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
Pachet F. (1999) Escuchar música: ¿qué es lo que se toca? (Listening to music: What is being played?)
Música y nuevas tecnologías: Perspectivas para el siglo XXI. Barcelona: L'Angelot.
Packer R. (2004) The Pavilion: Into the 21st Century: A space for reflection
Organised Sound 9(3): 251-259.
Packer R. (2005) Composing with Media: Zero in Time and Space
Contemporary Music Review 24(6): 509-525.
Paine G. (1999) Immersive Virtual Environments: A Social Perspective
Journal of Electroacoustic Music 12: 24-26.
Paine G. (2004) Gesture and Musical Interaction: Interactive Engagement Through Dynamic Morphology
International Conference on New Interfaces for Musical Expression : 80-86.
Pallandre J. (2001) Invention et pédagogie
Du sonore au musical. Cinquante années de recherches concrète (1948-1998). Paris: L'harmattan, 115-123.
Pallandre J. (2003) La charpente invisible (une pratique expérimentale de la phonographie)
Circuit 13(3): 67-73.
Palmer J. (1999) Daniel Teruggi - in Conversation with John Palmer
Journal of Electroacoustic Music 12: 44-50.
Palomba C. (1998) Pierre Schaeffer : alla ricerca dell’oggetto sonoro (Pierre Schaeffer : searching the sound object)
Metafonie. Cinquanta anni di musica elettroacustica. Musica/Realtà 42: 181-195.
Palombini C. (1993) Pierre Schaeffer, 1953: towards an Experimental Music
Music and Letters 74(4): 547-557.
Palombini C. (1993) Pierre Schaeffer's Typo-Morphology of Sonic Objects
Durham: University of Durham.
Palombini C. (1993) Pierre Schaeffer: from Research into Noises to Experimental Music
Computer Music Journal 17(3): 14-19.
Palombini C. (1998) Pierre Schaeffer, 1953: Towards an Experimental Music
Electronic Musicological Review 3.
Palombini C. (1998) Technology and Pierre Schaeffer: Pierre Schaeffer's Arts-Relais, Walter Benjamin's technische Reproduzierbarkeit and Martin Heidergger's Ge-stell
Organised Sound 3(1): 35-43.
Palombini C. (1999) Retorno a la música concreta (Return to Concrete Music)
Música y nuevas tecnologías: Perspectivas para el siglo XXI. Barcelona: L'Angelot.
Palombini C. (2000) The Brazilian Group for Computer Music Research: A Proto-History
Leonardo Music Journal 10: 13-20.
Palombini C. (2001) Ideas for a Musicology of Electroacoustic Musics: Notes to a Reading of Landy
Electronic Musicological Review 6.
Palombini C. (2002) Musique Concrète Revisited
Music of the Twentieth-Century Avant-Garde: a Biocritical Sourcebook. Westport: Greenwood, 432-45.
Pape G. (2002) Iannis Xenakis and the 'Real' of Musical Composition
Computer Music Journal 26(1): 16-21.
Paradiso J., Marrin T. (1997) The Digital Baton: A Versatile Performance Instrument
International Computer Music Conference : 313-316.
Paradiso J., Hu E., Hsiao K.-Y. (1999) Interactive Music for Instrumental Dancing Shoes
International Computer Music Conference : 453-456.
Pascal M. (1999) Le studio instrumental : les données d'une virtuosité à l'intérieur même du son
Les nouveaux gestes de la musique. Marseille: Parenthèses, 157-168.
Patton K. (2007) Morphological notation for interactive electroacoustic music
Organised Sound 12(2): 123-128.
Pavón Sarrelangue R. (1981) La Electrónica en la Música ... y en el Arte (Electronics in Music ... and the Arts)
Mexico: Publicaciones CENIDIM.
Pellarin L., Guglielmi M., Olsen J. M., Gregersen O., Böttcher N., Sarafin S. (2005) Connecting Strangers at a Train Station
International Conference on New Interfaces for Musical Expression : 152-155.
Pellegrino R. (1983) The Electronic Arts of Sound and Light
New York: Van Nostrand Reinhold Compagny.
Pennycook B. (1984) Electro-Acoustic Music in the University: A New Paradox
Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain 1(2): 18-22.
Pennycook B. (1985) Computer-Music Interfaces: A Survey
Association for Computing Machinery 17(2): 267-289.
Pennycook B. (1986) Language and Resources: A New Paradox
The Language of Electroacoustic Music. London: Macmillan, 119-137.
Pennycook B. (1992) Composers and Audiences: New Relationships in the Technological Age
Companion to Contemporary Musical Thought. New York: Routledge, 555-564.
Pennycook B. (1993) La musique électroacoustique en concert : vieux problèmes, nouvelles solutions
Circuit 4(1-2): 93-102.
Pennycook B. (1997) Live Electroacoustic Music: Old Problems, New Solution
Interface - Journal of New Music Research 26(1).
Perloff N. (2004) Hearing Spaces: David Tudor's Collaboration on Sea Tails
Leonardo Music Journal 14: 31-39.
Perry J. (1996) The Inner Voices of Simple Things: A Conversation with Paul Lansky
Perspective of New Music 34(2): 40-60.
Pestalozza L., Galante F. (1998) Metafonie. Cinquanta anni di musica elettroacustica (Metaphonies. Fifty years of electroacoustic music)
Musica/Realtà 42.
Pfitzinger H. R. (1999) Sprache aus dem Synthesizer (Speech from a synthesizer)
KlangForschung: Symposium zur elektronischen Musik : 101-114.
Pierce J. R., Mathews M. V., GUTTMAN N. (1962) Musikalische Klänge von Digitalrechnern (Musical Sounds from Digital Computers)
Gravesaner Blätter 23-24: 109-128.
Piszczalski M., Galler B. A. (1977) Automatic Music Transcription
Computer Music Journal 1(4): 24-31.
Piszczalski M. (1979) Spectral Surfaces from Performed Music: Part 1
Computer Music Journal 3(1): 18-24.
Piszczalski M. (1979) Spectral Surfaces from Performed Music: Part 2
Computer Music Journal 3(3): 25-27.
Polfreman R. (1999) A Task Analysis of Music Composition and Its Application to the Development of Modalyser
Organised Sound 4(1): 31-43.
Polfreman R., Spain M. (2001) Interpolator: A two-dimensional graphic interpolation system for the simultaneous control of digital signal processing parameters
Organised Sound 6(2): 147-151.
Polfreman R. (2002) Modalys-ER for OpenMusic (MfOM): Virtual instruments and virtual musicians
Organised Sound 7(3): 325-338.
Polfreman R., Dearden I., Sheppard D. (2006) Time to re-wire? Problems and strategies for the maintenance of live electronics
Organised Sound 11(3): 229-242.
Poli G. D., Sarti A., Borin G. (1997) Musical Signal Synthesis
Musical Signal Processing. Lisse: Swets & Zeitlinger, 5-30.
Polli A. (2004) Modelling Storms in Sound: The Atmospherics/Weather Works Project
Organised Sound 9(2): 175-180.
Polonio E. (1999) Música + Electroacústica: bodas de oro finiseculares (Music + Electroacoustic: end of the century golden anniversary)
Música y nuevas tecnologías: Perspectivas para el siglo XXI. Barcelona: L'Angelot.
Pope S. T., Harris C. R. (1987) Activities and Resources in Computer Music
San Francisco: Computer Music Association.
Pope S. T. (1993) Real-Time Performance via User Interface to Musical Structures
Interface - Journal of New Music Research 22(3): 195-212.
Pope S. T. (1994) Music and Computers: NEMO Composers Panel Discussion
Computer Music Journal 18(3): 33-44.
Pope S. T. (1995) Touched by Machine? - Composition and Performance in the Digital Age
Computer Music Journal 19(3): 13-17.
Pope S. T. (1996) A Taxonomy of Computer Music
Live Electronics. Contemporary Music Review 13(2): 137-145.
Pope S. T. (1997) Web.La.Radia: Comments on the Social, Economic, and Political Aspects of Media Art and Art Technology
International Computer Music Conference : 74-77.
Pople A. (1990) Computers and Music in Higher Education: Assessing the Priorities
Musicus 2(1-2): 3-17.
Pottier L. (1997) Exemple d'utilisation des outils de CAO pour la synthèse sonore. En trance de Fausto Romitelli pour soproano, ensemble et dispositif électronique
Journées d'Informatique Musicale : 22-29.
Pottier L. (1999) Contrôle interactif d'une voix chantée de synthèse
Les nouveaux gestes de la musique. Marseille: Parenthèses, 175-180.
Pottier L., Stalla O. (2000) Interpretation and Space
Trends in Gestural Control of Music. Paris: IRCAM, Centre Georges-Pompidou.
Pottier L. (2002) Jean-Claude Risset
Pionniers et précurseurs. Observatoire Leonardo des Arts et des Techno-Sciences. Webpage.
Pottier L. (2003) Straps : pièce d'Eryck Abecassis pour ensemble et électronique en concert
Journées d'Informatique Musicale .
Pottier L. (2005) Turenas, analyse
John Chowning. Portraits Polychromes. Paris: INA-GRM, CDMC, 67-85.
Pouts-Lajus S. (2003) Nouvelles pratiques musicales des amateurs
Les Dossiers de l'ingénierie éducative 43: 16-16.
Povall R. (1995) Compositional Methods in Interactive Performance Environments
Interface - Journal of New Music Research 24(2): 109-120.
Prendergast M. (2000) The Ambient Century: From Mahler to Trance - The Evolution of Sound in the Electronic Age
London: Bloomsbury.
Pressing J. (1990) Cybernetic Issues in Interactive Performance Systems
Computer Music Journal 14(1): 12-25.
Pressing J. (1994) Novelty, Progress and Research Method in Computer Music Composition
International Computer Music Conference : 27-30.
Prins G.-J. (2004) RISK: The Use of High-Frequency Radio Electronics for Audio Recreation
Leonardo Music Journal 14: 64-73.
Pritchett J. (2004) David Tudor as Composer/Performer in Cage's Variations II
Leonardo Music Journal 14: 11-16.
Prod'homme L. (1997) De l'application pédagogique des Unités Sémiotiques Temporelles
Ars Sonora 6: 44-52.
Puckette M., Settel Z. (1993) Nonobvious Roles for Electronics In Performance Enhancement
International Computer Music Conference : 134-137.