Bibliography for Electronic Music Studies (10 29011 and 10 29010) BETA

· · · CROSSFADE· · · Chris Brown & John Bischoff - Indigenous to the Net ~ Early Network Bands in the San Francisco Area (no date). Available at: http://crossfade.walkerart.org/brownbischoff/index.html.

‘After Robot: Kwaito Music in Johannesburg (26 min, 2002) - YouTube’ (no date). Available at: https://www.youtube.com/watch?v=VPMydKs71Jc.

algorave.com (no date). Available at: https://algorave.com.

‘And Don’t Call Them Lady Composers’ (no date). Available at: http://music.ucsc.edu/sites/default/files/22.OliverosDontCallThemLadies.pdf.

Arduino - Home (no date). Available at: https://www.arduino.cc/.

‘Best of NIME 2014’ (1AD). Available at: https://www.youtube.com/watch?v=beLxqGKvI-M.

Born, G. (1995) ‘Music Research and Psychoacoustics’, in. London: Routledge.

Butler, M.J. (2006) ‘Part III: Electronic Dance Music and the Epic’, in Unlocking the groove: rhythm, meter, and musical design in electronic dance music. Bloomington: Indiana University Press, pp. 177–254.

Butler, M.J. (2014a) ‘Making It Up and Breaking It Down’, in Playing with something that runs: technology, improvisation, and composition in DJ and laptop performance. New York: Oxford University Press, pp. 113–171. Available at: https://doi.org/10.1093/acprof:oso/9780195393613.003.0004.

Butler, M.J. (2014b) Playing with something that runs: technology, improvisation, and composition in DJ and laptop performance. New York: Oxford University Press.

Butler, M.J. (2014c) Playing with something that runs: technology, improvisation, and composition in DJ and laptop performance. New York: Oxford University Press.

Caleb Kelly (no date) ‘Sound and art’, Grove Art Online [Preprint]. Available at: http://www.oxfordartonline.com/subscriber/article/grove/art/T079882.

Chandler, A. and Neumark, N. (2005) At a distance: precursors to art and activism on the Internet. Cambridge, Mass: MIT Press.

Chaves, R. and Hickman, F. (no date) A Window in Between: Mediation Strategies in Networked Sonic Arts | Interference. Available at: http://www.interferencejournal.com/articles/sound-methods/a-window-in-between-mediation-strategies-in-networked-sonic-arts.

‘Clara Rockmore - Summertime’ (20AD). Available at: https://www.youtube.com/watch?v=j0c7p5geJZs.

Collins, N., Escrivan Rincâon, J. d’ and Escrivan Rincón, J. d’ (2007) The Cambridge companion to electronic music. Cambridge: Cambridge University Press.

Collins, N., Schedel, M. and Wilson, S. (2013) Electronic music. Cambridge: Cambridge University Press. Available at: https://www.cambridge.org/core/books/electronic-music/4FD04D2A538AB21D7504B9CEA054DB4F.

Demers, J.T. (2010a) Listening through the noise: the aesthetics of experimental electronic music. Oxford: Oxford University Press.

Demers, J.T. (2010b) Listening through the noise: the aesthetics of experimental electronic music. Oxford: Oxford University Press. Available at: http://www.oxfordscholarship.com.bham-ezproxy.idm.oclc.org/view/10.1093/acprof:oso/9780195387650.001.0001/acprof-9780195387650.

dEscrivan, J. (2012) ‘Hacking electronics for music’, in Music technology. Cambridge: Cambridge University Press, pp. 173–183. Available at: https://www.cambridge.org/core/books/music-technology/hacking-electronics-for-music/DA332935ADEA72B38C48C48382BFEA25.

Discwoman : Discwoman.com (no date). Available at: http://www.discwoman.com/.

‘DJ Shiva / .noncompliant. @ Room 4 Resistance - ://about Blank garden - 10.09.2016 by Room 4 Resistance | Free Listening on SoundCloud’ (no date). Available at: https://soundcloud.com/room4resistance/dj-shiva-non-compliant-room-4-resistance-10092016.

Dobrian, C. and Koppelman, D. (2006) ‘The “E” in NIME: musical expression with new computer interfaces’, Proceedings of the 2006 conference on New interfaces for musical expression, pp. 277–282. Available at: http://dl.acm.org/citation.cfm?id=1142283.

‘Documentary about Kreidler’s outsourcing works’ (no date). Available at: https://www.youtube.com/watch?v=L72d_0zIT0c.

Dougherty, D. (2012) ‘The Maker Movement’, Innovations: Technology, Governance, Globalization, 7(3), pp. 11–14. Available at: https://doi.org/10.1162/INOV_a_00135.

Douglas Kahn and Christian Marclay (2003) ‘Christian Marclay’s Early Years: An Interview’, Leonardo Music Journal, 13, pp. 17–21. Available at: http://www.jstor.org/stable/1513444?seq=1#page_scan_tab_contents.

Emmerson, S. (2000) ‘Music, electronic media and culture’, in. Aldershot: Ashgate. Available at: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=429716&query=Music%2C+Electronic+Media+and+Culture.

Emmerson, S. and Landy, L. (eds) (2016) Expanding the horizon of electroacoustic music analysis. Cambridge: Cambridge University Press.

Escrivan Rincón, J. d’ (2012) ‘Music technology’, in. Cambridge: Cambridge University Press.

‘Experimental live coding stream -- Yaxu live from Hangar Barcelona.’ (5AD). Available at: https://www.youtube.com/watch?v=FenTeBMkAsQ.

Farrugia, R. and Swiss, T. (2005) ‘Tracking the DJs: Vinyl Records, Work, and the Debate over New Technologies’, Journal of Popular Music Studies, 17(1), pp. 30–44. Available at: https://doi.org/10.1111/j.1524-2226.2005.00032.x.

‘Festivals and Venues - Graham, Stephen, 2016 (RECOMMENDED)’ (no date).

Fink, R.R. (2005) Repeating ourselves: American minimal music as cultural practice. Berkeley: University of California Press.

Fink, R.W. (2005) Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley: University of California Press. Available at: http://birmingham.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3514744190004871&institutionId=4871&customerId=4870.

First ever recording of computer music (no date). Available at: https://soundcloud.com/guardianaustralia/first-ever-recording-of-computer-music.

Föllmer, G. (2005) ‘Lines of net music’, Contemporary Music Review, 24(6), pp. 439–444. Available at: https://doi.org/10.1080/07494460500296102.

Garcia, Luis-Manuel (no date) ‘On and On: Repetition as Process and Pleasure in Electronic Dance    Music’, Music Theory Online, 11(4). Available at: http://www.mtosmt.org/issues/mto.05.11.4/mto.05.11.4.garcia.html.

George E. Lewis (2000) ‘Too Many Notes: Computers, Complexity and Culture in “Voyager”’, Leonardo Music Journal, 10, pp. 33–39. Available at: http://www.jstor.org/stable/1513376?seq=1#page_scan_tab_contents.

Georgina Lewis, Eric Straw, Will Born (no date) ‘Improvisation and Social Aesthetics’, in. Available at: http://www.findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=44BIR_SFX_DS3710000001118533&indx=2&recIds=44BIR_SFX_DS3710000001118533&recIdxs=1&elementId=1&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%2844BIR_PDA1_DS%29%2Cscope%3A%2844BIR_ETH1_DS%29%2Cscope%3A%2844BIR_LGUI_DS%29%2Cscope%3A%2844BIR_PURE_FT%29%2Cscope%3A%2844BIR_ALEPH_DS%29%2Cscope%3A%2844BIR_MIM_DS+%29%2Cscope%3A%2844BIR_RLIST_DS%29%2Cscope%3A%2844BIR_ML_DS%29%2Cscope%3A%2844BIR_SFX_DS%29%2Cscope%3A%2844BIR_DR1_DS%29%2Cscope%3A%2844BIR_DR2_DS%29%2C44BIR_Ebsco_1%2Cprimo_central_multiple_fe&mode=Basic&vid=44BIR_VU1&srt=rank&tab=local&vl(freeText0)=improvisation%20social%20aesthetics%20born%20straw&dum=true&dstmp=1518788387653.

Ghazala, Q.R. (2004) ‘The Folk Music of Chance Electronics: Circuit-Bending the Modern Coconut’, Leonardo Music Journal, 14, pp. 97–104. Available at: https://doi.org/10.1162/0961121043067271.

Global String - Atau Tanaka (no date). Available at: http://www.ataut.net/site/Global-String.

‘Global String Video’ (no date). Available at: https://vimeo.com/46800992.

Green, O. (2011) ‘Agility and Playfulness: Technology and skill in the performance ecosystem’, Organised Sound, 16(02), pp. 134–144. Available at: https://doi.org/10.1017/S1355771811000082.

Gresham-Lancaster, S. (1998) ‘The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music’, Leonardo Music Journal, 8. Available at: https://doi.org/10.2307/1513398.

Guitar Drag by Christian Marclay (no date). Available at: https://youtu.be/NEIc7YdSFpU.

‘Hackers Holding Hands’ (20AD). Available at: https://www.youtube.com/watch?v=8E38DX4Cw4A.

‘How Arduino is open-sourcing imagination | Massimo Banzi’ (27AD). Available at: https://www.youtube.com/watch?v=UoBUXOOdLXY.

http://remix.nin.com (no date). Available at: http://remix.nin.com.

Iddon, M. (2016) ‘OUTSOURCING PROGRESS: ON CONCEPTUAL MUSIC’, Tempo, 70(275), pp. 36–49. Available at: https://doi.org/10.1017/S0040298215000613.

‘Internet-mediated Musics: From Aesthetics to Materialities to Social Forms - Haworth, Christopher and Georgina Born. Forthcoming (BACKGROUND))’ (no date).

John Driscoll and Matt Rogalsky (2004) ‘David Tudor’s “Rainforest”: An Evolving Exploration of Resonance’, Leonardo Music Journal, 14, pp. 25–30. Available at: http://www.jstor.org/stable/1513502?seq=1#page_scan_tab_contents.

Kim-Cohen, S. and Kim-Cohen, S. (2009) In the blink of an ear: towards a non-cochlear sonic art. New York: Continuum. Available at: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=601811.

Kittler, Friedrich (1987) ‘Gramophone, Film, Typewriter’, in Gramophone, Film, Typewriter. Available at: http://www.findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_proquest1300028062&indx=2&recIds=TN_proquest1300028062&recIdxs=1&elementId=1&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%2844BIR_PDA1_DS%29%2Cscope%3A%2844BIR_ETH1_DS%29%2Cscope%3A%2844BIR_LGUI_DS%29%2Cscope%3A%2844BIR_PURE_FT%29%2Cscope%3A%2844BIR_ALEPH_DS%29%2Cscope%3A%2844BIR_MIM_DS+%29%2Cscope%3A%2844BIR_RLIST_DS%29%2Cscope%3A%2844BIR_ML_DS%29%2Cscope%3A%2844BIR_SFX_DS%29%2Cscope%3A%2844BIR_DR1_DS%29%2Cscope%3A%2844BIR_DR2_DS%29%2C44BIR_Ebsco_1%2Cprimo_central_multiple_fe&mode=Basic&vid=44BIR_VU1&srt=rank&tab=local&vl(freeText0)=%22gramophone%20film%20typewriter%22&dum=true&dstmp=1509016471785.

Kronengold, Charles (2008) ‘Exchange Theories in Disco, New Wave, and Album-Oriented Rock’, Criticism, 50(1), pp. 43–82. Available at: http://findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_museS1536034208100036&indx=1&recIds=TN_museS1536034208100036&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&frbrSourceidDisplay=muse&frbrIssnDisplay=0011-1589&dscnt=0&frbrRecordsSource=Primo+Central&mode=Basic&vid=44BIR_VU1&lastPag=&rfnGrp=frbr&tab=local&frbrJtitleDisplay=&dstmp=1513963325182&frbg=260652882879128926&lastPagIndx=1&frbrEissnDisplay=1536-0342&scp.scps=scope%3A%2844BIR_PDA1_DS%29%2Cscope%3A%2844BIR_ETH1_DS%29%2Cscope%3A%2844BIR_LGUI_DS%29%2Cscope%3A%2844BIR_PURE_FT%29%2Cscope%3A%2844BIR_ALEPH_DS%29%2Cscope%3A%2844BIR_MIM_DS+%29%2Cscope%3A%2844BIR_RLIST_DS%29%2Cscope%3A%2844BIR_ML_DS%29%2Cscope%3A%2844BIR_SFX_DS%29%2Cscope%3A%2844BIR_DR1_DS%29%2Cscope%3A%2844BIR_DR2_DS%29%2C44BIR_Ebsco_1%2Cprimo_central_multiple_fe&cs=frb&fctV=260652882879128926&srt=rank&fctN=facet_frbrgroupid&dum=true&vl(freeText0)=kronengold%20exchange%20disco.

LaBelle, B. (2015a) Background noise: perspectives on sound art. Second edition. New York, NY: Bloomsbury Academic.

LaBelle, B. (2015b) Background noise: perspectives on sound art. Second edition. New York, NY: Bloomsbury Academic. Available at: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=2003623.

Magnusson, T. (2017) ‘Musical Organics: A Heterarchical Approach to Digital Organology’, Journal of New Music Research, 46(3), pp. 286–303. Available at: https://doi.org/10.1080/09298215.2017.1353636.

Magnusson, Thor (no date) ‘Confessions of a Live Coder’, in Proceedings of the International Computer Music Conference 2011. Available at: http://quod.lib.umich.edu/i/icmc/bbp2372.2011.122/5/--confessions-of-a-live-coder?page=root;size=100;view=pdf.

Maker Faire | Electric Saxophone (no date). Available at: http://makerfaire.com/maker/entry/58025/.

Max Neuhaus (no date). Available at: https://web.archive.org/web/20180626212759/http://www.max-neuhaus.info/audio-video/.

‘Max Neuhaus - The Broadcast Works and Audium’ (no date). Available at: http://designblog.uniandes.edu.co/blogs/dise2514/files/2009/04/broadcast_works_and_audium_neuahaus.pdf.

Montano, E. (2008) ‘’You’re Not A Real Dj Unless You Play Vinyl’ : Technology And Formats : The Progression Of Dance Music And Dj Culture’, Journal on the Art of Record Production [Preprint]. Available at: http://arpjournal.com/%E2%80%98you%E2%80%99re-not-a-real-dj-unless-you-play-vinyl%E2%80%99-%E2%80%93-technology-and-formats-%E2%80%93-the-progression-of-dance-music-and-dj-culture/.

Montano, E. (2010) ‘“How do you know he’s not playing Pac-Man while he’s supposed to be DJing?”: technology, formats and the digital future of DJ culture’, Popular Music, 29(03), pp. 397–416. Available at: https://doi.org/10.1017/S0261143010000449.

Music Hackspace (no date). Available at: http://musichackspace.org/.

Nick Collins (2011) ‘Live Coding of Consequence’, Leonardo, 44(3), pp. 207–230. Available at: http://www.jstor.org/stable/20869451?seq=1#page_scan_tab_contents.

‘NMF2013: The Hub on Vimeo’ (no date). Available at: https://vimeo.com/65502094.

.‘noncompliant. (DJ Shiva) @ Room 4 Resistance - ://about Blank garden - 10.09.2016 by Room 4 Resistance’ (no date). Available at: https://soundcloud.com/room4resistance/dj-shiva-non-compliant-room-4-resistance-10092016.

Oliveros, P. (1984a) Software for people: collected writings 1963-1980. Baltimore: Smith Publications.

Oliveros, P. (1984b) ‘The Contribution of Women Composers’, Software for people: collected writings 1963-1980, pp. 132–137.

RA: An alternate history of sexuality in club culture (no date). Available at: https://www.residentadvisor.net/features/1927.

‘RA: Between The Beats: The Black Madonna’ (no date). Available at: https://www.residentadvisor.net/features/2793.

RA Exchange: EX.293 Pauline Oliveros (no date). Available at: https://www.residentadvisor.net/podcast-episode.aspx?exchange=293.

‘Real Scenes: Johannesburg - YouTube’ (no date). Available at: https://www.youtube.com/watch?v=Ykt2f6o7-e8.

Record without a Cover by Christian Marclay (no date). Available at: https://youtu.be/iVyO9BaMvAQ.

‘Reed Ghazala, the Father of Circuit Bending: Sound Builders’ (31AD). Available at: https://www.youtube.com/watch?v=KHDL9iGxDPM.

Reed Ghazala’s Anti-Theory Workshop (no date). Available at: http://www.anti-theory.com/.

‘ResoNations 2009: International Telematic Concerts for Peace (background watching)’ (no date).

Reynolds, S. (1998) Energy flash: a journey through rave music and dance culture. London: Picador.

Rosalind Krauss (2006) ‘Two Moments from the Post-Medium Condition’, October, 116, pp. 55–62. Available at: http://www.jstor.org/stable/40368424?Search=yes&resultItemClick=true&searchText=sn:01622870&searchText=AND&searchText=year:2006&searchUri=%2Fopenurl%3Fpage%3D2%26amp%3Bed%3D%26amp%3BQuery%3Dsn%253A01622870%2BAND%2Byear%253A2006%26amp%3Bymod%3DYour%2Binbound%2Blink%2Bdid%2Bnot%2Bhave%2Ban%2Bexact%2Bmatch%2Bin%2Bour%2Bdatabase.%2BBut%2Bbased%2Bon%2Bthe%2Belements%2Bwe%2Bcould%2Bmatch%252C%2Bwe%2Bhave%2Breturned%2Bthe%2Bfollowing%2Bresults.%26amp%3Bsd%3D&seq=1#page_scan_tab_contents.

Schafer, R.M. (1994) The soundscape: our sonic environment and the tuning of the world. Rochester, Vt: Destiny Books.

‘Searching For The Perfect Beep -- A Personal History Of Hardware Hacking’ (2006). Brussels: Experimental Media Arts. Available at: http://nicolascollins.com/texts/perfectbeep.pdf.

‘Show Us Your Screens’ (no date). Available at: https://vimeo.com/20241649.

Simon Waters (no date) Performance Ecosystems: Ecological approaches to musical interaction. Electroacoustic Music Studies Network. Available at: http://www.ems-network.org/spip.php?article278.

Solo for Wounded CD by Yasunao Tone (no date). Available at: https://youtu.be/CEDi-39o5qw.

Soundings: A Contemporary Score (no date a). Available at: https://www.moma.org/momaorg/shared/pdfs/docs/publication_pdf/3185/Soundings_PREVIEW.pdf.

Soundings: A Contemporary Score (no date b). Available at: https://www.moma.org/momaorg/shared/pdfs/docs/publication_pdf/3185/Soundings_PREVIEW.pdf.

SPICER, M. (2004) ‘(Ac)cumulative Form in Pop-Rock Music’, twentieth-century music, 1(1), pp. 29–64. Available at: https://doi.org/10.1017/S1478572204000052.

Steingo, G. (2016) Kwaito’s promise: music and the aesthetics of freedom in South Africa. Chicago: The University of Chicago Press.

Stems (no date). Available at: https://www.native-instruments.com/en/specials/stems/.

Sterne, J. (2012a) MP3: the meaning of a format. Durham: Duke University Press.

Sterne, J. (2012b) MP3: the meaning of a format. Durham: Duke University Press. Available at: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1173260.

Stuck Note (no date). Available at: http://crossfade.walkerart.org/brownbischoff/hub_texts/stucknote.html.

Taylor, T. (2003) ‘A Riddle Wrapped in a Mystery: Transnational Music Sampling and Enigma’s ‘Return to Innocence’, in Music and technoculture. Middletown, Conn: Wesleyan University Press, pp. 64–92.

Technology Featured Instructables (no date). Available at: http://www.instructables.com/tag/type-id/category-technology/.

The Black Madonna b2b Mike Servito - BOILER ROOM (no date). Available at: https://boilerroom.tv/recording/the-black-madonna-mike-servito/.

The Black Madonna: ‘I discovered Underground Resistance through the first guy who hit me.’ (no date). Available at: https://www.traxmag.com/the-black-madonna-i-discovered-underground-resistance-through-the-first-guy-who-hit-me/.

The girl crew partying for a better world | Dazed (no date). Available at: http://www.dazeddigital.com/music/article/30653/1/siren-london-clubbing-zine-partying-collective-female-girl.

The Invisible Woman: A Conversation With Björk | Pitchfork (no date). Available at: http://pitchfork.com/features/interview/9582-the-invisible-woman-a-conversation-with-bjork/.

The toplap manifesto (no date). Available at: https://toplap.org/wiki/ManifestoDraft.

‘Theremin - Clara Rockmore play “The Swan” (Saint-Saëns)’ (3AD). Available at: https://www.youtube.com/watch?v=pSzTPGlNa5U.

Thornton, S. (1995) Club cultures: music, media and subcultural capital. Cambridge: Polity.

Timothy D. Taylor (1993) ‘The Gendered Construction of the Musical Self: The Music of Pauline Oliveros’, The Musical Quarterly, 77(3), pp. 385–396. Available at: http://www.jstor.org/stable/742386?seq=2#page_scan_tab_contents.

TOPLAP | the home of live coding (no date). Available at: https://toplap.org.

Truax, B. (ed.) (no date) The Handbook for Acoustic Ecology. Available at: https://www.sfu.ca/~truax/handbook2.html.

Voegelin, Salomé and Voegelin, Salomâe (2010) Listening to noise and silence: towards a philosophy of sound art. New York: Continuum. Available at: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=601993.

Wilson, S. et al. (2014) ‘Free as in BEER: Some Explorations into Structured Improvisation Using Networked Live-Coding Systems’, Computer Music Journal, 38(1), pp. 54–64. Available at: https://doi.org/10.1162/COMJ_a_00229.

Windsor, L. (2013) ‘Through and around the acousmatic: The interpretation of electroacoustic sounds’, in Music, Electronic Media and Culture, pp. 7–35. Available at: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=429716&query=Music%2C+Electronic+Media+and+Culture.

‘Wire Recorder Piece - Halim El-Dabh’ (no date). Available at: https://www.youtube.com/watch?v=j_kbNSdRvgo.

Yasunao Tone (2003) ‘John Cage and Recording’, Leonardo Music Journal, 13, pp. 11–15. Available at: http://www.jstor.org/stable/1513443?seq=1#page_scan_tab_contents.

‘Yo-Yo Ma playing the Hypercello at Tanglewood’ (no date). Available at: http://web.media.mit.edu/~joep/MPEGs/YoYo.mpg.