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Notes

Chapter 2

1. As with Messiaen, who associates colours with several of his 'modes of limited transposition'. Various sources cited in Robert Sherlaw Johnson, Messiaen (London: Dent, 1975), p. 19, etc. 2. Trevor Wishart discusses this further in Chapter 3. 3. Since its foundation in 1948 by , this institution - both a studio and a group of composers - has had several names. It is referred to throughout this chapter as the Groupe de Recherches Musicales or GRM. 4. A phrase Ferrari used in conversation with Hansjorg Pauli, and quoted by the larter in his Fur wen komponieren Sie eigentlich? (Frankfurt am Main: Fischer, 1971), p. 41. 5. Claude Levi-Strauss, The Raw and the Cooked (London: Cape, 1970), p. 24. 6. These, and related discussions, are covered in such text-books as R. B. Braith• waite, Scientific Explanation (Cambridge: University Press, 1968), especially ch.9. 7. Pierre Schaeffer, Traite des objets musicaux (Paris: Seuil, 1966). 8. C. Hempel and P. Oppenheim, 'Studies in the Logic of Explanation' in The Structure of Scientific Thought, ed. E. H. Madden (Buffalo: University Press, 1960). 9. Boulez on Today (London: Faber and Faber, 1971), p. 31. lO. Ibid. p. 31. 11. E.g. Plus-Minus, , , , , . 12. , Fur kommende Zeiten. 13. Boulez (see Note 9), p. 22. 14. Study II score, Universal Edition UE 12466, pp. IV-VI. 15. Seppo Heikinheimo, The of (Helsinki: Suomen Musiikkitieteelinen Seura, 1972), p. 152. 218 I LANGUAGE OF

16. As given in Richard Kostelanetz, fohn Cage (New York: Praeger, 1970; and London: Allen Lane, 1971), pp. 109-11. 17. Two versions of Fontana Mix exist on disc: one 'fixed' on tape by the composer (available on Vox Turnabout), the other a recording of a 'live' version (Fontana MixlFeed) by the percussionist Neuhaus (on Columbia). 18. IRCAM: the Institute de Recherche et Coordination Acoustique/Musique, part of the Pompidou Centre in Paris and directed since its establishment in 1974 by . 19. The term 'Stanford' is used to refer to the Center for Computer Research in Music and Acoustics, Stanford University, California. 20. MUSIC V is a music language for use on mainframe computers written by at Bell Telephone Laboratories in 1967-8. Originally used primarily for synthesis, subsequent versions have included extensive signal processing possibilities for recorded sounds. 21. CHANT is a program developed at IRCAM by Xavier Rodet, Yves Potard and Jean-Baptiste Barriere based on a model of the vocal tract and voice production. See their article 'The CHANT Project: From the Synthesis of the Singing Voice to Synthesis in General', CMf [Computer Musicfournal) , VIII/3 (1984), pp. 15-31. 22. Further details are available in Jonathan Harvey, 'Mortuos Plango, Vivos Voco: A Realization at IRCAM', CMf, V/4 (1981), pp. 22-4. 23. Denis Smalley, 'Electroacoustic Music in Perspective', sleeve note accompanying the recording of Pentes (UEA Recordings UEA 81063). 24. Denis Smalley, 'Problems of Materials and Structure in Electro-acoustic Music', paper presented at the International Electronic Music Conference, Stockholm, 1981. Edited version reprinted in the EMAS Newsletter, IVIl & 2 (London, 1982), pp. 3-8 & 4-7 respectively. 25. Originally published in the Revue musicale, no. 236 (Paris: Richard-Masse, 1957), but more recently in Pierre Schaeffer, La musique concrete (Paris: Presses Universitaires de France, 1967, 2nd ed. 1973), pp. 28-30. 26. The studio of RAI (Radio Audizioni Italiane, Studio di Fonologia), Milan was established between 1953 and 1955 and originally directed by . 27. See for example Karl H. Worner, Stockhausen: Life and Work (London: Faber and Faber, 1973), pp. 82-5. 28. As given, for example, in Eine Schlussel fur (Kassel: Edition und Verlag Boczkowski, 1971), p. 9, and reprinted in , The Works of Karlheinz Stockhausen (Oxford: University Press, 1976), p. 168. 29. Michael McNabb, 'Dreamsong: The Composition', CMf, Vl4 (1981), p. 36. 30. Ibid. pp. 40-42. 31. Ibid. p. 36. 32. From the composer's programme note circulated with the GRM performance copy of the tape. NOTES / 219

33. Pauli (see Note 4), p. 58. 34. Stockhausen, Texte zur Musik 1963-1970, III (Cologne: Dumont Schauberg, 1971), p. 272. 35. See the composer's comments in the introductory notes to - on both the record sleeve (Deutsche Grammophon) and in the score (Universal Edition) - in which he explains that many aspects of the composition" ... arose during my work on it, from the universal character of the material on which it is based ... ". 36. Jonathan Cott, Stockhausen: Conversations with the Composer (London: Rob• son, 1974), pp. 190-91. 37. Stockhausen (see Note 34), p. 80. 38. Trevor Wishart, Red Bird: A Document (published by the composer) is not a score in the accepted sense either for realization or for diffusion. It is an essay describing the philosophy, working method and material transformations of this 45-minute work. 39. Ibid. p. 6; but note that Wishart uses the term 'abstracted' in this quote to mean the same as the word 'abstract' in general use in this chapter. 40. Ibid. p. 7. 41. Pauli (see Note 4), p. 58. 42. The studios of Westdeutscher Rundfunk (WDR) in Cologne were founded in 1953. Originally the champions of the purely electronic synthesis of sound, though recorded material was integrated from about 1955 (beginning with the work cited). With the exception of , all Stockhausen's electroacoustic works cited in this chapter were composed in this studio. 43. This common misconception (masquerading as a simplification) is found in most text-books of electroacoustic music which take an historical view.

Chapter 3

1. This chapter is based on Trevor Wishart's book On Sonic Art (York: Trevor Wishart, 83 Heslington Rd., 1985). 2. Pierre Schaeffer, Traite des objets musicaux (Paris: Seuil, 1966). 3. Luc Ferrari, in conversation with Hansjorg Pauli, and quoted in the latter's Fur wen komponieren Sie eigentlich? (Frankfurt am Main: Fischer, 1971), p. 41. 4. CHANT was developed by Xavier Rodet, Yves Potard and Jean-Baptiste Barriere. 5. Trevor Wishart, Red Bird (York Universiry Studio). Record from Trevor Wishart. 6. On Sonic Art (see Note 1). 7. Claude Levi-Strauss, The Raw and the Cooked (London: Cape, 1970). 8. Murray Schafer, The Tuning of the World (New York: Knopf, 1977). 220 / LANGUAGE OF ELECTROACOUSTIC MUSIC

Chapter 4

1. This chapter is a comprehensive revision and extension of a paper originally presented at a conference on electroacoustic music organized by EMS (Elektron• musikstudion), Stockholm, in 1981. 2. The term 'spectro-morphology' is preferable to the Schaefferian term 'typomor• phology' for the reasons given in the text. Pierre Schaeffer's Traite des objets musicaux (Paris: Seuil, 1966) is the first significant work to elaborate spectro• morphological criteria, and it provides the foundations for this chapter. 3. See T. Georgiades, Music and Language: The Rise ofWestern Music as Exempli• fied in Settings of the Mass, . M. L. G611ner (Cambridge: University Press, 1982). 4. 'Reduced listening' (ecoute reduite) is a Schaefferian concept. See Schaeffer (Note 2) and M. Chion, Guide des objets sonores (Paris: Buchet ChastellINA GRM, 1983) for a full discussion. 5. The relationship between 'abstract' and 'concrete' is more complex than this discussion indicates. See Schaeffer (Note 2) and Chion (Note 4). 6. The 'cardinal' and 'ordinal' concepts are Schaeffer's. Further information can be found in Chion (see Note 4), pp. 43-8. 7. The qualities here attributed to 'gesture' and 'texture' can be found in a variety of writings, although not always clearly thought out. Stockhausen's associated concepts of 'gestalt', 'structure', 'stasis' and 'process' are close though muddled (see S. Heikinheimo, The Electronic Music of Karlheinz Stockhausen, Helsinki: Suomen Musiikkitieteelinen Seura, 1972, from p. 139). Boulez refers to 'gesture' and 'contemplation' in connection with the presentation of his work Eclat on the cassette Le temps musical 1, Radio FrancelIRCAM. Harvey discusses 'contem• plation' in 'Reflection after Composition', Contemporary Music Review, ed. N. Osborne, 111 (Harwood Academic Publishers, 1984), pp. 83-6. 8. No works have been referred to in this chapter. We suggest that no electroacous• tic work is immune from the questions considered. Two works can be particular• ly recommended for study because of their comprehensive incorporation of the majority of spectro-morphological issues: Stockhausen's and 's De Natura Sonorum.

Chapter 5

1. Jan W. Morthenson in a paper delivered at the Third Colloquium of the Confederation Internationale de Musique Electroacoustique, Stockholm, 1986. 2. See D. Keane, 'Some Practical Aesthetic Problems of Electronic Music Composi• tion', Interface, VIII (1979), pp. 196-7. 3. Noam Chomsky, Syntactic (The Hague: Mouton and Co., 1957). 4. Benjamin Lee Whorf, Language, Thought, and Reality (Cambridge: MIT Press, 1956). NOTES / 221

5. As exemplified by the following well-known titles: Language of Art (Nelson Goodman), Art as the Language of the Emotions (c. J. Ducasse), The Language of Art and Art Criticism Uoseph Margolis), The Language of Music (Deryck Cooke), The Language of Modern Music. (Donald Mitchell). 6. Jeremy Campbell, Grammatical Man: Information, Entropy, Language, and Life (New York: Simon & Schuster, 1982), p. 162 and (London, Allen Lane, 1983). 7. Jos Kunst, 'Making Sense in Music I: The Use of Mathematical Logic', Interface, V (1976), p. 5. 8. Bertrand Russell, Selected Papers (New York: Modern Library, 1927), p. 358. 9. From George H. Mead, Mind, Self, and Society (Chicago: University of Chicago Press, 1934). 10. From Gilbert King, 'What is Information?', Automatic Control, a collection of articles reprinted from Scientific American (New York: Simon & Schuster, 1955), pp. 83-6. 11. Neil Postman and Charles Weingartner, Teaching as a Subversive Activity (New York: Delacorte Press, 1966), p. 85. 12. Kunst (see Note 7). 13. Northrop Frye et al., The Harper Handbook to Literature (New York: Harper & Row, 1985), p. 380. 14. Morthenson (see Note 1). lS. Leonard B. Meyer, Emotion and Meaning in Music (Chicago: University of Chicago Press, 1956), p. 271. 16. Quoted in Robert Scholes, Structuralism in Literature: An Introduction (New Haven: Yale University Press, 1974), pp. 83-4. 17. N. F. Dixon, Preconscious Processing (Chichester, England: John Wiley & Sons, 1981). 18. D. Keane, 'Architecture and Aesthetics: The Construction and Objectives of Elektronikus Mozaik', Proceedings of the International Con• ference 1985 (San Francisco: Computer Music Association, 1985), pp. 199-206. 19. See Note 16. 20. Behavioural states in play/exploration after M. Hughes, 'Exploration and Play in Young Children', in Exploration in Animals and Humans, ed. J. Archer and L. Birke (Wokingham, England: Van Nostrand Reinhold, 1983), pp. 230-44. 21. See D. Keane, Tape Music Composition (London: Oxford University Press, 1980), pp. 103-17: 'Basic Aesthetic Considerations'. 22. O. E. Laske, 'Toward a Theory of Interfaces for Computer Music Systems', CM], 114 (1977), pp. 53-60. See also O. E. Laske, 'Considering Human Memory in Designing User Interfaces for Computer Music', CM], II14 (1978), pp. 39-45. 222 I LANGUAGE OF ELECTROACOUSTIC MUSIC

Chapter 6

1. I wish to direct the reader to Robert Erickson's excellent study of these matters in Sound Structures in Music (Berkeley: University of California Press, 1975). 2. Pierre Boulez, Notes ofan Apprenticeship, trans. Herbert Weinstock (New York: Knopf, 1968), p. 231. 3. Moog, ARP, EMS, Buchla·etc. 4. An interesting critical study of the use of in the rock and jazz fusion appears in David Ernst's The Evolution of Electronic Music (New York: Schirmer, 1977), ch. 9: 'Synthesizers in Live Performance'. 5. 'Effects: Who Uses What?', Studio Sound, XX/9 (1979), pp. 58-74. 6. 'Effects, Reverh~and Equalizers', Studio Sound, XXVIIIll (1985), pp. 38-41. 7. Boulez (see Note 2), p. 220. 8. Such networks are referred to as Local Area Networks or LANs; for example: Appletalk, a mechanism for connecting several Apple Macintosh computers together so that each may share specialized resources like large disc systems or laser printers. See Gareth Loy, 'Musicians Make a Standard: The MIDI Phe• nomenon', CM], IXl4 (1986), pp. 8-26. 9. Roger Dannenberg and J. Bloch, 'Real-time Computer Accompaniment of Keyboard Performances', Proceedings of the International Computer Music Conference 1985 (San Francisco: Computer Music Association, 1985), pp. 279-90. 10. See The IMA Bulletin, I1!11 (1985), pp. 5-7; published by the International MIDI Association of North Hollywood, California, this issue contains a com• plete list of current MIDI software products designating each of the devices and computers for which they were written.

Chapter 7

1. Webster's Seventh New Collegiate Dictionary (Springfield, MA: G. & c. Mer• riam Co., 1981). 2. See Michael McNabb, 'Dreamsong: The Composition', CM], V/4 (1981). 3. William Schottstaedt, 'Pia: A Composer's Idea of a Language', CM], VIII! (1983). CCRMA: Center for Computer Research in Music and Acoustics, Stanford, California. 4. Benoit Mandelbrot, Les objets fractals: forms, hasard, et dimension (Paris: Flammarion, 1975); trans. into English as Fractals, Forms, Chance, and Dimen• sions (San Francisco: W. H. Freeman & Co., 1977). 5. Benoit Mandelbrot, The Fractal Geometry of Nature (San Francisco: W. H. Freeman & Co., 1982). The term fractal derives from the concept that these shapes have fractional dimension. For example, the type of curve made by a NOTES I 223

coastline is somewhere between a line and a plane; if it were an infinitely squiggly line it would fill a plane. It could therefore have a fractal dimension of, say, 1.3. 6. R. F. Voss and J. Clarke, 'V£ Noise in Music: Music from V£ Noise', ]ournal of the Acoustic Society of America, LXIII (1978), pp. 258-63, and' "Vf Noise" in Music and Speech', Nature, CCLVII (London: Macmillan, 1975), pp. 317-8.

Chapter 8

1. B. Truax, Acoustic Communication (Norwood, NJ: Ablex, 1984). 2. B. Truax, 'A Communicational Approach to Computer Sound Programs', ]MT, XX (1976), pp. 227-300. 3. B. Truax, 'The Inverse Relation between Generality and Strength in Computer Music Programs', Interface, VI (1980), pp. 1-8. 4. See Max V. Mathews et aI., The Technology of Computer Music (Cambridge, MA: MIT Press, 1969). 5. W. Buxton et al., 'The Evolution of the SSSP Score-editing Tools', in C. Roads and J. Strawn, eds., Foundations of Computer Music (Cambridge, MA: MIT Press, 1985). Originally published in CM], III/4 (1979), pp. 14-25. 6. W. Buxton et al., 'The Use of Hierarchy and Instance in a Data Structure for Computer Music', in Roads and Strawn (see Note 5). Originally published in CM], IlI4 (1978), pp. 10-20. 7. B. Truax, 'The PODX System: Interactive Compositional Software for the DMX-I000', CM], IX/I (1985), pp. 29-38. 8. See C. Roads, 'Grammars as Representation for Music', in Roads and Strawn (see Note 5; originally published in CM], I1I/1 (1979), pp. 48-55) and S. R. Holtzmann, 'Using Generative Grammars for Music Composition', CM], VI1 (1981), pp. 51-64. 9. See J. Myhill, 'Controlled Indeterminacy: A First Step Toward a Semistochastic Music Language', in Roads and Strawn (see Note 5; originally published in CM], lIII3 (1979), pp. 12-14); L. Hiller, 'Composing with Computers: A Progress Report', CM], V/4 (1981), pp. 7-21; K. Jones, 'Compositional Applications of a Stochastic Process', CM], V/2 (1981), pp. 45-61; and T. Bolognesi, 'Automatic Composition: Experiments with Self-similar Music', CM], VIllI (1983), pp. 25-36. 10. C. Ames, 'Crystals: Recursive Structures in Automated Composition', CM], VI/3 (1982), pp. 46-64; 'Stylistic Automata in Crystals', CM], VIII4 (1983), pp. 45-56; and 'Applications of Linked Data Structures to Automated Composi• tion', Proceedings of the 1985 International Computer Music Conference (San Francisco: Computer Music Association, 1985), pp. 251-8. 11. G. Englert, 'Automated Composition and Composed Automation', CM], V/4 (1981), pp. 30-35. 12. Described in O. Laske, 'Composition Theory in Koenig's Project One and Project Two', CM], V/4 (1981), pp. 54-65. 224 / LANGUAGE OF ELECTROACOUSTIC MUSIC

13. See X. Rodet and P. Cointe, 'FORMES: Composition and Scheduling of Proces• ses', CM], VIIII3 (1984), pp. 32-50. 14. See D. Rosenboom and L. Polansky, 'HMSL (Hierarchical Music Specification Language): A Real-time Environment for Formal, Perceptual and Compositional Experimentation', Proceedings of the 1985 International Computer Music Conference (San Francisco: Computer Music Association, 1985), pp. 243-50. 15. J. Chadabe, 'Some Reflections on the Nature of the Landscape within which Computer Music Systems are Designed', CM], 113 (1977), pp. 5-11. 16. J. Chadabe, 'Interactive Composing: An Overview', CM], VIllll (1984), pp. 22-7. 17. M. Bartlett, 'A Microcomputer-controlled Synthesis System for Live Perform• ance', in Roads and Strawn (see Note 5; originally published in CM], 11111 (1979). pp. 25-9) and 'The Development of a Practical Live-performance Music Lan• guage', Proceedings of the 1985 International Computer Music Conference (San Francisco: Computer Music Association, 1985), pp. 297-302. 18. D. J. Collinge, 'Moxie: A Language for Computer Music Performance'. Proceed• ings of the 1984 International Computer Music Conference (San Francisco: Computer Music Association, 1984), pp. 217-20. 19. See B. Truax, 'The POD System of Interactive Composition Programs', CM], 113 (1977), pp. 30-39. 20. See B. Truax, 'Timbral Construction in Arras as a Stochastic Process', CM], VII3 (1982), pp. 72-7. 21. See B. Truax, 'The Compositional Organization of Timbre in a Binaural Space', Proceedings of the 1983 International Computer Music Conference (San Fran• cisco: Computer Music Association, 1983). 22. J. C. Risset, 'The Musical Development of Digital Sound Techniques', in B. Truax and M. Battier, eds., Computer Music (Ottawa: Canadian Commission for Unesco, 1981), p. 129; see also J. C. Risset, 'Computer Music Experiments 1964-.. .', CM], IX/I (1985), pp. 11-18. 23. The carrier waveforms are those designed to include harmonics close to the formant frequency of common vowels, a technique suggested by Chowning. See ]. Chowning, 'Computer Synthesis of the Singing Voice', Proceedings ofthe 1981 International Conference on Music and Technology (Melbourne: La Trobe University, 1981).

Chapter 9

1. Boethius, De institutione musica, Book 1, section 2; trans. Oliver Strunk in Source Readings in Music History (New York: Norton, 1950), p. 85. 2. MUSIC V: see Max V. Mathews et al., The Technology of Computer Music (Cambridge, MA: MIT Press, 1969) and ].-L. Richer, Music V: manuel de reference (Paris: IRCAM, 1979). NOTES I 225

3. CHANT: see G. Bennett, 'Singing Synthesis in Electronic Music', Research Aspects of Singing (Stockholm: Royal Swedish Academy of Music, 1981), pp. 34-50; and X. Rodet et al., 'The CHANT Project: From Synthesis of the Singing Voice to Synthesis in General', CM], VIIlI3 (1984), pp. 15-31. 4. FORMES: see X. Rodet and P. Cointe, 'FORMES: Composition and Scheduling of Processes', CM], VIIII3 (1984), pp. 32-50. 5. Yamaha frequency modulation synthesis system, consisting in pan of the QXl sequencer, TX816 MIDI FM tone generation system, DXl digital program• mable algorithm . 6. 4X real-time digital signal processor, developed at IRCAM by Guiseppe Oi Giugno, licensed to Sogitec. 7. , 'Interview with James Oashow' in Composers and the Computer, ed. Curtis Roads (Los Altos, CA: William Kaufmann, 1985), p. 36. 8. The following account is adapted from Jonathan Harvey, 'Mortuos Plango, Vivos Voco: A Realization at IRCAM', CM], v/4 (1981), pp. 22-4. 9. See Jonathan Harvey et aI., 'Notes on the Realization of Bhakti', CM], VIIl/3 (1984), pp. 74-8. to. See Jan Vandenheede and Jonathan Harvey, 'Identity and Ambiguity: The Construction and Use of Timbral Transitions and Hybrids', Proceedings of the 1985 International Computer Music Conference (San Francisco, Computer Music Association, 1985), pp. 97-102. 11. In the case of the oboe and the Tibetan monks we were building on models already made at IRCAM by Xavier Rodet. 12. Jonathan Cott, Stockhausen: Conversations with the Composer (London: Rob• son, 1974), p. 75. 13. Vandenheede and Harvey (see Note 10), p. 6. 14. , Poetics of Music (Cambridge: Harvard University Press, 1970), pp.64-5.

Chapter 10

1. Philip Davis and Reuben Hersh, The Mathematical Experience (Boston: Houghton Mifflin, 1981), p. 172. 2. In A. P. French, ed., Einstein: A Centenary Volume (Cambridge: Harvard University Press, 1978), p. 235. 3. Ibid. p. 275. 4. Ibid. p. 65. 5. Geoffrey Chaucer, Complete Works, ed. W. Skeat (Oxford: University Press, 1973), 'Troilus and Criseyde', Book V, vv. 259-61. 226 / LANGUAGE OF ELECTROACOUSTIC MUSIC

6. Howard Gardner, The Mind's New Science: A History of the Cognitive Revolu- tion (New York: Basic Books, 1985). 7. K. S. Robinson, The Memory of Whiteness (New York: TOR, 1985). 8. Ibid. p. 132. 9. , 'Un nouveau mode de composer', Revue dialectique (Paris: Dialectique-diffusion, 1979); 'Computer Music with and without Instruments', Musical Thought at IRCAM (London: Harwood Academic Press, 1984); Quoi, quand, comment: la recherche musicale (Paris: Christian Bourgois, 1985); 'Thoughts on Computer Music Composition' in C. Roads, ed., Composers and the Computer (Los Altos, CA: William Kaufmann, 1985); 'The Extended Orchestra', in]. Peyser, ed., The Orchestra: Its Origins and Transformations (New York: Charles Scribner's, 1986). 10. CRI Records SD506. Score published by Ricordi Editions, Paris. 11. To be released on Bridge Records in 1986. Score published by Ricordi Editions, Paris. 12. Philip K. Dick, (London: Corgi Books, 1981). 13. Ibid. p. 215. 14. Ibid. pp. 15-16. 15. Ibid. p. 157. 16. From the opera libretto by Catherine Ikam, T od Machover and Bill Raymond (in manuscript at time of publication). 17. Dick (see Note 12), pp. 104-5. 18. Marvin Minsky, The Society ofMind (New York: Simon & Schuster, 1985), p. 2. 19. Lucasfilm Ltd., San Rafael, California. Selected Bibliography

This bibliography lists some of the more important references from the text and adds some items of relevance to the views put forward.

Appleton, J. and Perera, R. (eds.), The Development and Practice of Electronic Music (Englewood Cliffs, NJ: Prentice Hall, 1975) Boulez, P., Notes ofan Apprenticeship, trans. Herbert Weinstock (New York: Knopf, 1968) --, Roulez on Music Today (London: Faber and Faber, 1971) Chion, M., Guide des objets sonores (Paris: Buchet ChasteiIINA!GRM, 1983) Chion, M. and Reibel, G., Les musiques electroacoustiques (Aix-en-Provence: INA! GRM Edisud, 1976) Chomsky, N., Syntactic Structures (The Hague: Mouton and Co., 1957) Cott, J., Stockhausen: Conversations with the Composer (London: Robson, 1974) Erikson, R., Sound Structure in Music (Berkeley: University of California, 1975) Harvey, J., The Music of Stockhausen (London: Faber and Faber, 1975) Heikinheimo, S., The Electronic Music of Karlheinz Stockhausen (Helsinki: Suomen Musiikkitieteelinen Seura, 1972) Keane, D., Tape Music Composition (Oxford: University Press, 1980) Kostelanetz, R., (New York: Praeger, 1970 and London: Allen Lane, 1971) Levi-Strauss, c., The Raw and the Cooked (London: Cape, 1970) McAdams, S., Spectral Fusion and the Creation of Auditory Images (Stanford, CA: University Press, 1980) Manning, P., Electronic and Computer Music (Oxford: University Press, 1985) Minsky, M., The Society of Mind (New York: Simon and Schuster, 1985) Pauli, H., Fur wen komponieren Sie eigentlich? (Frankfurt am Main: Fischer, 1971) Pousseur, H., 'Calculation and Imagination in Electronic Music' in Electronic Music Review (1968), no. 5, p. 21. Roads, C. (ed.), Composers and the Computer (Los Altos, CA: Kaufmann, 1985) Ruwet, N., 'Contradictions within the Serial Language', Die Reihe, no. 6 (1964), pp. 65-76. Schaeffer, P., A la recherche d'une musique concrete (Paris: Seuil, 1952) --, Traite des objets musicaux (Paris: Seuil, 1966) --, La musique concrete (Paris: Presses Universitaires de France, 1967, 2nd ed. 1973) 228 I LANGUAGE OF ELECTROACOUSTIC MUSIC

Schafer, R. M., The Tuning of the World (New York: Knopf, 1977) Shepherd, J. et aI., Whose Music? A Sociology of Musical Languages (London: Latimer, 1977) Stockhausen, K., 'The Concept of Unity in Electronic Music', in Boretz, B. and Cone, E. (eds.), Perspectives on Contemporary Music Theory (New York: Norton, 1972) Truax, B., Acoustic Communication (Norwood, NJ: Ablex, 1984) Wehinger, R., Georgy Ligeti: (Mainz: Schott, 1970) [listening score with disc and analysis] Wishart, T., Red Bird: A Document (York: Wishart, 1978) --, On Sonic Art (York: Imagineering Press, 1985) Worner, K., Stockhausen: Life and Work (London: Faber and Faber, 1973) List of Works Cited

This list of works is not intended to be comprehensive; it lists works cited in the text whether electroacoustic or not. For electroacoustic items a recording is given wherever possible. If a score is also available the publisher is listed. For works which are not primarily electroacoustic recording details are omitted. For more complete listings readers are referred to Appleton and Perera (1975) and Manning (1985) and to M. Kondvacki et al., eds., International Electronic Music Discography (Mainz: Schott, 1979)

Abbreviations: UE- Universal Edition; SV -Stockhausen Verlag; CCRMA• Center for Computer Research in Music and Acoustics, Stanford University; DG - Deutsche Grammophon; also d - disc, cass - cassette, sc - score, st - studio

Babbitt, M., Ensembles for Synthesizer (d: CBS MS 7051) Boulez, P., Eclat (sc: UE 14283) Structures (sc: UE 12267 and UE 13833) Cage, J., Fontana Mix (d: Vox Turnabout TV34046S; sc: Peters P6712) (d: Avakian 1 and Klett/Stuttgart 92422) Carlos, W., Switched-on Bach (d: Columbia MS 7194) Chafe, c., Solera (st: CCRMA) Chowning, j., Stria (cass: CCRMA 1) Ferrari, L., Heterozygote (d: Philips 836885) Music Promenade (d: Wergo 60046) 230 / LANGUAGE OF ELECTROACOUSTIC MUSIC

Presque Rien no. 1 (d: DG 2561041) Presque Rien no. 2 (d: INNGRM 9104 fe) Tautologos II (d: Disques BAM LD071) Harvey, ]., Bhakti (sc: Faber Music) Inner Light (1) (sc: Novello) Inner Light (2) (sc: Faber Music) Inner Light (3) (sc: Novello) Mortuos Plango, Vivos Voco (d: Erato STU 71544) Song Offerings (sc: Faber Music) Ligeti, G., Artikulation (d: Wergo 60059; sc: see Wehinger entry in bibliography) Lucier, A., I Am Sitting in a Room (d: Source Record 3 in Source Magazine, No.7, Sacramento, CA: 1970; sc: ibid. p. 70) Lutoslawski, W., Trois Poemes d'Henri Michaux (sc: PWM) Machover, T., Fusione Fugace (sc: Ricordi) Light (d: CRI SD506; sc: Ricordi) Nature's Breath (sc: Ricordi) Spectres Parisiens (d: Bridge Records; sc: Ricordi) String Quartet no. 1 (sc: Ricordi) McNabb, M., Dreamsong (d: 1750 Arch Records S-1800 and Mobile Fidelity Sound Labs MFCD818) Invisible Cities (st: CCRMA) Nono, L., La Fabbrica IIluminata (d: Wergo 60038; sc: Ricordi) Parmegiani, B., Dedans-Dehors (d: INA/GRM 9102 pal De Natura Sonorum (d: INA/GRM AM714.01) Schaeffer, P., Etude aux Objets (d: Philips 6521 021 and INA/GRM 9106) Schaeffer, P. and Henry, P., Symphonie pour un homme seul (d: Philips 6510 012) Smalley, D., Pentes (d: UEA [University of East Anglia] Recordings UEA 81063) Stockhausen, K., Aus den Sieben Tagen (sc: UE 14790) Expo (sc :SV) Fur kommende Zeiten (sc: SV) Gesang der Junglinge (d: DG 138811) Hymnen (d: DG 139421/2; sc: UE 15142) Kontakte (d: DG 138811, Wergo 60009 and Vox STGBY 638; sc: UE LIST OF WORKS CITED / 231

13678 and UE 12426) Kurzwellen (UE 14806) Mikrophonie I (d: CBS 72647 and DG 2530 583; sc: UE 15138) Mikrophonie II (d: CBS and DG 2530 583; sc: UE 15140) Momente (d: DG 2709055; sc: UE 13816) Plus-Minus (sc: UE 13993) Pole (sc: SV) Prozession (sc: UE 14812) Spiral (sc: UE 14957) Study I (d: DG LP 16133) Study II (d: DG LP 16133; sc: UE 12466) Telemusik (d: DG 137 012; sc: UE 14807) Subotnik, M., The Wild Bull (d: Nonesuch H71208) Truax, B., Arras, on album Androgyne (d: Melbourne Recordings SMLP 4042/3) Sequence of Earlier Heaven (d: Cambridge Street Records CSR 8501) Wendt, L., From Frogs (cass: composer) Wishart, T., Red Bird (d: York University Studio (UK) YES7; sc: see bibliography)