eContact! 13.2 — Keyboards + Live EA: The Performer’s Perspective / Claviers et « live electronics » : La perspective de l’interprète [Return…] 

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Keyboard + Live EA [wiki]: Bibliography

 

The following bibliographic and reference list pertains specifically to references that concern the piano (grand, baby grand, upright, toy piano, Disklavier). There exists a large body of references for performance practice for various instruments using technologies that is simply far too broad to be addressed here.

 

• Ciufo, Thomas. “Three Meditations for Prepared Piano and Computer.” 2002. Available on the author’s website http://ciufo.org/research.html (Accessed 7 May 2007).
• Ding, Shiau-uen. “Developing a Rhythmic Performance Practice in Music for Piano and Tape.” Organised Sound 11/3 (December 2006), pp. 255-272.
• _____. “Sitting at the Piano, Cradled by Speakers: Developing a Rhythmic Performance Practice in Music for Piano and ְְ‘Tape.’” Unpublished DMA dissertation, University of Cincinnati, 2007.
• Lippe, Cort. “Music for Piano and Computer: A Description.” Proceedings of the USA / Japan Computer Music Conference 1997. Tokyo: Kunitachi Conservatory.
• Pestova, Xenia. “Models of Interaction in works for Piano and Live Electronics.” Unpublished doctoral thesis. McGill University, 2008. Available on the author’s website. http://xeniapestova.com/thesis.html
  An examination of three recent works for piano and live electronics from the performer’s perspective: Silvio Ferraz — Cortazar, ou quarto com caixa vazia (1999); Hans Tutschku — Zellen-Linien (2007); Bryan Jacobs — Song from the Moment (2008).
• _____.“Models of Interaction: Performance Strategies in Works using Piano and Live Electronics.” Journal of Music, Technology and Education vol. 2 issue 23 (December 2009).
  Addresses specific learning strategies and pedagogical issues in works for piano and live electronics.
• Pestova, Xenia, Mark T. Marshall and Jacob Sudol. “Analogue to Digital: Authenticity Vs. Sustainability in Stockhausen’s Mantra (1970).” Proceedings of the International Computer Music Conference (ICMC) 2008 (Belfast: SARC — Sonic Arts Research Centre, Queen’s University Belfast, 24–29 August 2008), pp. 201–204. Available on the author’s website http://www.xeniapestova.com (retrieved 8 October 2010)