Evolution of Interactive Systems: Bibliography

• Appleton, Jon. 1990 .“Composer pour de nouveaux instruments.” in Contrechamps n¡ 11 - Musiques électroniques, Editions l'âge d'homme. Appleton, J. 1999. “Reflections of a former perfomer of electroacoustic music.” in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 5-8. (with audio excerpts on the accompanying CD).
• Arveiller, Jacques, Marc Battier, and Giuseppe Englert. 1976. A computer Music Repertory. Paris, Como (Italy): I quaderni dell'autunno musicale 4 and Artinfo/musinfo 23-24-25, Groupe art et informatique de Vincennes, 128 p.

• Battier, M. 1995. “Entre l'idée et l'œuvre. Parcours de l'informatique musicale.” in Esthétique des arts médiatiques, tome 1,Louise Poissant, ed., Presses de l'Université du Québec, Sainte-Foy (Québec), pp. 319-334.
• Battier, M. Ed. 1999. Aesthetics of Live Electronic Music. Contemporary Music Review 18(3).
• Boulez, P. and A. Gerzso. 1988. “Computers in music.” Scientific American 258 (4), April, pp. 26-32.
• Buxton, W., ed. 1977. Computer Music 1976/77: a Directory to Current Work. Ottawa: Canadian Commission for UNESCO, 239 p.

• Cadoz, C., et al (1984). “Responsive Input Devices and Sound Synthesis by Simulation of Instrumental Mechanisms: The Cordis System.” Computer Music Journal 8 (3), pp. 60-73.
• Cadoz, C.e. 1991. “Timbre et causalité.” In Le timbre: métaphore pour la composition. Jean-Baptiste Barriére, ed., Paris: IRCAM/Christian Bourgois, . pp. 17-46.
• Chadabe, J.. 1980. 'Solo' : a Specific Example of Realtime Performance.“ In Computer Music - Composition musicale par ordinateur, M. Battier et B. Truax, eds., Ottawa: Commission Canadienne pour l'UNESCO, pp. 87-94.
• Chadabe, J.l. 1997. Electric sound - the past and promise of electronic music, Prentice Hall, Upper Saddle River (N.J.), 336 p.
• Chadabe, J. 1999. “The performer is us” in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 25-30.
• Chafe, C. 1999. “Interplay(er) machines” in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 89-97. (with audio excerpts on the accompanying CD).
• Chusid, I. 1999. “Beethoven-in-a-Box: Raymond Scott's Electronium.” in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 9-14. (with audio excerpts on the accompanying CD).
• Clara Rockmore. 1998. Asheville: Big Briar, VHS video tape, 58 minutes.

• Dannenberg, R.. 1993. “Computer music at Carnegie Mellon University.” In Music Processing, Goffredo Haus,ed., A-R Editions, Madison (Wisconsin), pp. 303-333.
• Davies, H. 1984. Electronic musical instruments. Various entries in The New Grove Dictionary of Musical Instruments, Stanly Sadie, ed. London: Macmillan Press.

• Eaton, J. 1999. This is an instrument!” in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 21-24. (with audio excerpts on the accompanying CD).
• Englert, G. G. (1980), Ç Musique: composition automatique - automation composée È, Mathématiques et Sciences Humaines (45), Paris: Sorbonne, juin, pp. 37-50.

• Foellmer, G., , Roland Franck, and Folmar Hein (eds). 1992. Dokumentation Elektroakustischer Musik in Europ. Produced by: Technische Universitaet Berlin, Elektronisches Studio, Deutsche Sektion der internationalen Gesellschaft fuer Elektroakustische Musik (DecimE); published by: InventionenU92. 370 pp.

• Harvey, J. 1999. “The metaphysics of live electronics” in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 79-82. (with audio excerpts on the accompanying CD).

• Lewis, G. 1999. “Interacting with latter-day musical ” in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 99-112. (with audio excerpts on the accompanying CD).
• Lippe, C. 1996. “A Look at Performer/Machine Interaction using Real-Time Systems.” In Proceedings of the 1996 International Computer Music Conference. San Francisco, International Computer Music Association, pp.116-117.

• Machover, T. 1992. “Hyperinstruments - a Composer's Approach to the Evolution of Intelligent Musical Instruments.” In L. Jacobson, ed. Cyberarts: Exploring Arts and Technology. San Francisco: MillerFreeman Inc., pp. 67-76.
• Martin, S.. 1995. Theremin. An Electronic Odyssey. Los Angeles: Orion Home Video 5080, VHS video tape, 84 minutes.
• Mathews, M. and F. R.d Moore. 1970. “GROOVE - a Program to Compose, Store, and Edit Functions of Time”, Communications of the ACM 13 (12): 715-721.
• Mathews, M., F. R. Moore and J.-C. Risset. 1974. “Computers and Future music”, Science 183: 263-268.
• Moore, F. R. 1987. “The Disfunctions of MIDI.” In Proceedings of the 1987 International Computer Music Conference. San Francisco, International Computer Music Association, pp. 256-262.

• Pennycook, B. 1985. “Computer Music Intrerfaces: A Survey.” ACM Computing Survey, Association for Computing Machinery, Special Issue on Computer Music, 17(2):267-289.
• Pressing, J. 1992. Synthesizer Performance and Real-Time Techniques. Madison, Wisconsin: A-R Editions.

• Risset, J.C. 1999. “Composing in real-time?” in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 31-39. (with audio excerpts on the accompanying CD).
• Risset, J.-C. 1999. “Nouveaux gestes musicaux: quelques points de repére historiques.” In Les nouveaux gestes de la musique, Hugues Genevoix and Rapha‘l de Vivo (eds), Marseille: Editions Parenthéses and GMEM, pp. 19-33.
• Rosenboom, D. 1990. Extended Musical Interface with the Human Nervous System. Berkeley, Calif.: International Society for the Arts, Sciences, and Technology.
• Rowe, R. 1999. “The aesthetics of interactive music systems” in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 83-87. (with audio excerpts on the accompanying CD).
• Rowe, R. 1993. Interactive Music Systems - Machine Listening and Composing. Cambridge, Mass.: The MIT Press.

• Stroppa, M. 1999. “Live electronics or… live music? Towards a critique of interaction” in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 41-77. (with audio excerpts on the accompanying CD).
• Subotnick, M. 1999. “The use of computer technology in an interactive or 'real-time' performance environment” in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 113-117. (with audio excerpts on the accompanying CD).

• Theremin, L. 1999. “Recollections.” in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 15-19.

• Vinet, H. and F. Delalande (eds.). 1999. Interfaces homme-machine et création musicale. Paris: Hermes Science Publications, 236 p.

• Waisvisz, M. 1999. “Riding the Sphinx - lines about 'live'” in Aesthetics of Live Electronic Music. Ed. Marc Battier. Contemporary Music Review 18(3): 119-126.
• Wessel, D. 1991. “Instruments that Learn, Refined Controllers, and Source Model Loudspeakers.” Computer Music Journal 15(4):82-86.
• Winkler, T. 1998. Composing Interactive Music. Techniques and ideas using MAX. Cambridge, Mass: MIT Press.

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