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

Nakano H., Newton-Dunn H., Gibson J. (2003) Block Jam: A Tangible Interface for Interactive Music
Interface - Journal of New Music Research 32(4): 383-393.

Nakano H., Newton-Dunn H., Gibson J. (2003) Block Jam: A Tangible Interface for Interactive Music
International Conference on New Interfaces for Musical Expression : 170-177.

Nattiez J.-J. (1976) Le statut sémiologique de l'objet sonore
Cahiers recherche musique 2: 91-106.

Nattiez J.-J., Boulez P. (1991) Musique/Espace
L'espace du son. Lien 2: 115-116.

Naumann J., Wagoner J. D. (1985) Analog Electronic Music Techniques: In Tape, Electronic, and Voltage-Controlled Synthesizer Studios
London: Collier Macmillan.

Neill B. (2002) Pleasure Beats: Rhythm and the Aesthetics of Current Electronic Music
Leonardo Music Journal 12: 3-6.

Nelson P. (1997) The UPIC System as an Instrument of Learning
Organised Sound 2(1): 35-42.

Nelson P. (1999) El cyborg musical (The musical cyborg)
Música y nuevas tecnologías: Perspectivas para el siglo XXI. Barcelona: L'Angelot.

Nelson P. (1999) El cyborg musical
Música y nuevas tecnologías: Perspectivas para el siglo XXI. Barcelona: L'Angelot.

Nesturkh N. (1996) The Theremin and Its Inventor in Twentieth-Century Russia
Leonardo Music Journal 6: 57-60.

Neumann F. (1997) Weg von der Natur - hin zur Elektronik (Moving away from nature - towards the electronic)
Musik & Bildung 6: 30-35.

Neumann F. (1997) Weg von der Natur - hin zur Elektronik
Musik & Bildung 6: 30-35.

Neves J. M. (1978) Education by and for Electroacoustic Music - Topics for reflection
Faire 4-5: 4-5.

Newson G. (1968) Electronic Odyssey
Composer 26: 11-14.

Ng K. (2002) Sensing and Mapping for Interactive Performance
Organised Sound 7(2): 191-200.

Niblock P. (1981) Composer's View - Phill Niblock
EMAS Newsletter 3(2): 8-10.

Nichols C. (2002) The vBow: A virtual violin bow controller for mapping gesture to synthesis with haptic feedback
Organised Sound 7(2): 215-220.

Nicolai C. (2001) Milch, 2000
Organised Sound 6(3): 201-213.

Nicollet G. (1998) GMEM (Groupe de Musique expérimentale de Marseille)
Écouter Voir 78-79: 27-29.

Nicollet G. (1998) Métamkine ou le cinéma pour l'oreille
Écouter Voir 80-81: 28-30.

Nishimura A. (2005) A Tiny Field for Soundscape Design: A Case Study of the Soundscape Museum in Osaka, Japan
Soundscape 6(2): 21-24.

Normandeau R. (1991) L'espace en soi
L'espace du son. Lien 2: 111-114.

Normandeau R. (1993) ... et vers un cinéma pour l'oreille
Circuit 4(1-2): 113-125.

Normandeau R., Bouhalassa N. (1999) Robert Normandeau Interviewed by Ned Bouhalassa
eContact! 2(4).

Normandeau R. (2001) Situation de l'électroacoustique au Canada
eContact! 4(2).

Normandeau R. (2001) The Electroacoustic Situation in Canada
eContact! 4(2).

Normandeau R. (2002) Qu'est-ce concert?
Circuit 13(1): 43-50.

Normandeau R. (2004) Le studio personnel, la véritable innovation du second cinquantenaire
La musique électroacoustique: un bilan. Lille: Université Charles-de-Gaulle Lille 3, 65-71.

Norman K., Kimura M., Helmuth M., Roberts M., Seltzer L., White F. (1994) Gender & Computer Music
Journal of Electroacoustic Music 8: 9-13.

Norman K. (1994) Telling Tales
Contemporary Music Review 10(2): 103-109.

Norman K. (1996) Real-World Music as Composed Listening
A Poetry of Reality. Contemporary Music Review 15(1-2): 1-27.

Norman K. (2000) Stepping Outside for a Moment: Narrative Space in Two Works for Sound Alone
Music, Electronic Media and Culture. Media: Ashgate, 217-244.

Norman K. (2004) Sounding Art: Eight Literary Excursions through Electronic Music
Media: Ashgate.

Norris M. (1999) Reinstating Interpretation: The status of Analysis in an Electroacoustic Context
Australasian Computer Music Conference : 63-66.

Nort D. V. (2006) Noise/music and representation systems
Organised Sound 11(2): 173-178.

Novati M. (2001) The Archive of the “Studio di Fonologia di Milano della Rai”
Interface - Journal of New Music Research 30(4): 395-402.

Nuñez A. (1993) Informática y Electrónica Musical - 2da. edición, revisada (Musical Electronics and Informatics - 2nd edition, revised)
Madrid: Editorial Paraninfo.