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. (n.d.). http://crossfade.walkerart.org/brownbischoff/index.html

After Robot: Kwaito Music in Johannesburg (26 min, 2002) - YouTube. (n.d.). https://www.youtube.com/watch?v=VPMydKs71Jc

algorave.com. (n.d.). https://algorave.com

And Don’t Call Them Lady Composers. (n.d.). http://music.ucsc.edu/sites/default/files/22.OliverosDontCallThemLadies.pdf

Arduino - Home. (n.d.). https://www.arduino.cc/

Best of NIME 2014. (1 C.E.). https://www.youtube.com/watch?v=beLxqGKvI-M

Born, G. (1995). Music Research and Psychoacoustics. 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: Vol. Profiles in popular music (pp. 177–254). Indiana University Press.

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 (pp. 113–171). Oxford University Press. 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. Oxford University Press.

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

Caleb Kelly. (n.d.). Sound and art. Grove Art Online. http://www.oxfordartonline.com/subscriber/article/grove/art/T079882

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

Chaves, R., & Hickman, F. (n.d.). A Window in Between: Mediation Strategies in Networked Sonic Arts | Interference. http://www.interferencejournal.com/articles/sound-methods/a-window-in-between-mediation-strategies-in-networked-sonic-arts

Clara Rockmore - Summertime. (20 C.E.). https://www.youtube.com/watch?v=j0c7p5geJZs

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

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

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

Demers, J. T. (2010b). Listening through the noise: the aesthetics of experimental electronic music. Oxford University Press. 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 (pp. 173–183). Cambridge University Press. https://www.cambridge.org/core/books/music-technology/hacking-electronics-for-music/DA332935ADEA72B38C48C48382BFEA25

Discwoman : Discwoman.com. (n.d.). http://www.discwoman.com/

DJ Shiva / .noncompliant. @ Room 4 Resistance - ://about Blank garden - 10.09.2016 by Room 4 Resistance | Free Listening on SoundCloud. (n.d.). https://soundcloud.com/room4resistance/dj-shiva-non-compliant-room-4-resistance-10092016

Dobrian, C., & Koppelman, D. (2006). The ‘E’ in NIME: musical expression with new computer interfaces. Proceedings of the 2006 Conference on New Interfaces for Musical Expression, 277–282. http://dl.acm.org/citation.cfm?id=1142283

Documentary about Kreidler’s outsourcing works. (n.d.). https://www.youtube.com/watch?v=L72d_0zIT0c

Dougherty, D. (2012). The Maker Movement. Innovations: Technology, Governance, Globalization, 7(3), 11–14. 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, 17–21. http://www.jstor.org/stable/1513444?seq=1#page_scan_tab_contents

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

Emmerson, S., & Landy, L. (Eds.). (2016). Expanding the horizon of electroacoustic music analysis. Cambridge University Press.

Escrivan Rincón, J. d’. (2012). Music technology: Vol. Cambridge introductions to music. Cambridge University Press.

Experimental live coding stream -- Yaxu live from Hangar Barcelona. (5 C.E.). https://www.youtube.com/watch?v=FenTeBMkAsQ

Farrugia, R., & Swiss, T. (2005). Tracking the DJs: Vinyl Records, Work, and the Debate over New Technologies. Journal of Popular Music Studies, 17(1), 30–44. https://doi.org/10.1111/j.1524-2226.2005.00032.x

Festivals and Venues - Graham, Stephen, 2016 (RECOMMENDED). (n.d.).

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

Fink, R. W. (2005). Repeating Ourselves: American Minimal Music as Cultural Practice. University of California Press. 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. (n.d.). https://soundcloud.com/guardianaustralia/first-ever-recording-of-computer-music

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

Garcia, Luis-Manuel. (n.d.). On and On: Repetition as Process and Pleasure in Electronic Dance    Music. Music Theory Online, 11(4). 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, 33–39. http://www.jstor.org/stable/1513376?seq=1#page_scan_tab_contents

Georgina Lewis, Eric Straw, Will Born. (n.d.). Improvisation and Social Aesthetics. 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, 97–104. https://doi.org/10.1162/0961121043067271

Global String - Atau Tanaka. (n.d.). http://www.ataut.net/site/Global-String

Global String Video. (n.d.). https://vimeo.com/46800992

Green, O. (2011). Agility and Playfulness: Technology and skill in the performance ecosystem. Organised Sound, 16(02), 134–144. 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. https://doi.org/10.2307/1513398

Guitar Drag by Christian Marclay. (n.d.). https://youtu.be/NEIc7YdSFpU

Hackers Holding Hands. (20 C.E.). https://www.youtube.com/watch?v=8E38DX4Cw4A

How Arduino is open-sourcing imagination | Massimo Banzi. (27 C.E.). https://www.youtube.com/watch?v=UoBUXOOdLXY

http://remix.nin.com. (n.d.). http://remix.nin.com

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

Internet-mediated Musics: From Aesthetics to Materialities to Social Forms - Haworth, Christopher and Georgina Born. Forthcoming (BACKGROUND)). (n.d.).

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

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

Kittler, Friedrich. (1987). Gramophone, Film, Typewriter. In Gramophone, Film, Typewriter (Vol. 41). 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), 43–82. 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). Bloomsbury Academic.

LaBelle, B. (2015b). Background noise: perspectives on sound art (Second edition). Bloomsbury Academic. 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), 286–303. https://doi.org/10.1080/09298215.2017.1353636

Magnusson, Thor. (n.d.). Confessions of a Live Coder. Proceedings of the International Computer Music Conference 2011. 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. (n.d.). http://makerfaire.com/maker/entry/58025/

Max Neuhaus. (n.d.). https://web.archive.org/web/20180626212759/http://www.max-neuhaus.info/audio-video/

Max Neuhaus - The Broadcast Works and Audium. (n.d.). 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. 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), 397–416. https://doi.org/10.1017/S0261143010000449

Music Hackspace. (n.d.). http://musichackspace.org/

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

NMF2013: The Hub on Vimeo. (n.d.). https://vimeo.com/65502094

.noncompliant. (DJ Shiva) @ Room 4 Resistance - ://about Blank garden - 10.09.2016 by Room 4 Resistance. (n.d.). https://soundcloud.com/room4resistance/dj-shiva-non-compliant-room-4-resistance-10092016

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

Oliveros, P. (1984b). The Contribution of Women Composers. Software for People: Collected Writings 1963-1980, 132–137.

RA: An alternate history of sexuality in club culture. (n.d.). https://www.residentadvisor.net/features/1927

RA: Between The Beats: The Black Madonna. (n.d.). https://www.residentadvisor.net/features/2793

RA Exchange: EX.293 Pauline Oliveros. (n.d.). https://www.residentadvisor.net/podcast-episode.aspx?exchange=293

Real Scenes: Johannesburg - YouTube. (n.d.). https://www.youtube.com/watch?v=Ykt2f6o7-e8

Record without a Cover by Christian Marclay. (n.d.). https://youtu.be/iVyO9BaMvAQ

Reed Ghazala, the Father of Circuit Bending: Sound Builders. (31 C.E.). https://www.youtube.com/watch?v=KHDL9iGxDPM

Reed Ghazala’s Anti-Theory Workshop. (n.d.). http://www.anti-theory.com/

ResoNations 2009: International Telematic Concerts for Peace (background watching). (n.d.).

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

Rosalind Krauss. (2006). Two Moments from the Post-Medium Condition. October, 116, 55–62. 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. Destiny Books.

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

Show Us Your Screens. (n.d.). https://vimeo.com/20241649

Simon Waters. (n.d.). Performance Ecosystems: Ecological approaches to musical interaction. Electroacoustic Music Studies Network. http://www.ems-network.org/spip.php?article278

Solo for Wounded CD by Yasunao Tone. (n.d.). https://youtu.be/CEDi-39o5qw

Soundings: A Contemporary Score. (n.d.-a). https://www.moma.org/momaorg/shared/pdfs/docs/publication_pdf/3185/Soundings_PREVIEW.pdf

Soundings: A Contemporary Score. (n.d.-b). 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), 29–64. https://doi.org/10.1017/S1478572204000052

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

Stems. (n.d.). https://www.native-instruments.com/en/specials/stems/

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

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

Stuck Note. (n.d.). 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: Vol. Music/culture (pp. 64–92). Wesleyan University Press.

Technology Featured Instructables. (n.d.). http://www.instructables.com/tag/type-id/category-technology/

The Black Madonna b2b Mike Servito - BOILER ROOM. (n.d.). https://boilerroom.tv/recording/the-black-madonna-mike-servito/

The Black Madonna: ‘I discovered Underground Resistance through the first guy who hit me.’ (n.d.). 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. (n.d.). http://www.dazeddigital.com/music/article/30653/1/siren-london-clubbing-zine-partying-collective-female-girl

The Invisible Woman: A Conversation With Björk | Pitchfork. (n.d.). http://pitchfork.com/features/interview/9582-the-invisible-woman-a-conversation-with-bjork/

The toplap manifesto. (n.d.). https://toplap.org/wiki/ManifestoDraft

Theremin - Clara Rockmore play ‘The Swan’ (Saint-Saëns). (3 C.E.). https://www.youtube.com/watch?v=pSzTPGlNa5U

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

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

TOPLAP | the home of live coding. (n.d.). https://toplap.org

Truax, B. (Ed.). (n.d.). The Handbook for Acoustic Ecology. https://www.sfu.ca/~truax/handbook2.html

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

Wilson, S., Lorway, N., Coull, R., Vasilakos, K., & Moyers, T. (2014). Free as in BEER: Some Explorations into Structured Improvisation Using Networked Live-Coding Systems. Computer Music Journal, 38(1), 54–64. 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). https://ebookcentral.proquest.com/lib/bham/detail.action?docID=429716&query=Music%2C+Electronic+Media+and+Culture

Wire Recorder Piece - Halim El-Dabh. (n.d.). https://www.youtube.com/watch?v=j_kbNSdRvgo

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

Yo-Yo Ma playing the Hypercello at Tanglewood. (n.d.). http://web.media.mit.edu/~joep/MPEGs/YoYo.mpg