Apollonio, U. 1973 Futurist ManifestosLondonThames and HudsonGoogle Scholar

Berger, E. HNeitzel, R.Kladden, C. A. 2008 http://nhca.affiniscape.com/associations/10915/files/Noise%5FNav%2Exls

Blake, A. 2009 Recording Practices and the Role of the ProducerThe Cambridge Companion to Recorded MusicCook, N.CambridgeCambridge University PressGoogle Scholar

Bongers, B. 2000 Physical Interfaces in the Electronic Arts: Interaction Theory and Interfacing Techniques for Real-Time PerformanceTrends in Gestural Control of MusicWanderley, M.Battier, M.ParisInstitut de Recherche et Coordination Acoustique Musique – Centre PompidouGoogle Scholar

Boulanger, R. 2000 The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing and ProgrammingCambridge, MAMIT PressGoogle Scholar

Brock-Nannestad, G. 2009 The Development of Recording TechniquesThe Cambridge Companion to Recorded MusicCook, N.CambridgeCambridge University PressGoogle Scholar

Cage, J. 2009 SilenceLondonMarion BoyarsGoogle Scholar

Chion, M. 1994 Audio-Vision: Sound on ScreenNew YorkColumbia University PressGoogle Scholar

Chusid, I. 2000 Manhattan Research Inc.: New Plastic Sounds and Electronic Abstractions. Composed and Performed by Raymond ScottHollandBASTA AudiovisualsGoogle Scholar

Collins, K. 2008 Game SoundCambridge, MAMIT PressGoogle Scholar

Collins, N. 2009 Handmade Electronic Music: The Art of Hardware HackingNew YorkRoutledgeGoogle Scholar

Collins, N. 2009 Introduction to Computer MusicChichesterWileyGoogle Scholar

Cook, N. 2000 Analysing Musical MultimediaOxfordOxford University PressGoogle Scholar

Cook, N.Clarke, E.Leech-Wilkinson, D.Rink, D. 2009 The Cambridge Companion to Recorded MusicCambridgeCambridge University PressCrossRefGoogle Scholar

Cooper, S. 2001 ColdcutAll Music Guide to Electronica: The Definitive Guide to Electronic MusicBogdanov, V.San FranciscoBackbeat BooksGoogle Scholar

Covach, J. 2009 What's that Sound? An Introduction to Rock and its HistoryNew YorkW. W. Norton & Company, IncGoogle Scholar

Cowie, D. F. 2009 www.exclaim.ca/articles/multiarticlesub.aspx?csid1=131&csid2=946&fid1=37652

Cunningham, M. 1998 Good Vibrations:A History of Record ProductionLondonSanctuary Publishing LtdGoogle Scholar

Crab, S. 2005 http://120years.net/machines/telegraph/index.html

Creative Commons 2010 http://creativecommons.org/

Crook, T. 1999 Radio Drama: Theory and PracticeLondonRoutledgeGoogle Scholar

Dacks, D. 2007 www.exclaim.ca/articles/multiarticlesub.aspx?csid1=114&csid2=779&fid1=27342

Davies, H. 2010 www.oxfordmusiconline.com/subscriber/article/grove/music/08694pg1#S08694.1

Davies, H. 2010 www.oxfordmusiconline.com/subscriber/article/grove/music/47632

Davies, G.Jones, R. 1989 Sound Reinforcement HandbookMilwaukee, WIHal Leonard Publishing CorporationGoogle Scholar

Davies, R. 1999 Complete Guide to Film Scoring: The Art and Business of Writing Music for Movies and TVBoston, MABerklee PressGoogle Scholar

Davis, R. 2010 The Complete Guide to Film ScoringBostonBerklee PressGoogle Scholar

d’Escriván, J. 2009 Sound Art (?) on/in FilmOrganised Sound 1 65CrossRefGoogle Scholar

Draper, J. 1931 Sound Tricks in the TalkiesPopular Mechanics 2 236Google Scholar

Duignan, M.Noble, J.Biddle, R. 2005 A Taxonomy of Sequencer User-InterfacesProceedings of the International Computer Music ConferenceInternational Computer Music AssociationGoogle Scholar

Eisenberg, E. 2005 The Recording AngelNew Haven and LondonYale University PressGoogle Scholar

Eno, B. 1983 50

Everest, F. A.Pohlmann, K. C. 2009 Master Handbook of AcousticsNew YorkMcGraw-Hill Publishinghttp://lib.myilibrary.com/Browse/open.asp?ID=219318&loc=329Google Scholar

Everett, W. 2001 The Beatles as Musicians: The Quarry Men through Rubber SoulOxfordOxford University PressGoogle Scholar

Flans, R. 2005 http://mixonline.com/mag/audio_phil_collins_air/index.html/

Fligor, B.Meinke, D. 2009 www.asha.org/Publications/leader/2009/090526/090526e.htm

Gallagher, M. 2008 Music Tech Dictionary: A Glossary of Audio-Related Terms and TechnologiesBostonCourse TechnologyGoogle Scholar

Games Soundtracks’ Website 2010 www.gsoundtracks.com/interviews/folmann.htm

Gardner, W. G. 1998 3-D Audio Using LoudspeakersNorwell, MAKluwer Academic PublishersGoogle Scholar

George, Frank 1987 Wiener, NorbertThe Oxford Companion to the MindGregory, Richard L.OxfordOxford University PressGoogle Scholar

George, N. 2004 Sample ThisThat's the Joint! The Hip-Hop Studies ReaderNeal, Mark AnthonyForeman, MurrayNew YorkTaylor & Francishttp://lib.myilibrary.com?ID=34789Google Scholar

Ghazala, R. 2005 Circuit Bending: Build Your Own Alien InstrumentsIndianapolis, INWileyGoogle Scholar

Ghazala, R. 2010 www.anti-theory.com/bio

Gottlieb, Gary 2007 Shaping Sound in the Studio and Beyond: Audio Aesthetics and TechnologyBoston, MACourse TechnologyGoogle Scholar

Grimshaw, M.Lindley, C. A.Nacke, L. 2008

Gross, J. 1998 www.furious.com/perfect/christianmarclay.html

Harrison, J. 2000

Holmes, T. 2002 Electronic and Experimental MusicNew YorkRoutledgeGoogle Scholar

Huber, D. M.Runstein, R. E. 2010 Modern Recording TechniquesOxfordFocal PressGoogle Scholar

Hutton, J. 2003 Daphne Oram: Innovator, Writer and ComposerOrganised Sound 1 49CrossRefGoogle Scholar

Janus, S. 2004 Audio in the 21st CenturyHillsboro, ORIntel PressGoogle Scholar

Jordan, W. E. 1953 Norman McLaren: His Career and TechniquesThe Quarterly of Film Radio and Television 1 1CrossRefGoogle Scholar

Landy, L. 2007 Understanding the Art of Sound OrganisationCambridge, MAMIT PressGoogle Scholar

Lethem, J. 2007 http://harpers.org/archive/2007/02/0081387

Levin, T. Y. 2003 Tones from Out of Nowhere”: Rudolph Pfenninger and the Archaeology of Synthetic SoundGrey Room 12 32CrossRefGoogle Scholar

Loy, G. 2006 Musimathics: The Mathematical Foundations of MusicCambridge, MAMIT PressGoogle Scholar

Loy, G.Chowning, J. 2007 Musimathics: The Mathematical Foundations of MusicCambridge, MAMIT PressGoogle Scholar

Mandel, H. 1996 Joe Zawinul at 65: Interview with Joe ZawinulThe Wire 149Google Scholar

Manning, P. 2004 Electronic and Computer MusicOxfordOxford University PressCrossRefGoogle Scholar

Marshall, S. 2008 The Story of The BBC Radiophonic WorkshopSound on SoundCambridgeRelative MediaGoogle Scholar

Massey, H. 2000 Behind the Glass: Top Record Producers Tell How They Craft the HitsSan FranciscoBackbeat BooksGoogle Scholar

McCartney, J. 1996 SuperCollider: A New Real Time Synthesis LanguageProceedings of the International Computer Music ConferenceLogroñoUniversidad de La RiojaGoogle Scholar

McCartney, J. 2002 Rethinking the Computer Music Language: SuperColliderComputer Music Journal 4 61CrossRefGoogle Scholar

Michie, C. 2003 http://mixonline.com/recording/business/audio_mothers_sound

Moore, B. C. J. 2000 An Introduction to the Psychology of HearingSan DiegoAcademic PressGoogle Scholar

Moorefield, Virgil 2005 The Producer as ComposerCambridge, MAMIT PressGoogle Scholar

Mulder, Axel G. E. 1994 Virtual Musical Instruments: Accessing the Sound Synthesis Universe as a PerformerProceedings of the First Brazilian Symposium on Computer MusicBrazilUniversidade Federal de Minas GeraisGoogle Scholar

Newell, P. 2002 Studio Monitoring DesignOxfordFocal PressGoogle Scholar

Ondaatje, M. 2002 The Conversations: Walter Murch and the Art of Editing FilmLondonBloomsbury PublishingGoogle Scholar

Oswald, J. 2006 Bettered by the Borrower: The Ethics of Musical DebtAudio Culture: Readings in Modern MusicCox, C.Warner, D.LondonThe Continuum International Publishing GroupGoogle Scholar

Owsinski, B. 2009 Recording Engineer's HandbookBoston, MACourse TechnologyGoogle Scholar

Preve, F. 2006 Remixer's Bible: Build Better BeatsSan FranciscoBackbeat BooksGoogle Scholar

Puckette, M. 1991 Combining Event and Signal Processing in the Max Graphical Programming EnvironmentComputer Music Journal 3 68CrossRefGoogle Scholar

Puckette, M. 1997 Pure Data: Another Integrated Computer Music EnvironmentProceedings: Second Intercollege Computer Music Concerts37TokyoKunitachi College of MusicGoogle Scholar

Reck-Miranda, E. 2002 Computer Sound Design: Synthesis Techniques and ProgrammingOxfordFocal PressGoogle Scholar

Reck-Miranda, E.Wanderley, M. 2006 New Digital Musical Instruments: Control and Interaction Beyond the KeyboardMiddleton, WIA-R EditionsGoogle Scholar

Roads, C. 1996 The Computer Music TutorialCambridge, MAMIT PressGoogle Scholar

Roads, C. 2004 MicrosoundCambridgeMIT PressGoogle Scholar

Rosen, J. 2006 www.blender.com/guide/68321/greatest-songs-ever-good-times.html

Rumsey, F.McCormick, T. 2009 Sound and RecordingOxfordFocal PressGoogle Scholar

Schedel, M. 2007 Electronic Music and the StudioThe Cambridge Companion to Electronic MusicCollins, N.d’Escriván, J.CambridgeCambridge University PressGoogle Scholar

Schmeder, A.Freed, A.Wessel, D. 2010 Best Practices for Open Sound ControlProceedings of the 2010 Linux Audio ConferenceUtrechtHogeschool voor de KunstenGoogle Scholar

Schnell, N.Battier, M. 2002 Introducing Composed Instruments, Technical and Musicological ImplicationsProceedings of the 2002 Conference on New Instruments for Musical ExpressionDublinGoogle Scholar

Serafin, S. 2004 Sound Design to Enhance Presence in Photorealistic Virtual RealityProceedings of the 2004 International Conference on Auditory DisplaySidneyAustraliaGoogle Scholar

Serafin, S. 2007 Computer Generation and Manipulation of SoundsThe Cambridge Companion to Electronic MusicCollins, N.d’Escriván, J.CambridgeCambridge University PressGoogle Scholar

Sieveking, L. 1934 The Stuff of RadioLondonCassellGoogle Scholar

Slaven, N. 2003 Electric Quixote: The Definitive Story of Frank ZappaLondonOmnibus PressGoogle Scholar

Smith, J. O. 1991 Viewpoints on the History of Digital SynthesisProceedings of the International Computer Music ConferenceMontreal1International Computer Music AssociationGoogle Scholar

Sorensen, A. 2005 Impromptu: An Interactive Programming Environment for Composition and PerformanceProceedings of the Australasian Computer Music ConferenceBrisbaneAustralasian Computer Music Association149Google Scholar

STEIMwww.steim.org/steim/piepen.html#e13 2010

Sullivan, M. 1987 More Popular than Jesus”: The Beatles and the Religious Far RightPopular Music 3 313CrossRefGoogle Scholar

Suzuki, Y.Mellert, V.Richter, U.Møller, H.Nielsen, L.Hellman, R.Ashihara, K.Ozawa, K.Takeshima, H. 2003 http://ids-ge.ch/IMG/pdf/is-01e.pdf

Sweetser, P.Wyeth, P. 2005 GameFlow: A Model for Evaluating Player EnjoymentGames ACM Computers in Entertainment 3Google Scholar

Theisen, E. 1937 68

Toiviainen, P. 2007 The Psychology of Electronic MusicThe Cambridge Companion to Electronic MusicCollins, N.d’Escriván, J.CambridgeCambridge University PressGoogle Scholar

Tolonen, T.Välimäki, V.Karjalainen, M. 1998 Evaluation of Modern Sound Synthesis MethodsReport No. 48 of the TKK Acoustics Lab Report SeriesHelsinki University of Technology, Department of Electrical and Communications Engineering, Laboratory of Acoustics and Audio Signal Processingwww.acoustics.hut.fi/publicationsGoogle Scholar

Toop, D. 2000 Rap AttackVicenzaLegoprintGoogle Scholar

Volker, H. 1987 History of CyberneticsThe Oxford Companion to the MindRichard, L.Gregory. OxfordOxford University PressGoogle Scholar

Wanderley, M.Depalle, P. 2004 Gestural Control of Sound SynthesisProceedings of the IEEE 4 632CrossRefGoogle Scholar

Wang, G.Cook, P. 2003 ChucK: A Concurrent, On-the-fly, Audio Programming LanguageProceedings of the International Computer Music ConferenceSingaporeInternational Computer Music AssociationGoogle Scholar

Wang, G. 2007 A History of Programming and MusicThe Cambridge Companion to Electronic MusicCollins, N.d’Escriván, J.CambridgeCambridge University PressGoogle Scholar

Watson, B. 1996 Frank Zappa as Dadaist: Recording Technology and the Power to RepeatContemporary Music Review 1 109CrossRefGoogle Scholar

Wierzbicki, J. 2005 Louis and Bebe Barron's Forbidden Planet: A Film Score GuideLanham, MDScarecrow PressGoogle Scholar

Wright, M.Freed, A.Momeini, A. 2003 OpenSound Control: State of the Art 2003Proceedings of the 2003 Conference on New Interfaces for Musical ExpressionMontrealGoogle Scholar

Xenakis, I. 1992 Formalized MusicStuyvesant, NYPendragon PressGoogle Scholar

Crosland, Alan 1927

Lucas, George 1971

Tarkovsky, Andrei 1972

Wise, Robert 1951

Spielberg, Stephen 2005

Beatles, The 1967

Beatles, The 2009

Bee-Gees 1988

Holly, Buddy 1957

Esquivel, Juan García 1962

Genesis 2009

Horn, Trevor 2004

Paul, Les 2005

London, Johnny 2006

Meek, Joe 1960

Meek, Joe 2006

Blues, Moody 2008

Floyd, Pink 1994

Presley, Elvis 1954

Radiohead 2001

Schaeffer, P.Henri, P. 1973

Faces, Small 1999

Spector, P. 2006 Phil Spector Definitive CollectionUniversal Music TV, a division of Universal Music Operations LtdGoogle Scholar

Stoller, MikeLeiber, Jerry 1956

Stock, AitkenWaterman, 1987

Summer, Donna 2007

Wilson, Brian 2000

Zappa, Frank 1999