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

Zadel M., Scavone G. P. (2006) Different Strokes: A Prototype Software System for Laptop Performance and Improvisation
International Conference on New Interfaces for Musical Expression : 168-171.

Zajicek L. (1995) The History of Electroacoustic Music in the Czech and Slovak Republics
Leonardo Music Journal 5: 39-48.

Zanési C., Ferrari L. (1989) Acousmathèque Luc Ferrari, 60 ans, La femme
Paris: INA-GRM.

Zanési C., Ferrari L., Caux D. (1989) Acousmathèque Luc Ferrari, 60 ans, Le machiniste
Paris: INA-GRM.

Zanési C., Normandeau R. (1995) Entretien avec Robert Normandeau
Ars Sonora 2: 24-30.

Zanési C., Boehmer K. (1995) Histoire du studio de la WDR de Cologne
Ars Sonora 1: 5-19.

Zanési C., Redolfi M. (1996) Entretien avec Michel Redolfi
Ars Sonora 4: 6-14.

Zanési C., Ferrari L. (1996) Entretien avec Luc Ferrari
Ars Sonora 3: 7-14.

Zanési C., Iger A.-C. (2002) Entretien avec Christian Zanési
L'Éducation Musicale 488: 24-25.

Zanési C., Iger A.-C., Lalloz J.-P. (2003) Entretien avec Christian Zanési, compositeur de musique acousmatique
L'Éducation Musicale 503-504: 38-41.

Zanési C., Iger A.-C., Lalloz J.-P. (2003) Entretien avec Christian Zanési
L'Éducation Musicale 505-506: 16-20.

Zanési C., Gayou É. (2007) A house of composers
Organised Sound 12(3): 277-278.

Zapf D. (1981) Inside the Soundscape: The Compositions of Hildegard Westerkamp
Musicworks 15: 5-8.

Zapf D. (1981) The World Soundscape Project Revisited
Musicworks 15: 4-4.

Zattra L., Durante S. (2002) Vent'anni di musica elettronica all'università di Padova. Il Centro di Sonologia Computazionale (20 years of electronic music at Padua University. The Centro di Sonologia Computazionale)
Palermo: CIMS.

Zattra L., Durante S. (2002) Vent'anni di musica elettronica all'università di Padova. Il Centro di Sonologia Computazionale (20 years of electronic music at Padua University. The Centro di Sonologia Computazionale)
Palermo: CIMS.

Zattra L. (2004) Searching for Lost Data: Outlines of aesthesic-poietic analysis
Organised Sound 9(1): 35-46.

Zattra L., Nucibella F. (2005) Audio content tools for the musicological analysis of electroacoustic music
Conference Understanding and Creating Music (2005) : 27-30.

Zattra L. (2006) The Identity of the Work: agents and processes of electroacoustic music
Organised Sound 11(2): 113-118.

Zattra L. (2006) La 'drammaturgia' del suono elettronico nel Perseo e Andromeda di Salvatore Sciarrino (The ‘dramaturgy’ of electric sound in “Perseo e Andromeda” by Salvatore Sciarrino)
La musica sulla scena. Lo spettacolo musicale e il pubblico. Parma: EDT-La Casa della Musica, 41-58.

Zattra L. (2007) The Assembling of Stria by John Chowning: A Philological Investigation
Computer Music Journal 31(3): 38-64.

Zavada I., Zagaykevych A. (2007) Development of electronic music in Ukraine: emergence of a research methodology
Organised Sound 12(2): 153-165.

Zazeela M., Young L. M. (1971) La Monte Young
VH 101 4: 66-69.

Zazeela M., Young L. M. (1971) Dream House
VH 101 4: 70-74.

Zbar M. (1992) Musiques électroacoustiques : de l'écoute du compositeur à celle de l'auditeur
Marsyas 23: 19-23.

Zicarelli D. (1992) Music Technology as a Form of Parasite
International Computer Music Conference : 69-72.

Zicarelli D. (2002) How I Learned to Love a Program That Does Nothing
Computer Music Journal 26(4): 44-51.

Zimmermann B. (2005) Technology Is Culture: Two Paradigms
Leonardo Music Journal 15: 53-57.

Zinovieff P. (1982) Compositional Attitudes to Electronic Music
Composer 76-77: 6-11.

Zurbrugg N. (2000) Marinetti, Boccioni and Electroacoustic Poetry: Futurism and After
Critical Vices: The Myths of Postmodern Theory. Amsterdam: OPA, 1-16.

Zvonar R. (2005) A History of Spatial Music
eContact! 7(4).