied Humanoid Voice for Composing Music with Surreal Languages
Leonardo Music Journal 15: 8-16.
Moles A. A. (1957) Machines à musique. L'apport des machines électronique et électroacoustiques à la nouvelle sensibilité musicale.
La Revue musicale 236: 115-127.
Moles A. A. (1959) Instrumentation électronique et musique expérimentales
La Revue musicale 244: 40-49.
Moles A. A. (1962) Das neue Verhältnis zwischen Musik und Mathematik (The new relationship between music and mathematics)
Gravesaner Blätter 23-24: 98-108.
Moles A. A. (1968) L'évolution actuelle des musiques expérimentales
GAM (Bulletin du Groupe d'Acoustique Musicale) 33: 22-26.
Molino J. (1989) Musique et machine
Structure Musicales et Assistance Informatique. Marseille: MIM, 141-154.
Molino J. (1999) La musique et l'objet
Ouïr, entendre, écouter, comprendre après Schaeffer. Paris: INA-GRM, Buchet/Chastel, 119-136.
Monroe A. (2003) Ice on the Circuits/Coldness as Crisis: The Re-subordination of Laptop Sound
Contemporary Music Review 22(4): 35-43.
Montague S. (1991) The German Scene: Mesias Maiguashca Interviewed by Stephen Montague
Live Electronics. Contemporary Music Review 6(1): 197-203.
Moore A., Ford N., Eaglestone B., Nuhn R., Brown G. (2002) A Qualitative Analysis of Composers at Work
International Computer Music Conference : 572-580.
Moore A., Moore D., Mooney J. (2004) M2 Diffusion - The Live Diffusion of Sound in Space
International Computer Music Conference : 316-320.
Moore A., Moore D., Mooney J. (2005) M2 Diffusion - The Live Diffusion of Sound in Space
eContact! 7(4).
Moore F. R. (1992) A Technological Approach to Music
Companion to Contemporary Musical Thought. New York: Routledge, 329-354.
Moorer J. A. (1977) On the Transcription of Musical Sound by Computer
Computer Music Journal 1(4): 32-38.
Morgan N. (1990) Access for All or Toys for Enthusiasts? Strategies for Demystifying the Computer in Music Education
Musicus 2(1-2): 99-111.
Moroni A., Manzolli J., Gudwin R., Zuben F. v. (1999) Palatal Sound: An Evolutionary Approach to Algorithmic Composition
Organised Sound 4(2): 121-125.
Morrill D. (1981) Loudspeakers and Performers: Some Problems and Proposals
Computer Music Journal 5(4): 25-29.
Morrill D. (1981) Loudspeakers and Performers: Some Problems and Proposals
Computer Music Journal 5(4): 25-29.
Morrill D. (1989) Loudspeakers and Performers: Some Problems and Proposals
On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press, 1663-170.
Morrill D. (1989) Loudspeakers and Performers: Some Problems and Proposals
On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press, 155-162.
Morthenson J. W. (1989) Aesthetic Dilemmas in Electronic Music
On the Wires of Our Nerves: The Art of Electroacoustic Music. London: Associated University Press, 57-68.
Mountain R. (2003) Creating and Contributing. The Expensive Spirit of Marcelle Deschênes
Musicworks 86: 14-21.
Mountain R. (2004) Marketing Strategies for Electroacoustics and Computer Music
Organised Sound 9(3): 305-313.
Moyal M.-N. (2005) Les tentations de Michel Chion
Michel Chion. Portraits Polychromes. Paris: INA-GRM, CDMC, 53-92.
Moënne-Loccoz P., Kraif L., Donzel-Gargand B. (1988) Des projets d'action éducative dans les écoles. Penser des instruments pour les handicapés
Marsyas 7: 35-38.
Moënne-Loccoz P., Donzel-Gargand B., Toulemonde O. (1999) De nouvelles lutheries informatiques
Les nouveaux gestes de la musique. Marseille: Parenthèses, 169-173.
Muehlen S. v., Gurevich M. (2001) The Accordiatron: A MIDI Controller For Interactive Music
International Computer Music Conference .
Mulder A. (1996) Getting a Grip on Alternate Controllers: Addressing the Variability of Gestural Expression in Musical Instrument Design
Leonardo Music Journal 6: 33-40.
Mulder A. (1999) Sobre los límites de los gestos de los intérpretes instrumentales (On the limitations of the gestures of musical interpreters)
Música y nuevas tecnologías: Perspectivas para el siglo XXI. Barcelona: L'Angelot.
Mumma G. (1975) Live-Electronic Music
The Development and Practice of Electronic Music. New Jersey: Prentice-Hall, 286-335.
Müller U. (1999) Klangkörper (Sound bodies [or sounding objects])
KlangForschung: Symposium zur elektronischen Musik : 127-136.