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

Vaggione H. (1982) Le courant et le maintenu
Revue d'Esthétique 4: 135-137.

Vaggione H. (1991) Jeux d'espaces : conjonctions et disjonctions
L'espace du son. Lien 2: 117-119.

Vaggione H. (1993) Determinism and the False Collective: About Models of Time in Early Computer-Aided Composition
Contemporary Music Review 7: 91-104.

Vaggione H. (1994) Timbre as Syntax: A Spectral Modeling Approach
Contemporary Music Review 10(2): 73-83.

Vaggione H. (1995) About the Electroacoustic Approach: Situations, Perspectives
Aesthetic and Electroacoustic Music. Bourges Academy. Bourges: Mnemosyne, 99-106.

Vaggione H. (1996) Articulating Microtime
Computer Music Journal 20(2): 33-38.

Vaggione H. (1997) Morphological Transformations Though Analysis and Resynthesis
Analysis in Electroacoustic Music. Bourges Academy. Bourges: Mnemosyne, 386-387.

Vaggione H. (1998) L'espace composable. Sur quelques catégories opératoires dans la musique électroacoustique
L'espace : Musique/Philosophie. Paris: L'Harmattan, 153-166.

Vaggione H. (1998) Transformations Morphologiques et Echelles Temporelles
Journées d'Informatique Musicale : 1-10.

Vaggione H. (2001) Some Ontological Remarks about Music Composition Processes
Computer Music Journal 25(1): 54-61.

Vaggione H. (2001) Transformations Morphologiques et Echelles Temporelles
Time in Electroacoustic Music. Bourges Academy. Bourges: Mnemosyne, 182-184.

Vaggione H. (2002) Décorrélation microtemporelle, morphologies et figurations spatiales
Journées d'Informatique Musicale .

Vaggione H. (2003) Composition musicale et moyens informatiques : questions d'approche
Formel/informel: musique-philosophie. Paris: L'Harmattan, 91-117.

Vaggione H. (2005) Notes on Atem
Contemporary Music Review 24: 339-349.

Vaggione H., Soulez A. (2005) Composing, Listening
Contemporary Music Review 24: 335-337.

Vail M. (1993) Vintage Synthesizers: Groundbreaking Instruments and Pioneering Designers of Electronic Music Synthesizers
San Francisco: Miller Freeman.

Valentino R. (1986) Le altre elettroniche (Other electronics)
Nuova Atlantide. Il continente della musica elettronica 1900-1986. Bo: La Biennale di Venezia, 79-101.

Valimaki V., Karjalainen M. (1998) Plucked-String Models: From the Karplus-Strong Algorithm to Digital Waveguides and Beyond
Computer Music Journal 22(3): 17-32.

Valsamis P. (2001) Machines Drumming
Convergence 7(1): 61-73.

Vande Gorne A. (1988) Les deux côtés du miroir : la mariée est-elle trop belle ?
L'espace du son. Lien 1: 43-47.

Vande Gorne A. (1991) Espace et structure propositions pour une écriture de l'espace
L'espace du son. Lien 2: 125-126.

Vande Gorne A. (1995) Une histoire de la musique électroacoustique
Esthétique des arts médiatiques. Sainte-Foy: Presses de l'Université du Québec, 291-317.

Vande Gorne A. (1996) Une histoire de la musique électroacoustique
Ars Sonora 3: 73-97.

Vande Gorne A. (2004) L'interprétation spatiale. Essai de formalisation méthodologique
Demeter .

Vandenbogaerde F. (1972) Des musiques mixtes aux dispositifs électro-acoustiques manipulés en direct...
Musique en jeu 8: 44-49.

Vandenbogaerde F. (1977) De la diffusion des musiques électroacoustiques
Cahiers recherche musique 5: 125-150.

Vandenheede J. (1992) Jonathan Harvey's Ritual Melodies
Interface - Journal of New Music Research 21(2): 149-183.

Vanhanen J. (2003) Virtual Sound: Examining Glitch and Production
Contemporary Music Review 22(4): 45-52.

Varèse E. (1966) The Liberation of Sound
Perspective of New Music 5(1): 11-19.

Varèse E. (1983) 1953-1965 : Invention du futur
Paris: Christian Bourgois.

Vaughan M. (1994) The Human-Machine Interface in Electroacoustic Music Composition
Contemporary Music Review 10(2): 111-127.

Veitl A. (2001) Les musiques électroacoustiques et la politique culturelle : repères historiques
Du sonore au musical. Cinquante années de recherches concrète (1948-1998). Paris: L'harmattan, 341-364.

Veitl A. (2004) Le compositeur à l'ordinateur (1955-1985) : des moyens de rationalisation aux outils de réalisation
Music Arts Technologies Toward a Critical Approach. Paris: L'Harmattan, 185-201.

Velasco D. (2000) Island Landscape: Following in Humboldt's Footsteps through the Acoustic Spaces of the Tropics
Leonardo Music Journal 10: 21-24.

Verin N. (1988) Spatialisation : interprétation, composition, improvisation ?
L'espace du son. Lien 1: 53-55.

Vickery L. (2001) The Western Edge: Some recent electronic music from Western Australia
Organised Sound 6(1): 69-74.

Victor M. (1975) L'informatique musicale
Musique en jeu 18: 45-62.

Vidalenc J.-L. (1990) L'acoustigloo. Le système de diffusion
Vers un art acousmatique. Lyon: GMVL, 96-98.

Vidal J. (1975) Les Deux lieux communs sur le rapport image-son
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Vidolin A. (1980) Interazione fra i livelli di rappresentazione dell'informazione musicale nella composizione mediante elaboratore (Interaction among the representation levels of musical data in computer music composition)
Automazione e Strumentazione : 144-150.

Vidolin A. (1980) Musica e elaboratore. Orientamenti e prospettive (Music and Computer. Guidelines and perspectives)
Bo: La Biennale di Venezia.

Vidolin A., Polo N. (1981) Bollettino del Laboratorio permanente per l’Informatica Musicale della Biennale (LIMB) (Review of the Permanent Laboratory for Computer Music of the Biennale (LIMB))
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Vidolin A., Polo N. (1981) Bollettino 1 – Bollettino del Laboratorio permanente per l’Informatica Musicale della Biennale (LIMB)
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Vidolin A., Polo N., Torresan D. (1982) Bollettino 2 – Bollettino del Laboratorio permanente per l’Informatica Musicale della Biennale (LIMB)
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Vidolin A., Polo N., Torresan D. (1982) Bollettino 2 – Bollettino del Laboratorio permanente per l’Informatica Musicale della Biennale (LIMB) (Review of the Permanent Laboratory for Computer Music of the Biennale (LIMB))
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Vidolin A. (1997) Musical Interpretation and Signal Processing
Musical Signal Processing. Lisse: Swets & Zeitlinger, 439-459.

Vidolin A., Canazza S. (2001) Introduction: Preserving Electroacoustic Music
Interface - Journal of New Music Research 30(4): 289-293.

Vidolin A., Zattra L., De Poli G. (2001) Yesterday Sounds Tomorrow. Preservation at CSC
Interface - Journal of New Music Research 30(4): 407-412.

Vidolin A. (2005) Percorsi sonori di un teatro immaginario. Da Noms des airs a Lohengrin II di Salvatore Sciarrino (Sonorous ways of an imaginary theatre. From Noms des airs to Lohengrin II by Salvatore Sciarrino)
Il suono trasparente. Analisi di opere con live electronics (Transparent sound. Analyses of live electronic works). Rivista di Analisi e Teoria Musicale 11(2).

Vidolin A., Bernardini N. (2005) Sustainable Live Electroacoustic Music
eContact! 8(3).

Vidolin A., Bernardini N. (2007) Piccola economia della musica elettronica
Il complesso di Elettra. Mappa ragionata dei centri di ricerca e produzione musicale in Italia. Rome: CIDIM, 23-26.

Vidolin A. (2007) Documentazione, conservazione e restauro dei beni musicali elettronici (Conservation, documentation and restoration of electronic musical assets)
Il complesso di Elettra. Mappa ragionata dei centri di ricerca e produzione musicale in Italia. Rome: CIDIM, 57-60.

Vidolin A., Bernardini N. (2007) Piccola economia della musica elettronica (The micro-economics of electronic music)
Il complesso di Elettra. Mappa ragionata dei centri di ricerca e produzione musicale in Italia. Rome: CIDIM, 23-26.

Vinay G. (2003) La ''recherche'' de François Bayle. Portrait de l'artiste
François Bayle. Portraits Polychromes. Paris: INA-GRM, CDMC, 7-12.

Vincent S. (2004) Mixes and Modulations
Diffusion (Journal of Sonic Arts Network) : 3-4.

Viola B. (2004) David Tudor: The Delicate Art of Falling
Leonardo Music Journal 14: 49-56.

Visell Y. (2004) Spontaneous Organisation, Pattern Models, and Music
Organised Sound 9(2): 151-165.

Vishnick M. (2002) Electronic and Electroacoustic Music Composition in Contemporary Education
Journal of Electroacoustic Music 14: 28-35.

Viñao A. (1989) An Old Tradition We Have Just Invented
Electroacoustic Music - Journal of the Electroacoustic Music Association of Great Britain 4(1-2): 33-43.

Vladimirova T., Burton A. R. (1999) Generation of Musical Sequences with Genetic Techniques
Computer Music Journal 23(4): 59-73.

Voegelin S. (1999) Audio Sensitisation and Participation in the Soundscape
Journal of Electroacoustic Music 12: 39-43.

Voegelin S. (2004) The Anxiety of the Lonely Listener: Some Thoughts on the Production and Perception of Radio
Diffusion (Journal of Sonic Arts Network) : 2-4.

Voegelin S. (2004) How Can You Hear It When You Don't Know What You Are Listening For? - The Need For a Critical Context of Listening
Diffusion (Journal of Sonic Arts Network) .

Voegelin S. (2006) Sonic memory material as ‘pathetic trigger’
Organised Sound 11(1): 13-18.

Vogt F., Fels S. (2002) Tooka: Explorations of Two Person Instruments
International Conference on New Interfaces for Musical Expression .

Von Der Weid J.-N. (2004) Dans la tripe bruyante du monde: Murray Schafer
Musica Falsa 20: 62-74.

Voorvelt M. (1997) The Environmental Element in Barry Truax's Composition
Interface - Journal of New Music Research 26(1): 48-69.

Voorvelt M. (1998) British Post-punk Experimental Music (1977-1983)
Leeds: University College Bretton Hall.

Voorvelt M. (2000) New Sound, Old Technology
Organised Sound 5(2): 67-73.

Vérin N., Reich S. (1998) Interview de Steve Reich
Ars Sonora 7: 7-12.

Vérin N., Henry P. (1999) Entretien avec Pierre Henry
Ars Sonora 9.