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Page history last edited by jef chippewa 12 years, 2 months ago

The list has been compiled into an html page for eContact! 8.4 Educational Resources. If you wish to add an entry, or to annotate an existing entry, contact jef chippewa directly.


Thanks to all for your contributions!


The following list should by no means be considered complete. The goal of this particular list of bibliographic references is to provide a set of works which can function as an extended “essential reading list” ordered by topic, and accessible and pertinent to a broad range of readers. Readers who are new initiates, as well as students at various stages of their studies will appreciate the focus of this list, which functions as a sort of filter to the massive amount of literature available addressing the multitudinous aspects of electroacoustics today. Those who are already familiar with these sources are referred to the much larger and expansive bibliography compiled on the ElectroAcoustic Resource Site (EARS).The EARS bibliography contains over 1000 titles, listed by author, and is coordinated by Leigh Landy at De Montfort University.


If you have read any of the materials below which are not already annotated and would like to submit a VERY short (15-20 words maximum) summary of one or more items, please contact jef chippewa at jef@econtact.ca





The Classics (also “New Classics”)

  • Chion, Michel. Guide des objets sonores. Bibliothèque de Recherche Musicale. Paris: Buchet/Castel, 1995.
  • Roads, Curtis. The Computer Music Tutorial. Cambridge, MA: MIT Press, 1996.

    Do you know the discipline of ea? Read the index of this book to find out. “The” one book for students and instructors from second year undergraduate studies and up. Comprehensive. / An encyclopedic resource for practically all known DSP techniques. Topics are covered in detail with a minimum of mathematics and computer code.

  • Schaeffer, Pierre. À la recherche d’une musique concrète. Paris: Éditions du Seuil, 1952, 232 pp. ISBN 2020025728.
  • _____. Traité des Objets Musicaux. Paris: Seuil, 1966. 720 pp. ISBN 2020026082.
  • Schaeffer, Pierre and Guy Reibel. Solfège de l'Objet Sonore. Paris: Editions du Seuil, 1966.




More Recent Works (related to electroacoustics)

  • Appleton, Jon H. and Ronald C. Perera (eds.). The Development and Practice of Electronic Music. Englewood Cliffs NJ: Prentice-Hall, 1975.

    The seminal introductory book for the study of electroacoustics with chapters on history (two versions), acoustics and hearing, modular synthesis, and elementary digital synthesis. A milestone in English.

  • Chavez, Carlos. Towards a New Music: Music and Electricity, Herbert Weinstock (trans.). New York: Da Capo Press, 1975.
  • Dodge, Charles and Thomas A. Jerse. Computer Music: Synthesis, Composition, and Performance, 2nd ed. Thomson-Wadsworth, 1997. 480 pp. ISBN 0028646827.

    A reference book, including many code examples and pointers to significant works of electroacoustic music.

  • Emmerson, Simmon (ed.). The Language of Electroacoustic Music. London: MacMillan Press, 1986.
  • Emmerson, Simon & Smalley, Denis. ‘Electro-acoustic Music’, in The New Grove Dictionary of Music and Musicians, 2nd edition, Vol.8. Stanley Sadie (ed.). London: MacMillan, 2001, pp. 59–65.
  • Griffiths, Paul. A Guide to Electronic Music. Thames and Hudson, 1979.
  • Manning, Peter. ‘Computers and Music Composition’, in Proceedings of the Royal Musical Association, Vol.107, David Greer (ed.), 1980–1, pp.119–131.
  • Norman, Katharine. Sounding Art: Eight Literary Excursions through Electronic Music. Aldershot: Ashgate, 2004. 242 pp. ISBN 0754604268.
  • Schrader, Barry. Introduction to Electro-Acoustic Music. Englewood Cliffs NJ: Prentice Hall, 1982. ISBN 0134815157.
  • Schwartz, Elliot. Electronic Music: A Listener's Guide. Da Capo Press. rev. ed., 1989 (Praeger, 1973). 306 pp. ISBN 0306762609.

    The 1973 edition is of historical interest mostly. This edition crossed over between the academic / concert tradition and some pop music elements of the time. Not authoritative, but not a historical curiosity either. A good book for students to read through lightly for a sense of the way we used to be in the early 70s.

  • Smalley, Denis. ‘Defining Timbre — Refining Timbre’ in Contemporary Music Review, Vol. 10 (2). Harwood Academic Publishers, 1994. pp. 35-48.
  • Smalley, Denis. ‘The Listening Imagination: Listening in the Electroacoustic Era’ in Contemporary Music Review, Vol. 13 (2). Harwood Academic Publishers, 1996. pp. 77-107.
  • Smalley, Denis. ‘Spectromorphology: Explaining Sound-Shapes’ in Organised Sound, Vol. 2 (2). Cambridge University Press, 1997. pp. 107-26.
  • Supper, Martin. Elektroakustische Musik und Computermusik. Hofheim: Wolke-Verlagsges, 1997. 208 pp. ISBN 3923997779.
  • Wishart, Trevor. Audible Design: A plain and easy introduction to practical sound composition. Broadfield Publishing, 1994. ISBN: 0951031317.
  • _____. On Sonic Art. Amsterdam: Hardwood Academic Publishers, Simmon Emmerson (ed.), 1996. With CD.

    A rare, rather complete glimpse into the composer’s mind. A must read for ideas on sound and transformations. The better the student’s grasp of fundamentals the easier this book is to work with.






General Works (touch on electroacoustics)

  • Griffiths Paul. Modern Music and After: Directions Since 1945. Oxford: Oxford University Press, 1995.
  • Heifetz, R.J. On The Wires of Our Nerves: The art of electroacoustic music. Cranbury, NJ: Associated University Presses Inc., 1989.
  • Stockhausen, Karlheinz. Texte zur Musik, Vol. 1: Texte zur elektronischen and instrumentalen Musik. Cologne: DuMont-Buchverlag.

    Includes „...wie die Zeit vergeht...” and other seminal papers on serialism and early electronic music. Much better in German than the available English translations.

  • Stockhausen, Karlheinz. ‘Two Lectures’, in Die Reihe, Vol. 5, 1961, pp.59–82.








Acoustics, Psychoacoustics and Perception

  • Blauert, Jens. Spatial Hearing: The psychophysics of human sound localization. Cambridge, MA: MIT Press, 1999.

    The most cited and complete reference on spatial hearing. As a review of research of the past century, it covers spatial hearing with one source, spatial hearing with more than one source or in enclosed spaces.

  • Bregman, Albert S. Auditory Scene Analysis — The perceptual organization of sound. Cambridge, MA: MIT Press, 1999.

    Not for the faint of heart. A serious detailed reading of ASA. Bregman himself has a one page resume of the essentials, and this hefty tome is the chapter and verse of segmentation, integration, segregation and streaming. A solid reference for courses in ea ear-training, and for psychoacoustics.

  • Cook, Perry (ed.). Music, Cognition, and Computerized Sound. 372 pp. With CD-ROM.

    “Topics include the physiology and functions of the ear and the auditory sections of the brain; and special topics in psychoacoustics, including cognitive psychology and the physics of sound... valuable tool in classroom teaching, but it is also appropriate for any musician interested in understanding the perception of sound.”

  • Delalande, François. Le Traité des Objets Musicaux dix ans après, Pertinence et analyse perceptive. Cahiers recherche/musique n°2, Jean-Jacques Nattiez (éd.), 1976.





  • Delalande, François. 'Music Analysis and Reception Behaviours : “Sommeil” by Pierre Henry', in Journal of New Music Research, vol. XXVII, n° 1-2, Analysis of Electroacoustic Music. L. Camilleri et Dennis Smalley (éd.), [s.l.], p.13–66.
  • Licata, T. Electroacoustic Music: Analytical Perspectives. Westport, CT: Greenwood Press, 2002.
  • Roy, Stéphane. L’analyse des musiques électroacoustiques: Modèles et propositions. Paris: L’Harmattan, 2003.
  • Simoni, Mary (ed.). Analytical Methods of Electroacoustic Music. Routledge Taylor and Francis, 2005. 312pp. ISBN 0415976294.




Composers and their Work


Michel Chion

  • Marchetti, Lionel. La musique concrète de Michel Chion. Paris: Metamkine, 1998.


Pierre Henri

  • Chion, Michel. Pierre Henry, Musiciens d’aujourd’hui. Paris: Fayard-Sacem, 1980 (Réédition 2003). 217 pp.


Bernard Parmegiani

  • Mion, Philippe, Jean-Jacques Nattiez and J.C. Thomas. L’envers d’une œuvre, De natura sonorum de Bernard Parmegiani. Éditions Buchet-Chastel / INA-GRM, 1982.


Pierre Schaeffer

  • Hodgkinson, Tim. ‘Pierre Schaeffer interview’, in ReR Quarterly magazine, vol.2, No1. 1987.


Karlheinz Stockhausen

  • Hopp, Winrich. ’Kurzwellen’ von Karlheinz Stochausen: Konzeption und musikalische Poiesis. Mainz: Schott, 1998.
  • Maconie, Robin. Other Planets: The Music of Karlheinz Stockhausen. The Scarecrow Press, Inc., 2005. 592 pp. ISBN 0810853566.
  • _____. The Works of Karlheinz Stockhausen. Oxford University Press, 1976.

    An early overview of S’s (earlier) work. A good quick reference, but now much dated and a bit ‘light’ given S’s continued development and refinement of the past 30 years.

  • Stockhausen, Karlheinz. Texte zur Musik, Vol. 8: Tuesday from Light (Electronic Music). Kürten: Stockhausen Verlag.




Diffusion, Spatialization and Multi-Speaker Configurations

  • AES Staff Technical writer. ‘Loudspeaker Array Technology’, in Journal of the Audio Engineering Society, vol.53, no.11, 2005.

    A short and clear review of recent research activities on loudspeaker arrays or clusters for audio applications. Inspiring for spatial sound.

  • AES Staff Writer. ‘Multichannel Audio Systems and Techniques’, in Journal of the Audio Engineering Society, vol.53, no.4, 2005.



  • Audio Engineering Society, Begault, D.R. (ed.). ‘Spatial Sound Techniques, An anthology of articles on spatial sound techniques, Part I: Virtual and binaural audio technologies’.

    This 528-page collection of AES papers is the complete reference about recent binaural audio researches. Mathematics or audio knowledge suggested for reading.

  • Audio Engineering Society. ‘Stereophonic techniques, An Anthology of Reprinted Articles on Stereophonic Techniques.’

    Surprinsingly good and affordable, this complete anthology goes back to the 1930s and shows past problematics which seems like unsolved and related to current problematics in spatial sound or spatial music. Authors: Steinberg, Snow, Blumlein, Schroeder, Eargle and more.



  • Austin, Larry: ‘Sound diffusion in composition and performance: An interview with Denis Smalley’, in Computer Music Journal, Vol. 24:2, pp.10–21, 2000.
  • _____. ‘Sound diffusion in composition and performance practice. II: An interview with Ambrose Field’, in Computer Music Journal, Vol. 25:4, pp.21–30, 2001.
  • Barrett, Natasha. ‘Spatio-musical Composition Strategies’, in Organised Sound Vol. 7(3) (CUP), pp. 313–323. 2002.
  • Chowning, J.M. ‘The simulation of moving sound sources’, in Journal of the Audio Engineering Society, 19(1): 2-6. (also in Computer Music Journal, June 1977, pp 48–52). 1971.
  • Clozier, Christian. ‘The Gmebaphone Concept and the Cybernéphone Instrument’, in Computer Music Journal, Vol. 25(4), pp.81–90. 2001.
  • Davis, Mark F. ‘History of Spatial Coding’, in Journal of the Audio Engineering Society , Vol.51 No.6, June 2003. pp.554–569.

    Introductory-level history of the technological aspects of spatial sound, including origins, stereo, quad, going digital, surround sound and the present problematics.

  • Doherty, D. ‘Sound Diffusion of Stereo Music over a Multi Loudspeaker Sound System: from first principles onwards to a successful experiment’, in Journal of Electroacoustic Music (SAN), Vol. 11, pp.9–11. 1998.
  • Harrison, Jonty. ‘Sound, Space, Sculpture: Some thoughts on the “what”, “how”, and “why” of sound diffusion’, in Organised Sound, Vol. 3:2, pp.117–127, 1998.
  • Henriksen, Frank Ekeberg. Space in Electroacoustic Music: Composition, Performance and Perception of Musical Space. Ph.D. Thesis, City University, London. 2002.
  • Kendall, Gary S. ‘The decorrelation of audio signals and its impact on spatial imagery’, in Computer Music Journal, Vol. 19:4, pp.71–87. 1995.
  • _____. ‘A 3-D sound primer: Directional hearing and stereo reproduction’, in Computer Music Journal, Vol. 19:4, pp.23–46. 1995.
  • Landy, Leigh and Tony Myatt (eds.). ‘Sound in Space’, in Organised Sound, Vol. 3:2, pp.91–177. 1998.
  • MacDonald, Alistair. ‘Performance Practice in the Presentation of Electroacoustic Music’, in Computer Music Journal, Vol. 19(4); pp. 88–92. 1995.
  • Malham, David G. ‘Approaches to Spatialisation’, in Organised Sound, Vol. 3:2, pp.167–177. 1998.
  • _____. ‘Toward Reality Equivalence in Spatial Sound Diffusion’, in Computer Music Journal, Vol. 25:4, pp.31–38. 2001.
  • _____. ‘Ambisonics: A technique for Low Cost, High Precision, Three-dimensional Sound Diffusion’, in Proceedings of the International Computer Music Conference. San Francisco: Computer Music Association, pp. 118–120. 1990.
  • Malham, David G. and Anthony Myatt. ‘A 3-D Sound Spatialization using Ambisonic Techniques’, in Computer Music Journal, Vol. 19(4); pp. 58–70. 1995.
  • Malham, David G. and Richard Orton. ‘Progress in the Application of 3-dimensional Ambisonic Sound Systems to Computer Music’, in Proceedings of the International Computer Music Conference. Montreal: McGill University, pp. 467–470. 1991.
  • Modhrain, O. and M. Sile. ‘Surroundsound: A B-format Soundfield Processing Program for the Composers’ Desktop Project Soundfile System’, in Proceedings of the International Computer Music Conference. San Francisco: Computer Music Association, pp. 121–123. 1990.
  • Roads, Curtis. ‘Musical Sound Transformation by Convolution’, in Proceedings of the 1993 International Computer Music Conference. San Francisco: International Computer Music Association, pp. 102–109. 1993.
  • Rumsey, Francis. Spatial Audio. Focal Press, 2001.

    A review of commercial spatial sound reproduction and recording technologies. Not mathematics-heavy, well-written for the commercial sound engineer. Lot of presentations of commercial standards: 5.1, Lexicon, etc.

  • Smalley, Denis. ‘Spatial Experience in Electro-acoustic Music’, in L’Espace du Son II (Special Edition of Lien: revue d’esthetique musicale). Ohain, Belgium: Éditions Musiques et Recherches, pp.121–124. 1991.
  • Torchia, Ryan H. and Cort Lippe. ‘Techniques for Multi-Channel Real-Time Spatial Distribution Using Frequency-Domain Processing’, in Proceedings of the 2004 Conference of New Interfaces for Musical Expression. NIME04, Hamamatsu, Japan, pp. 116–119. 2004.
  • Truax, Barry. ‘Composition and Diffusion: Space in sound in space’, in Organised Sound, Vol. 3(2), pp. 141–146. 1998.
  • Worrall, D. ‘Space in Sound: Sound of Space’, in Organised Sound, Vol 3(2), pp.93–99. 1999.






Film and Electronics (or synthetic sounds)

  • Larson, Randall D. Musique Fantastique: A Survey of Film Music in the Fantastic Cinema. Metuchen N.J. & London: Scarecrow Press, 1985. 592 pp.

    A good but slightly out of date reference. Because music outside of the mainstream and synthetic sounds tend to signify the “other”, there has been a long association with electroacoustic music and electronic music with science fiction/fantasy films.

  • Wierzbicki, James. Louis & Bebe Barron’s Forbidden Planet: A Film Score Guide. Scarecrow Press, 2005. 200 pp. ISBN 0810856700.
  • Zwerin, Charlotte (Dir.). Music for the Movies. 1995. 118 min. ASIN: 6303824528. VIDEO.

    A documentary of the Japanese film composer Toru Takemitsu, featuring interviews and clips from films he scored. (IMDb)




Genres or Subcategories of Electroacoustics


Acoustic Ecology

  • Schafer, R. Murray. Tuning of the World. Knopf, 1977 (Arcana Editions). 301 pp. ISBN 0394409663.
  • Truax, Barry (ed.). Handbook for Acoustic Ecology. Vancouver: World Soundscape Project, 1978, 160pp. (Also on CD-ROM, 1999)


Circuit Bending

  • Collins, Nicolas. Handmade Electronic Music: The Art of Hardware Hacking. Routledge, 2006. 272pp. ISBN 0415975921.
  • Ghazala, Reed. Circuit-Bending: Build Your Own Alien Instruments (ExtremeTech). John Wiley & Sons, 2005. 450 pp. ISBN: 0764588877.



  • Roads, Curtis. Microsound. Cambridge, MA: MIT Press, 2002.




Historical Overviews

  • Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music. NJ: Prentice Hall, 1997. 370pp. ISBN: 0133032310.

    Filled with quotes, somewhat US-centric at times, much good background information but now somewhat over a decade old. The challenge is that the history of the loudspeaker and sounds requires many books, not the 370 pages Prentice Hall required Joel to reduce the book to. / A narrative history covering developments in both the pop/commercial and academic/”art” musical arenas. Some great photos, too.

  • Dallet, Sylvie and Anne Veitl (eds.). Du Sonore au Musical : Cinquante années de recherches concrètes (1848–1998). Paris: L’Harmattan, 2001. 468 pp. ISBN : 2747503402.

    “A l’occasion du Jubilé de l’invention de la Musique concrète, le Centre d’Etudes et de Recherche Pierre Schaeffer... a souhaité faire le bilan de cinquante années de recherches concrètes, pour aborder l’inconnu des rivages Du sonore au musical.” (L’Harmattan)

  • Ernst, David. The Evolution of Electronic Music. New York: Schirmer Books, MacMillan Publishing, 1977. 274 pp. ISBN 0028708806.
  • Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts. The MIT Press, 1999.
  • Russcol, Herbert. The Liberation of Sound. Prentice Hall, 1972. 315pp. ISBN 0135353939.
  • Schaeffer, Pierre. De la musique concrète à la musique même. Paris: Mémoire du Livre, 2002.




Improvisation, Real-Time and Interactive Systems

  • Bevelander, Brian. ‘Observations on Live Electronics’, in Contemporary Music Review, Vol. 6-1, Peter Nelson and Stephen Montague (eds.), 1991, pp.151–157.
  • Bernard, Pierre. ‘The UPIC as a Performance Instrument’, in Contemporary Music Review, Vol. 6-1, Peter Nelson & Stephen Montague (eds.), Richard Easton (trans.), 1991, pp.47–57.
  • Chadabe, Joel. ‘The Performer is Us’,in Contemporary Music Review, Vol.18-3, Peter Nelson & Nigel Osborne (eds.), 1999, pp.25–30.
  • Emmerson, Simon. ‘Live Electronic Music in Britain: Three Case Studies’, in Contemporary Music Review, Vol. 6-1, eds Peter Nelson & Stephen Montague, 1991, pp.179–195.
  • Lippe, Cort. ‘Real-time Computer Music at IRCAM’, in Contemporary Music Review, Vol. 6-1, Peter Nelson & Stephen Montague (eds.), 1991, pp.219–224.
  • Montague, Stephen. ‘Mesias Maiguashca, interview in Baden-Baden, 25 January 1989’, in Contemporary Music Review, Vol. 6-1, Peter Nelson & Stephen Montague (eds.), 1991, pp.197–203.
  • Rowe, Robert. ‘The Aesthetics of Interactive Music Systems’, in Contemporary Music Review, Vol.18-3, Peter Nelson & Nigel Osborne (eds.), 1999, pp.83–87.
  • Stroppa, Marco. ‘Live Electronics or... Live Music? Towards a Critique of Interaction’, in Contemporary Music Review, Vol.18-3, Peter Nelson & Nigel Osborne (eds.), 1999, pp.41–77.






Mastering in Electroacoustics

  • Bassal, Dominique. ‘La pratique du mastering en électroacoustique’, in eContact! 6.2 — Questions en Electroacoustique / Issues in Electroacoustics. Canadian Electroacoustic Community, 2003. In French and English. http://cec.concordia.ca/econtact
  • Katz, Robert A. Mastering Audio: The art and the science. Focal Press, 2002. ISBN 0-240-80545-3.
  • Owsinski, Bobby. The Mastering Engineers Handbook. MixBooks, 2000. ISBN 0-87288-741-3.







  • Selfridge-Field, Eleanor (ed.). Beyond MIDI: The Handbook of Musical Codes. The MIT Press, 1997. 630 pp. ISBN 0262193949.

    A collection of extensions and alternatives to MIDI available in the mid-to-late 1990s, with a focus on notation and musicology. The print edition is largely dated, some more recent developments are at <http://www.ccarh.org/publications/books/beyondmidi/updates/>.






Modular Synthesis

  • Strange, Allen. Electronic Music: Systems, Techniques, and Controls. William C Brown Publishing (2nd ed.), 1983 (1st ed. 1972). ISBN: 0697036022.






Notation of Electroacoustics

  • Cole, Hugo. Sounds and Signs: Aspects of Musical Notation. Oxford University Press, 1974.






Physical Modelling

  • Hiller, L. and P. Ruiz. Synthesizing Musical Sounds by Solving the Wave Equation for Vibrating Objects, in Journal of the Audio Engineering Society. 1971.
  • Karplus, K., and A. Strong. Digital Synthesis of Plucked String and Drum Timbres, in Computer Music Journal. 1983.







  • Bayle, François. Musique acousmatique, propositions… positions. Paris: Buchet/Chastel—INA-GRM ed., 1993.
  • Toop, David. Haunted Weather: Music, Silence, and Memory. Serpent’s Tail, 2004. 352 pp. ISBN 1852428120.
  • _____. Ocean of Sound. Serpent’s Tail, 2001. 320 pp. ISBN 1852427434.




Room Simulation





  • Boulanger, Richard. The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing,and Programming. The MIT Press, 2000. 782 pp. ISBN 0262522616.




Surround Sound




Women in Electroacoustics

  • Hinkle-Turner, Elizabeth. Women Composers and Music Technology in the United States: Crossing the Line. London: Ashgate Publishing, 2006. 301 pp. ISBN 0754604616.
  • Bosma, Hannah. ‘Gender and Electronic Music’, on author’s website http://www.hannahbosma.nl
  • _____. ‘Gender and Electroacoustics’. ibid.
  • _____. ‘Male and Female Voices in Computer Music’. ibid.
  • _____. ‘Who creates electro-vocal music? (authors, composers, vocalists, and gender)’. ibid.
  • _____. ‘Écriture Féminine in electrovocal music’. ibid.
  • McCartney, Andra. ‘Creating Worlds for My Music to Exist: Women Composers of Electroacoustic Music in Canada’, in IAWM Journal June 1996: 16–19.
  • _____. ‘Inventing Images: Constructing and Contesting Gender in Thinking about Electroacoustic Music’. Leonardo Music Journal 5 (1995): 57–66.
  • Simoni, Mary. ‘A Survey of Gender Issues Related to Computer Music and Strategies for Change’, in 1995 Proceedings of the International Computer Music Conference. Banff: International Computer Music Association, 1995.
  • Various Authors. Organised Sound 8.1 (2003) — entire journal issue.





In the case of some of the subscription journals, a selection of articles or even back issues may be freely available online.









Ashgate Publishing

Éditions Buchet-Chastel

Éditions Harmattan

Éditions du Seuil

MIT Press

Prentice Hall

[http://www.tandf.co.uk/journals/titles/09298215.asp|Taylor and Francis (Journal of New Music Research)

Thames and Hudson






Aki Pasoulas http://www.geocities.com/pasoulas

Dominique Bassal

Michael Berger

Peter Castine http://www.castine.de

Francis Dhomont

Philippe-Aubert Gauthier

Martin Gotfrit






DELHAYE Cyrille, Intérieur/Extérieur de Pierre Henry : Une musique électroacoustique de chambre, Maîtrise de Musicologie sous la direction de Pierre Albert Castanet, U.F.R. de Lettres et Sciences Humaine de Rouen, 2003. FLEURET Maurice, entretien avec Olivier Alain, François Bayle, Martine Cadieu et Jacques Lompchampt diffusé sur France Culture le 30 octobre 1968 de 18h à 19h, retranscrit dans : La revue musicale, double numéro spécial 265-266, Paris, s. d. HENRY Pierre, Journal de mes sons, carré musique, Paris, Séguier, 1979. HENRY Pierre, Journal de mes sons suivi de Préfaces et manifestes, Actes Sud, Paris, 2004. MOLINO Jean, Fait musical et sémiologie de la musique, Musique en jeu n°17, 1975, p.37-62. KADAR Georges, Musique de notre temps, Casterman, Paris, 1973. RUWET N., Langage, musique, poésie, Seuil, Paris, 1972. TRANCHFORT François René (dir°), Guide de la musique de chambre, Fayard, Paris, 1989.


Emmerson S., (2000), "Music,Electronic Media and Culture", Ashgate Publishing,Hampshire,UK.



– Only list resources which have relevance to electroacoustics.

– In order to make compiling this info as efficient as possible, please use the following format, and fill in all information for each source.


For Books

  • FAMILYname, GIVENname. Title of Book. CITYpublished: Publisher, EDITORname (ed.), Year. # pp. ISBN 00000000.


For Journal Articles

  • FAMILYname, GIVENname. ‘Title of Article’, in JOURNALTitle, Issue 0, No.2 (Spring 2006). CITYpublished: Publisher, Year.


For Internet Sources

  • FAMILYname, GIVENname. ‘Title of Article’, in JOURNALTitle, Issue 0, No.2 (Spring 2006). Website. Date Accessed. eg.:
  • Burns, Christopher. ‘Compositional Strategies for Point-Source Spatialization’, in eContact! 8.3. http://cec.concordia.ca/econtact/8_3/burns.html. Accessed April 1, 2006.




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