Bibliografía

1

Mathew Adkins.
Acoustic chains in acousmatic music.
http://www.hud.ac.uk/schools/music/humanities/music/newmusic/acoustic_chains.html, 1999.

2

Balázs Bank, János Márkus, Attila Nagy, and László Sujbert.
Signal and physics-based sound synthesis of musical instruments.
Periodica Polytechnica Ser. El. Eng., 47(3-4):269-295, 2004.

3

Gerald Bennett.
Thoughts on the oral culture of electroacoustic music.
http://www.computermusic.ch/files/articles/Thoughts on the Oral.html, 1995.

4

Pierre Boeswillwald.
Analysis in the electroacoustic world.
In Analysis in Electroacoustic Music. Proceedings Volume II of the works of the International Academy of Electroacoustic Music, Bourges, 1996.

5

Albert S. Bregman.
Auditory scene analysis.
MIT Press, 1990.

6

Rodolfo Caesar.
The Composition of Electroacoustic Music.
PhD thesis, University of East Anglia, 1992.

7

Leo Camilleri.
Electro-acoustic music: analysis and listening processes. Retrieved March 31, 2004 from http://www.sonus-online.org/camilleri.htm.
1993.

8

Nicolas Castagne and Claude Cadoz.
Creating music by means of ``physical thinking'' : The musician oriented genesis enviroment.
In 5th international Conference on Digital Audio Effects (Dafx-02), pages 169-174, Hamburg, Germany, 2002.

9

Perry R. Cook.
Real sound synthesis for interactive applications.
A K Peters, Natick Mass, 2002.

10

François Delalande.
Music analysis and reception behaviors: Sommeil by pierre henry.
Journal of New Music Research, 27:13-66, 1998.

11

Charles Dodge and Thomas A. Jerse.
Computer music : synthesis, composition, and performance.
Schirmer Books ; Prentice Hall International, New York London, 2nd edition, 1997.

12

Sophie Donnadieu.
Mental Representation of the Timbre of Complex Sounds, chapter 8.
Springer, New York, 2007.

13

Francesco Giomi and Marco Ligabue.
Understanding electroacoustic music: analysis of narrative strategies in six early compositions.
Organised Sound, 3(1):45-49, 1998.

14

Mara Helmut.
Multidimensional representation of electroacoustic music.
Journal of New Music Research, 25:77-103, 1996.

15

Pablo Irarrázaval.
Análisis de señales.
McGraw-Hill Interamericana, Santiago (Chile), 1999.
Pablo Irarrazaval M. il. ; 23 cm. 20010913.

16

David A. Jaffe.
Ten criteria for evaluating synthesis techniques.
Computer Music Journal, 19(1):76-87, 1995.

17

Mari Riess Jones and William Yee.
Attending to auditory events: the role of temporal organization, chapter 4, pages 69-112.
Clarendon Press, New York, 1993.

18

Francisco Kröpfl.
An approach to the analysis of electroacoustic music.
In Analysis in Electroacoustic Music. Proceedings Volume II of the works of the International Academy of Electroacoustic Music, Bourges, 1996.

19

F. Richard Moore.
Elements of computer music.
Prentice Hall, Englewood Cliffs, N.J., 1990.

20

Jay W. Morthenson.
The concept of meaning in electronic music.
In Proceedings of the ICEM Conference on Electro-acoustic Music, Stockholm, 1985.

21

Michael Norris.
The status of analysis in an electroacoustic context.
http://farben.latrobe.edu.au/mikropol/volume5/norris_m/norris_m.html, 1999.

22

Giovanni De Poli.
A tutorial on digital sound synthesis techniques.
Computer Music Journal, 7(4), 1983.

23

Pietro Polotti and Gianpaolo Evangelista.
Fractal additive synthesis via harmonic-band wavelets.
Computer Music Journal, 25(3):22-37, 2001.

24

Pietro Polotti, Fritz Menzer, and Gianpaolo Evangelista.
Inharmonic sound spectral modeling by means of fractal additive synthesis.
In Proceedings of the 5th Conference on Digital Audio Effects, Hamburg, Germany, 2002.

25

Stephen T. Pope.
Why is good electroacoustics music so good? why is bad electroacoustic music so bad?
Computer Music Journal, 18(3), 1994.

26

Curtis Roads.
Musical signal processing.
Studies on new music research 2. Swets & Zeitlinger, Lisse Netherlands ; Exton PA, 1997.

27

Curtis Roads.
The computer music tutorial.
MIT Press, Cambridge, Mass., 4th edition, 1999.

28

Curtis Roads.
Microsound.
MIT Press, Cambridge, Mass., 2001.

29

Axel Röbel.
Neural network modeling of speech and music signals.
In Neural Network Information Processing Systems 9, NIPS 96, Denver, 1996.

30

Axel Röbel.
Synthesizing natural sounds using dynamic models of sound attractors.
Computer Music Journal, 25(2):46-61, 2001.

31

Nicola Sani.
Thoughts on analysis of electroacoustic music.
In Analysis in Electroacoustic Music. Proceedings Volume II of the works of the International Academy of Electroacoustic Music, Bourges, 1996.

32

Xavier Serra.
Current perspectives in the digital synthesis of musical sound.
Formats, 1, 1997.

33

Denis Smalley.
Spectro-morphology and structural processes, pages 61-93.
Harwood Academic, 1986.

34

Denis Smalley.
The Listening Imagination: Listening in the Electroacoustic Era, chapter 26, pages 514-554.
Routeledge, London, 1992.

35

Denis Smalley.
Spectromorphology: explaining sound-shapes.
Organised Sound, 2(2):107-126, 1997.

36

Julius O. Smith.
Viewpoints on the history of digital synthesis.
In Proceedings of the 1991 International Computer Music Conference, San Francisco, CA, 1991.

37

Julius O. Smith.
Physical modeling synthesis update.
The Computer Music Journal, 20(2):44-56, 1996.

38

John Strawn and James F. McGill.
Digital audio engineering : an anthology.
Computer music and digital audio series; [v. 3]. W. Kaufmann, Los Altos, Calif., 1985.

39

Bob L. Sturm.
Sonification of particle systems via de broglie's hypothesis.
In Proc. of the Int. Community for Auditory Display Conf, Atlanta, GA, USA, April 2000.

40

Bob L. Sturm.
Composing for an ensemble of atoms: the methamorphosis of scientific experiment into music.
Organised Sound, 6(2):131-145, 2001.

41

Bob L. Sturm.
Synthesis and algorithmic composition techniques derived from particle physics.
In Proc. of the Eighth Biennial Arts and Tech. Symposium, New London, CT, USA, March 2001.

42

Tero Tolonen, Vesa Välimäki, and Matti Karjalainen.
Evaluation of modern sound synthesis methods.
Report No. 48, Helsinki University of Technology, Department of Electrical and Communications Engineering, 1998.

43

Barry Truax.
Acoustic communication.
Ablex Pub., 2001.

44

W. Luke Windsor.
A Perceptual Approach to the Description and Analysis of Acousmatic Music.
PhD thesis, City University, London, 1995.

45

W. Luke Windsor.
Perception and Signification in Electroacoustic Music, chapter 7.
Edinburgh University Faculty of Music, 1996.

46

W. Luke Windsor.
Through and around the acousmatic: the interpretation of electroacoustic sounds, chapter 1.
Ashgate, London, 2000.

47

Trevor Wishart.
Sound symbols and landscapes., chapter 3.
Harwood Academic, New York, 1986.