1
Soundings: A Contemporary Score. https://www.moma.org/momaorg/shared/pdfs/docs/publication_pdf/3185/Soundings_PREVIEW.pdf
2
First ever recording of computer music. https://soundcloud.com/guardianaustralia/first-ever-recording-of-computer-music
3
Collins N, Schedel M, Wilson S. Electronic music. Cambridge: : Cambridge University Press 2013. https://www.cambridge.org/core/books/electronic-music/4FD04D2A538AB21D7504B9CEA054DB4F
4
Reynolds S. Energy flash: a journey through rave music and dance culture. London: : Picador 1998.
5
Global String Video. https://vimeo.com/46800992
6
Wire Recorder Piece - Halim El-Dabh. https://www.youtube.com/watch?v=j_kbNSdRvgo
7
Yo-Yo Ma playing the Hypercello at Tanglewood. http://web.media.mit.edu/~joep/MPEGs/YoYo.mpg
8
Steingo G. Kwaito’s promise: music and the aesthetics of freedom in South Africa. Chicago: : The University of Chicago Press 2016.
9
RA: An alternate history of sexuality in club culture. https://www.residentadvisor.net/features/1927
10
Timothy D. Taylor. The Gendered Construction of the Musical Self: The Music of Pauline Oliveros. The Musical Quarterly 1993;77:385–96.http://www.jstor.org/stable/742386?seq=2#page_scan_tab_contents
11
Oliveros P. The Contribution of Women Composers. Software for people: collected writings 1963-1980 1984;:132–7.
12
And Don’t Call Them Lady Composers. http://music.ucsc.edu/sites/default/files/22.OliverosDontCallThemLadies.pdf
13
RA Exchange: EX.293 Pauline Oliveros. https://www.residentadvisor.net/podcast-episode.aspx?exchange=293
14
The Black Madonna: ‘I discovered Underground Resistance through the first guy who hit me.’ https://www.traxmag.com/the-black-madonna-i-discovered-underground-resistance-through-the-first-guy-who-hit-me/
15
The Invisible Woman: A Conversation With Björk | Pitchfork. http://pitchfork.com/features/interview/9582-the-invisible-woman-a-conversation-with-bjork/
16
RA: Between The Beats: The Black Madonna. https://www.residentadvisor.net/features/2793
17
The Black Madonna b2b Mike Servito - BOILER ROOM. https://boilerroom.tv/recording/the-black-madonna-mike-servito/
18
Oliveros P. Software for people: collected writings 1963-1980. Baltimore: : Smith Publications 1984.
19
The girl crew partying for a better world | Dazed. http://www.dazeddigital.com/music/article/30653/1/siren-london-clubbing-zine-partying-collective-female-girl
20
Discwoman : Discwoman.com. http://www.discwoman.com/
21
After Robot: Kwaito Music in Johannesburg (26 min, 2002) - YouTube. https://www.youtube.com/watch?v=VPMydKs71Jc
22
Real Scenes: Johannesburg - YouTube. https://www.youtube.com/watch?v=Ykt2f6o7-e8
23
Butler MJ. Playing with something that runs: technology, improvisation, and composition in DJ and laptop performance. New York: : Oxford University Press 2014.
24
Farrugia R, Swiss T. Tracking the DJs: Vinyl Records, Work, and the Debate over New Technologies. Journal of Popular Music Studies 2005;17:30–44. doi:10.1111/j.1524-2226.2005.00032.x
25
Kittler, Friedrich. Gramophone, Film, Typewriter. In: Gramophone, Film, Typewriter. 1987. 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
26
Magnusson T. Musical Organics: A Heterarchical Approach to Digital Organology. Journal of New Music Research 2017;46:286–303. doi:10.1080/09298215.2017.1353636
27
Montano E. ‘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 2010;29:397–416. doi:10.1017/S0261143010000449
28
Sterne J. MP3: the meaning of a format. Durham: : Duke University Press 2012.
29
Sterne J. MP3: the meaning of a format. Durham: : Duke University Press 2012. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1173260
30
Stems. https://www.native-instruments.com/en/specials/stems/
31
Clara Rockmore - Summertime. 20AD.https://www.youtube.com/watch?v=j0c7p5geJZs
32
Theremin - Clara Rockmore play ‘The Swan’ (Saint-Saëns). 3AD.https://www.youtube.com/watch?v=pSzTPGlNa5U
33
Best of NIME 2014. 1AD.https://www.youtube.com/watch?v=beLxqGKvI-M
34
Dobrian C, Koppelman D. The ‘E’ in NIME: musical expression with new computer interfaces. Proceedings of the 2006 conference on New interfaces for musical expression 2006;:277–82.http://dl.acm.org/citation.cfm?id=1142283
35
Montano E. ’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 Published Online First: 2008.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/
36
DJ Shiva / .noncompliant. @ Room 4 Resistance - ://about Blank garden - 10.09.2016 by Room 4 Resistance | Free Listening on SoundCloud. https://soundcloud.com/room4resistance/dj-shiva-non-compliant-room-4-resistance-10092016
37
Born G. Music Research and Psychoacoustics. London: : Routledge 1995.
38
Festivals and Venues - Graham, Stephen, 2016 (RECOMMENDED).
39
Internet-mediated Musics: From Aesthetics to Materialities to Social Forms - Haworth, Christopher and Georgina Born. Forthcoming (BACKGROUND)).
40
John Driscoll and Matt Rogalsky. David Tudor’s ‘Rainforest’: An Evolving Exploration of Resonance. Leonardo Music Journal 2004;14:25–30.http://www.jstor.org/stable/1513502?seq=1#page_scan_tab_contents
41
http://remix.nin.com. http://remix.nin.com
42
Caleb Kelly. Sound and art. Grove Art Onlinehttp://www.oxfordartonline.com/subscriber/article/grove/art/T079882
43
Demers JT. Listening through the noise: the aesthetics of experimental electronic music. Oxford: : Oxford University Press 2010.
44
Demers JT. Listening through the noise: the aesthetics of experimental electronic music. Oxford: : Oxford University Press 2010. http://www.oxfordscholarship.com.bham-ezproxy.idm.oclc.org/view/10.1093/acprof:oso/9780195387650.001.0001/acprof-9780195387650
45
Douglas Kahn and Christian Marclay. Christian Marclay’s Early Years: An Interview. Leonardo Music Journal 2003;13:17–21.http://www.jstor.org/stable/1513444?seq=1#page_scan_tab_contents
46
Record without a Cover by Christian Marclay. https://youtu.be/iVyO9BaMvAQ
47
Yasunao Tone. John Cage and Recording. Leonardo Music Journal 2003;13:11–5.http://www.jstor.org/stable/1513443?seq=1#page_scan_tab_contents
48
Iddon M. OUTSOURCING PROGRESS: ON CONCEPTUAL MUSIC. Tempo 2016;70:36–49. doi:10.1017/S0040298215000613
49
Guitar Drag by Christian Marclay. https://youtu.be/NEIc7YdSFpU
50
Solo for Wounded CD by Yasunao Tone. https://youtu.be/CEDi-39o5qw
51
Documentary about Kreidler’s outsourcing works. https://www.youtube.com/watch?v=L72d_0zIT0c
52
LaBelle B. Background noise: perspectives on sound art. Second edition. New York, NY: : Bloomsbury Academic 2015.
53
LaBelle B. Background noise: perspectives on sound art. Second edition. New York, NY: : Bloomsbury Academic 2015. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=2003623
54
Voegelin S, Voegelin S. Listening to noise and silence: towards a philosophy of sound art. New York: : Continuum 2010. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=601993
55
Rosalind Krauss. Two Moments from the Post-Medium Condition. October 2006;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
56
Kim-Cohen S, Kim-Cohen S. In the blink of an ear: towards a non-cochlear sonic art. New York: : Continuum 2009. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=601811
57
Soundings: A Contemporary Score. https://www.moma.org/momaorg/shared/pdfs/docs/publication_pdf/3185/Soundings_PREVIEW.pdf
58
Butler MJ. 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 2006. 177–254.
59
Kronengold, Charles. Exchange Theories in Disco, New Wave, and Album-Oriented Rock. Criticism 2008;50:43–82.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
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Fink RW. Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley: : University of California Press 2005. http://birmingham.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3514744190004871&institutionId=4871&customerId=4870
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Fink RR. Repeating ourselves: American minimal music as cultural practice. Berkeley: : University of California Press 2005.
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SPICER M. (Ac)cumulative Form in Pop-Rock Music. twentieth-century music 2004;1:29–64. doi:10.1017/S1478572204000052
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Windsor L. Through and around the acousmatic: The interpretation of electroacoustic sounds. In: Music, Electronic Media and Culture. 2013. 7–35.https://ebookcentral.proquest.com/lib/bham/detail.action?docID=429716&query=Music%2C+Electronic+Media+and+Culture
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Emmerson S. Music, electronic media and culture. Aldershot: : Ashgate 2000. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=429716&query=Music%2C+Electronic+Media+and+Culture
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Garcia, Luis-Manuel. On and On: Repetition as Process and Pleasure in Electronic Dance Music. Music Theory Online;11.http://www.mtosmt.org/issues/mto.05.11.4/mto.05.11.4.garcia.html
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Emmerson S, Landy L, editors. Expanding the horizon of electroacoustic music analysis. Cambridge: : Cambridge University Press 2016.
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noncompliant. (DJ Shiva) @ Room 4 Resistance - ://about Blank garden - 10.09.2016 by Room 4 Resistance. https://soundcloud.com/room4resistance/dj-shiva-non-compliant-room-4-resistance-10092016
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Nick Collins. Live Coding of Consequence. Leonardo 2011;44:207–30.http://www.jstor.org/stable/20869451?seq=1#page_scan_tab_contents
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Magnusson, Thor. Confessions of a Live Coder. In: 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
70
George E. Lewis. Too Many Notes: Computers, Complexity and Culture in ‘Voyager’. Leonardo Music Journal 2000;10:33–9.http://www.jstor.org/stable/1513376?seq=1#page_scan_tab_contents
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Butler MJ. 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 2014. 113–71. doi:10.1093/acprof:oso/9780195393613.003.0004
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Butler MJ. Playing with something that runs: technology, improvisation, and composition in DJ and laptop performance. New York: : Oxford University Press 2014.
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Green O. Agility and Playfulness: Technology and skill in the performance ecosystem. Organised Sound 2011;16:134–44. doi:10.1017/S1355771811000082
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Simon Waters. Performance Ecosystems: Ecological approaches to musical interaction. http://www.ems-network.org/spip.php?article278
75
Show Us Your Screens. https://vimeo.com/20241649
76
Experimental live coding stream -- Yaxu live from Hangar Barcelona. 5AD.https://www.youtube.com/watch?v=FenTeBMkAsQ
77
The toplap manifesto. https://toplap.org/wiki/ManifestoDraft
78
TOPLAP | the home of live coding. https://toplap.org
79
algorave.com. https://algorave.com
80
ResoNations 2009: International Telematic Concerts for Peace (background watching).
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Global String - Atau Tanaka. http://www.ataut.net/site/Global-String
82
NMF2013: The Hub on Vimeo. https://vimeo.com/65502094
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· · · CROSSFADE· · · Chris Brown & John Bischoff - Indigenous to the Net ~ Early Network Bands in the San Francisco Area. http://crossfade.walkerart.org/brownbischoff/index.html
84
Stuck Note. http://crossfade.walkerart.org/brownbischoff/hub_texts/stucknote.html
85
Max Neuhaus. https://web.archive.org/web/20180626212759/http://www.max-neuhaus.info/audio-video/
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Max Neuhaus - The Broadcast Works and Audium. http://designblog.uniandes.edu.co/blogs/dise2514/files/2009/04/broadcast_works_and_audium_neuahaus.pdf
87
Georgina Lewis, Eric Straw, Will Born. 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
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Gresham-Lancaster S. The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music. Leonardo Music Journal 1998;8. doi:10.2307/1513398
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Wilson S, Lorway N, Coull R, et al. Free as in BEER: Some Explorations into Structured Improvisation Using Networked Live-Coding Systems. Computer Music Journal 2014;38:54–64. doi:10.1162/COMJ_a_00229
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Chaves R, Hickman F. 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
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Föllmer G. Lines of net music. Contemporary Music Review 2005;24:439–44. doi:10.1080/07494460500296102
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Chandler A, Neumark N. At a distance: precursors to art and activism on the Internet. Cambridge, Mass: : MIT Press 2005.
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Truax B, editor. The Handbook for Acoustic Ecology. https://www.sfu.ca/~truax/handbook2.html
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Schafer RM. The soundscape: our sonic environment and the tuning of the world. Rochester, Vt: : Destiny Books 1994.
95
Collins N, Escrivan Rincâon J d’, Escrivan Rincón J d’. The Cambridge companion to electronic music. Cambridge: : Cambridge University Press 2007.
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Thornton S. Club cultures: music, media and subcultural capital. Cambridge: : Polity 1995.
97
Taylor T. A Riddle Wrapped in a Mystery: Transnational Music Sampling and Enigma’s ‘Return to Innocence. In: Music and technoculture. Middletown, Conn: : Wesleyan University Press 2003. 64–92.
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Escrivan Rincón J d’. Music technology. Cambridge: : Cambridge University Press 2012.
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dEscrivan J. Hacking electronics for music. In: Music technology. Cambridge: : Cambridge University Press 2012. 173–83.https://www.cambridge.org/core/books/music-technology/hacking-electronics-for-music/DA332935ADEA72B38C48C48382BFEA25
100
Music Hackspace. http://musichackspace.org/
101
Searching For The Perfect Beep -- A Personal History Of Hardware Hacking. 2006.http://nicolascollins.com/texts/perfectbeep.pdf
102
Hackers Holding Hands. 20AD.https://www.youtube.com/watch?v=8E38DX4Cw4A
103
Technology Featured Instructables. http://www.instructables.com/tag/type-id/category-technology/
104
Maker Faire | Electric Saxophone. http://makerfaire.com/maker/entry/58025/
105
Ghazala QR. The Folk Music of Chance Electronics: Circuit-Bending the Modern Coconut. Leonardo Music Journal 2004;14:97–104. doi:10.1162/0961121043067271
106
Reed Ghazala’s Anti-Theory Workshop. http://www.anti-theory.com/
107
Reed Ghazala, the Father of Circuit Bending: Sound Builders. 31AD.https://www.youtube.com/watch?v=KHDL9iGxDPM
108
How Arduino is open-sourcing imagination | Massimo Banzi. 27AD.https://www.youtube.com/watch?v=UoBUXOOdLXY
109
Arduino - Home. https://www.arduino.cc/
110
Dougherty D. The Maker Movement. Innovations: Technology, Governance, Globalization 2012;7:11–4. doi:10.1162/INOV_a_00135
