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

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Otto Laske: Navigating New Musical Horizons. Westport: Greenwood, 1-18.

Tagney P. (1992) An Interview with Alejandro Viñao
Journal of Electroacoustic Music 6: 7-8.

Takala T., Välimäki V. (1996) Virtual Music Instruments - Natural sound using physical models
Organised Sound 1(2): 75-86.

Takala T., Lokki T., Hänninen R., Savioja L., Hiipakka J., Ilmonen T. (1998) Realtime Audiovisual Rendering and Contemporary Audiovisual Art
Organised Sound 3(3): 219-233.

Tamburini A. (1988) Il calcolatore e la musica : informatica musicale, compositore e pubblico (The computer and music: computer music, composers and the public)
Padova: F. Muzzio.

Tanaka A. (1993) Musical Technical Issues in Using Interactive Instrument Technology with Application to the BioMuse
International Computer Music Conference : 124-126.

Tanaka A. (2000) Musical Performance Practice on Sensor-based Instruments
Trends in Gestural Control of Music. Paris: IRCAM, Centre Georges-Pompidou.

Tanaka A., Gemeinboeck P. (2006) A Framework for Spatial Interaction in Locative Media
International Conference on New Interfaces for Musical Expression : 26-30.

Tanaka A., Holmquist L. E., Gaye L., Behrendt F. (2006) Mobile Music Technology: Report on Emerging Community
International Conference on New Interfaces for Musical Expression : 22-25.

Tanzi D. (1999) Linguaggi compositivi e innovazione tecnologica fra scienza e arte (Compositional languages and technological innovation: art vs. science)
Webpage.

Tanzi D. (1999) The Cultural Role and Communicative Properties of Scientifically Derived Compositional Theories
Leonardo Music Journal 9: 103-106.

Tanzi D. (2001) Music Negotiation: Routes in user-based description of music
Organised Sound 6(2): 111-115.

Tanzi D. (2003) Musical Experience and Online Communication
Crossings - eJournal of Art and Technology 3(1).

Tanzi D. (2004) Information Technology and Communication of Musical Experience: Categories, conflicts and intersections
Organised Sound 9(1): 27-34.

Tanzi D. (2005) Language, Music and Resonance in Cyberspace
Contemporary Music Review 24(6): 541-549.

Tarabella L. (2004) Improvising Computer Music: An Approach
Sound and Music Computing (2004) .

Taylor G. (2004) An Interview with Carl Stone
Diffusion (Journal of Sonic Arts Network) : 2-5.

Taylor T. D. (2001) Strange Sounds: Music, Technology and Culture
New York: Routledge.

Teitelbaum R. (2006) Improvisation, Computers and the Unconscious Mind
Contemporary Music Review 25(5-6): 497-508.

Tenney J. C. (1965) Die physikalischen Korrelate der Klangfarbe
Gravesaner Blätter 26: 103-109.

Tenney J. C. (1965) Die physikalischen Korrelate der Klangfarbe (The physical correlates of timbre)
Gravesaner Blätter 26: 103-109.

Teruggi D. (1991) Un espace de réflexion
L'espace du son. Lien 2: 85-86.

Teruggi D. (1993) What About Acousmatics?
Journal of Electroacoustic Music 7: 17-20.

Teruggi D. (1995) Les développements de la recherche informatique au Groupe de recherches musicales de l'Institut national de l'audiovisuel (INA-GRM)
Esthétique des arts médiatiques. Sainte-Foy: Presses de l'Université du Québec, 187-201.

Teruggi D., Coppe D., Dunkelman S. (1997) Daniel Teruggi, directeur INA-GRM
Les Cahiers de l'ACME 185: 17-25.

Teruggi D. (1999) L'interactivité dans les processus de création sonore et musicale
Interfaces homme-machine et création musicale. Paris: Lavoisier, 185-193.

Teruggi D., Racot G., Favreau E. (1999) Évolution des outils, évolution des idées
Interfaces homme-machine et création musicale. Paris: Lavoisier, 195-204.

Teruggi D., Romano M. (2001) Interview with Daniel Teruggi Director of Groupe de Recherches Musicales (GRM)
Avidi Lumi 12: 155-156.

Teruggi D. (2001) Après une écoute de Sud
L'Éducation Musicale 484-485: 64-67.

Teruggi D. (2001) Electro-acoustic Music in Italy
Avidi Lumi 12: 149-151.

Teruggi D. (2001) La musique électroacoustique en Italie
Avidi Lumi 12: 120-123.

Teruggi D. (2001) Après une écoute de Sud
Jean-Claude Risset. Portraits Polychromes. Paris: INA-GRM, CDMC, 61-67.

Teruggi D. (2001) De phonogène en phonogène : cinquante années d'outils concrets
Du sonore au musical. Cinquante années de recherches concrète (1948-1998). Paris: L'harmattan, 61-66.

Teruggi D. (2001) Preserving and Diffusing
Interface - Journal of New Music Research 30(4): 403-405.

Teruggi D., Romano M. (2001) Entretien avec Daniel Teruggi, Directeur du Groupe de Recherches Musicales (GRM)
Avidi Lumi 12: 126-128.

Teruggi D. (2004) Quel esprit pour demain?
La musique électroacoustique: un bilan. Lille: Université Charles-de-Gaulle Lille 3, 79-82.

Teruggi D. (2004) Electroacoustic Preservation Projects: How to move forward
Organised Sound 9(1): 55-62.

Teruggi D. (2007) Technology and musique concrète: the technical developments of the Groupe de Recherches Musicales and their implication in musical composition
Organised Sound 12(3): 213-231.

Tetsutani N., Haehnel M., Lyons M. J. (2003) Designing, Playing, and Performing with a Vision-based Mouth Interface
International Conference on New Interfaces for Musical Expression : 116-121.

Thaemlitz T. (2001) Operating in Musical Economies of Compromosie (or ... When do I get paid for writing this?)
Organised Sound 6(3): 177-184.

Thaemlitz T. (2001) The Go Between/Notions of Betweenness
Spex Online .

Thaemlitz T. (2003) GLOBULE of NON-STANDARD: An attempted clarification of globular identity politics in Japanese electronic ‘sightseeing music'
Organised Sound 8(1): 97-107.

Theremin L. S. (1996) The Design of a Musical Instrument Based on Cathode Relays
Leonardo Music Journal 6: 49-50.

Thibault A. (2002) Culture numérique et électroacoustique
Circuit 13(1): 51-55.

Thieberger E. M. (1995) An Interview with Charles Dodge
Computer Music Journal 19(1): 11-24.

Thies W. (1982) Grundlage einer Typologie der Klänge (The Foundation of a Sound Classification)
Hamburg: Verlag der Musikalienhandlung Karl Dieter Wagner.

Thies W. (1985) Notationsmöglichkeiten für elektronische Musik (Possibilities of Electronic Music Notation)
Interface - Journal of New Music Research 14(3-4): 185-235.

Thies W. (1987) Vorschläge für eine physikalisch-akustische Notation elektronischer Musik
Interface - Journal of New Music Research 16(4): 247-264.

Thion M. (1993) Étudier l'informatique musicale
Résonance 3: 18-20.

Thomas J.-C., Mion P., Nattiez J.-J. (1982) L'envers d'une œuvre. De Natura Sonorum de Bernard Parmegiani
Paris: INA-GRM, Buchet/Chastel.

Thomas J.-C. (1986) Vu de l'image
La Revue musicale : 120-134.

Thomas J.-C. (1991) Quelques propositions pour étudier l'espace imaginaire dans les musiques acousmatiques
L'espace du son. Lien 2: 140-144.

Thomas J.-C. (1994) Bayle : évidence et baroquisme
François Bayle parcours d'un compositeur. Lien 3: 140-144.

Thomas J.-C. (1997) Esquisse de poétique de la musique acousmatique
Musica Falsa 1: 39-41.

Thomas J.-C. (1999) L'imagination matérielle dans les musique concrètes. Avant-propos du langage des objets au langage des choses, deux mots sur la révolution baylienne (I)
Musica Falsa 6: 33-34.

Thomas J.-C. (1999) L'imagination matérielle dans les musique concrètes. Patchwork, le retour (III)
Musica Falsa 8: 62-63.

Thomas J.-C. (1999) L'imagination matérielle dans les musique concrètes. Avant-propos du langage des objets au langage des choses, deux mots sur la révolution baylienne (II)
Musica Falsa 7: 66-67.

Thomas J.-C. (2001) Sur l'expression de la nature dans les musiques électroacoustiques
Jean-Claude Risset. Portraits Polychromes. Paris: INA-GRM, CDMC.

Thomas J.-C. (2002) Aspects d'Orphée
Bernard Parmegiani. Portraits Polychromes. Paris: INA-GRM, CDMC.

Thomas J.-C. (2003) Entrons dans Camera oscura et son Labyrinthe avec l'auteur
François Bayle. Portraits Polychromes. Paris: INA-GRM, CDMC, 55-73.

Thomas J.-C. (2003) Ivo Malec: trouvaille, minimalisme et théâtralité
Ivo Malec. Portraits Polychromes. Paris: INA-GRM, CDMC.

Thomas J.-C. (2003) Fragments pour Bayle
François Bayle. Portraits Polychromes. Paris: INA-GRM, CDMC.

Thomas J.-C. (2007) Nature and the GRM
Organised Sound 12(3): 259-265.

Thome D. (1995) Reflections on Collaborative Process and Compositional Revolution
Leonardo Music Journal 5: 29-32.

Thomson P. (2004) Atoms and Errors: Towards a history and aesthetics of microsound
Organised Sound 9(2): 207-218.

Thomson P. (2005) Soundscape Composition, Globality, and Implicated Critique
eContact! 8(3).

Thoresen L., Hedman A. (2007) Spectromorphological analysis of sound objects: an adaptation of Pierre Schaeffer's typomorphology
Organised Sound 12(2): 129-141.

Thorington H. (2005) Breaking Out: The Trip Back
Contemporary Music Review 24(6): 445-458.

Thorington H. (2006) The networked_performance blog
Contemporary Music Review 25: 193-197.

Thywissen K. (1999) GeNotator: An environment for exploring the application of evolutionary techniques
Organised Sound 4(2): 127-133.

Théberge P. (1997) Any Sound You Can Imagine: Making Music/Consuming Technology
University: Wesleyan University Press.

Théberge P. (2003) “Ethnic Sounds”: The Economy and Discourse of World Music Sampling
Music and Technoculture. Middletown: Weslyan University Press, 93-108.

Tiffon V. (1992) L'œuvre mixte de F.B. Mâche un modèle du genre
Les Cahiers du CIREM 22-23: 97-106.

Tiffon V. (1997) Espace et musique mixte
Ars Sonora 5: 23-41.

Tiffon V. (2002) Jean-Claude Risset : Sud (1985)
Musurgia 7(3-4): 113-134.

Tiffon V. (2004) La partition, le phonographe et l'échantillonneur : usages de la copie en musique
Demeter .

Tiffon V. (2004) La musique mixte: avenir de la musique électroacoustic?
La musique électroacoustique: un bilan. Lille: Université Charles-de-Gaulle Lille 3, 83-97.

Tiffon V. (2005) Les musiques mixtes : entre pérennité et obsolescence
Musurgia 12(3): 23-45.

Tiffon V. (2005) L'image sonore : la présence invisible
Filigrane 2: 21-28.

Tiffon V. (2006) La représentation sonagraphique est-elle une aide pour l'analyse perceptive de la musique électroacoustique ?
Analyse perceptive des musiques électroacoustique. Lien 4: 3-15.

Tillmann H. G., Stelkens J. (1999) KlangForschung '98: Symposium zur elektronischen Musik
Saarbrücken: Pfau.

Tjepkema S. L. (1981) A Bibliography of Computer Music. A Reference for Composers
Iowa City: University of Iowa Press.

Toeplitz K. T. (2002) L'ordinateur comme instrument de concert - aussi une question d'écriture ?
Journées d'Informatique Musicale .

Toeplitz K. T., Baudoux R. (2003) Interview Kasper T. Toeplitz
Les Cahiers de l'ACME 214: 34-41.

Tono T. (1996) The Synthesis of Tradition and Technology
Computer Music Journal 20(4): 17-20.

Toop D. (1995) Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds
London: Serpent's Tail.

Toop D. (2000) Hip Hop: Iron Needles of Death and a Piece of Wax
Modulations: A History of Electronic Music. New York: Caipirinha, 90-101.

Toop D. (2005) Sound Body: The Ghost of a Program
Leonardo Music Journal 15: 28-35.

Toop R. (1981) Stockhausen's Electronic Works: Sketches and Work-Sheets from 1952-1967
Interface - Journal of New Music Research 10(3-4): 149-197.

Torra-Mattenklot C. (2000) Illusionnisme musical
Dissonance 64: 4-11.

Traub P. (2005) Sounding the Net: Recent Sonic Works for the Internet and Computer Networks
Contemporary Music Review 24(6): 459-481.

Trax S. (2001) No More Mind Games
Organised Sound 6(3): 185-191.

Trayle M. (1999) Free Enterprise: Virtual Capital and Counterfeit Music at the End of the Century
Leonardo Music Journal 9: 19-22.

Trowell I. (2001) Auto-synthesis
Organised Sound 6(3): 215-223.

Truax B. (1976) A Communicational Approach to Computer Sound Programs
Journal of Music Theory 20(2): 227-300.

Truax B. (1977) The Soundscape and Technology
Interface - Journal of New Music Research 6(1): 169-176.

Truax B. (1980) Timbral Construction as a Stochastic Process
International Computer Music Conference : 43-60.

Truax B. (1980) The Inverse Relation Between Generality and Strength in Computer Music Programs
Interface - Journal of New Music Research 9(1): 49-57.

Truax B. (1980) Timbral Construction in Arras as a Stochastic Process
International Computer Music Conference : 43-60.

Truax B. (1982) Timbral Construction as a Stochastic Process
Computer Music Journal 6(3): 72-77.

Truax B. (1982) Timbral Construction in Arras as a Stochastic Process
Computer Music Journal 6(3): 72-77.

Truax B. (1985) The PODX System: Interactive Compositional Software for the DMX-1000
Computer Music Journal 9(1): 29-38.

Truax B. (1986) Computer Music Language Design and the Composing Process
The Language of Electroacoustic Music. London: Macmillan, 141-153.

Truax B. (1990) Composing with Real-time Granular Sound
Perspective of New Music 28(2): 120-134.

Truax B. (1991) Capturing Musical Knowledge in Software Systems
Interface - Journal of New Music Research 20(3-4): 217-233.

Truax B. (1992) Electroacoustic Music and the Soundscape: The Inner and Outer World
Companion to Contemporary Musical Thought. New York: Routledge, 374-398.

Truax B. (1992) Composing with Time-Shifted Environmental Sound
Leonardo Music Journal 2: 37-40.

Truax B. (1992) Musical Creativity and Complexity at the Threshold of the 21st Century
Interface - Journal of New Music Research 21(1): 29-42.

Truax B. (1994) The Inner and Outer Complexity of Music
Perspective of New Music 32(1): 176-193.

Truax B. (1995) The Composition of Environmental Sound at Simon Fraser University
Aesthetic and Electroacoustic Music. Bourges Academy. Bourges: Mnemosyne, 91-98.

Truax B. (1995) La composition basée sur le timbre avec son granulaire
Esthétique des arts médiatiques. Sainte-Foy: Presses de l'Université du Québec, 165-186.

Truax B. (1996) Sounds and Sources in Powers of Two Towards a Contemporary Myth
Contact! 9(2).

Truax B. (1996) Soundscape, Acoustic Communication and Environmental Sound Composition
A Poetry of Reality. Contemporary Music Review 15(1-2): 49-65.

Truax B. (1996) Sons et sources dans Powers of Two : vers un mythe contemporain
Contact! 9(2).

Truax B. (1996) Sounds and Sources in Powers of Two: Towards a contemporary myth
Organised Sound 1(1): 13-21.

Truax B. (1996) Computer Controlled Diffusion
Contact! 10(1).

Truax B. (1996) Computer Music as Commercial or Public Culture: A Personal View
Computer Music Journal 20(4): 27-28.

Truax B. (1997) Electroacoustic Symbolism in Powers of Two: The Artist
Analysis in Electroacoustic Music. Bourges Academy. Bourges: Mnemosyne, 379-385.

Truax B. (1998) Composition and Diffusion: Space in Sound in Space
Organised Sound 3(2): 141-146.

Truax B. (1998) Letter to a 25 year-old electroacoustic composer
Electroacoustic Music: Reflections and prospects. Bourges Academy. Bourges: Mnemosyne, 230-233.

Truax B. (1998) Composition and Diffusion: Space in Sound in Space
Journal of Electroacoustic Music 11: 6-11.

Truax B. (1999) Sonology: A Questionable Science Revisited
Otto Laske: Navigating New Musical Horizons. Westport: Greenwood, 21-36.

Truax B. (1999) Handbook for Acoustic Ecology
Vancouver: Cambridge Street Publishing.

Truax B. (1999) Letter to a Twenty-Five Year Old Electroacoustic Composer
Organised Sound 4(3): 147-150.

Truax B. (2000) The Aesthetics of Computer Music: A questionable concept reconsidered
Organised Sound 5(3): 119-126.

Truax B. (2001) Acoustic Communication Studies at Simon Fraser University
Soundscape 2(2): 11-15.

Truax B. (2001) Acoustic Communication - Second Edition
London: Ablex.

Truax B. (2001) Time and Electroacoustic Music
Time in Electroacoustic Music. Bourges Academy. Bourges: Mnemosyne, 182-184.

Truax B. (2002) Electroacoustic Music and the Digital Future
Circuit 13(1): 21-26.

Truax B. (2002) Genres and Techniques of Soundscape Composition as Developed at Simon Fraser University
Organised Sound 7(1): 5-14.

Truax B. (2003) Homoeroticism and Electroacoustic Music: Absence and Personal Voice
Organised Sound 8(1): 117-124.

Trueman D. (2007) Why a laptop orchestra?
Organised Sound 12(2): 171-179.

Trân Q. H. (2001) Un dialogue occident-orient : l'exemple de Vê Nguôn (1975)
Du sonore au musical. Cinquante années de recherches concrète (1948-1998). Paris: L'harmattan, 297-305.

Turner T. (2003) The Resonance of the Cubicle: Laptop Performance in Post-digital Musics
Contemporary Music Review 22(4): 81-92.

Tutschku H. (2002) On the Interpretation of Multi-Channel Electroacoustic Works on Loudspeaker-Orchestras: Some thought on the GRM-Acousmonium and BEAST
Journal of Electroacoustic Music 14: 14-16.

Twombly K. (2002) Oppositional Dialectics in Joji Yuasa's The Sea Darkens
Electroacoustic Music: Analytical Perspectives. Westport: Greenwood, 217-235.