SOUND AS ART BOOK LIST – BETA (05/2006)

As per the recent list discussion, below is a compilation of recommended books by the soundasart list members.  The discussion began with links to other online booklists and I feel that these are still useful so I have included them. There is much overlap between the  online booklists and the one compiled here…so be it for now. Members PLEASE feel free to make this more complete, organized and aesthetically pleasing 

b.

Microsound’s excellent booklist:
http://microsound.nexthop.net/bin/view.cgi/Main/MicrosoundBookList

Amazon listmania booklists:

Seth Cluett’s: 

http://www.amazon.com/gp/richpub/listmania/fullview/3AAHAL4HXQ4DR/002-0890788-7230464

KatyKeene’s: 

http://www.amazon.com/gp/richpub/listmania/fullview/2ER2W6FIAVI9R/002-0890788-7230464

Douglas Kahn’s:

http://www.amazon.com/gp/richpub/listmania/fullview/1CULAJ3W1DDV/002-0890788-7230464

Recomendeed Books by members:

Bregman, Albert S. - Auditory Scene Analysis: The Perceptual Organization of Sound"
Berendt, Joachim-Ernst – The World Is Sound: Music and the Landscape of Consciousness
Cage, John – Silence
Chion, Micheal: Guide To Sound Objects
Cox, Chris – Audio Culture 
Dumbstruck : A Cultural History of Ventriloquism
Doyle, Peter - Echo And Reverb: Fabricating Space in Popular Music Recording,
1900-1960 (Music Culture) 
Erickson, Robert - Sound Structure in Music
Handel, Stephen -Listening: An Introduction to the Perception of Auditory
Howard, David - Acoustics and Psychoacoustics
Ihde, Don – Listening and Voice
Konstelanetz, Richard – Conversing With Cage
Lander, Dan – Sound by Artists
Merleau-ponty, Maurice - Phenomenology of Perception
Lucier, Alvin - Reflections: Interviews, scores, writings = Reflexionen : Interviews,
Notationen, Texte (Edition MusikTexte) 
Peer, Rene van - INTERVIEWS with SOUND ARTISTS
Shafer, R. Murray - A Sound Education 
Smith, F. Joseph – The Experiencing of Musical Sound: Prelude to a Phenomenology of Music
Toop, David  - Haunted Weather : Music, Silence, and Memory 
Wallin, Nils - Biomusicology
Wastell, Mark - Blocks of Consciousness and the Unbroken Continuum 
Wishart, Trevor – On Sonic Art

A bibliography by Anahid Kassabian:

Works Cited, "On Not Paying Attention to Music"
Anahid Kassabian, Alsop Professor of Music, University of Liverpool

Abel, Richard and Altman, Rick eds. (2001) The Sounds of Early Cinema,
Bloomington: Indiana University Press
Beck, Jay and Grajeda, Tony, Lowering the Boom (forthcoming)
Beller, Jonathan (1994) ‘Cinema, Capital of the Twentieth Century’, Postmodern
Culture - Volume 4, Number 3, May 1994
Crary, Jonathan (1999) Suspensions of Perception: attention, spectacle and
Modern Culture, Cambridge, Massachusetts: MIT Press
Connor, Stephen (2000) Dumbstruck: A Cultural History of Ventriloquism,
Oxford: University Press
Corbin, Alain (1998) Village Bells: Sound and Meaning in the
Nineteenth-Century French Countryside, Translated by Martin Thom, New York:
Columbia University Press
Dienst, Richard (1994) Still Life in Real Time: Theory After Television,
Durham: Duke University Press
Erlmann, Veit ed. (2004) Hearing Cultures: Essays on Sound, Listening and
Modernity, New York: Berg Publishers
Peter Gay (1996) The Naked Heart, New York: W.W. Norton and Company
Gouk, Penelope (1999) Music, Science and Natural Magic in Seventeenth-Century
England, New Haven, Connecticut: Yale University Press
Johnson, James (1995) Listening in Paris: a cultural history, Berkeley:
University of California press
Kahn, Douglas (2001) Noise, Water, Meat: a history of sound in the arts,
Cambridge, Massachusetts: MIT Press
Kramer, Lawrence (1996) Classical Music and Postmodern Knowledge, Berkeley,
University of California Press
Kramer, Lawrence (2004) Opera and modern culture: Wagner and Strauss,
Berkeley, University of California Press
Lastra, James (2000) Sound Technology and The American Cinema: perception,
representation, modernity, New York: Columbia University Press
McCarthy, Anna (2000) Ambient Television: visual culture and public space,
Durham: Duke University Press
Picker, John M (2003) Victorian Soundscapes, New York: Oxford University Press
Postman, Neil (2000) Building a Bridge to the 18th Century: how the past can
improve our future, New York: Random House
Rath, Richard Cullen (2004) How Early America Sounded, Ithaca, N.Y.; London:
Cornell University Press
Schwarz, David (1997) Listening Subjects: music, psychoanalysis, culture,
Durham: Duke University Press
Smith, Mark M (2001) Listening to Nineteenth Century America, Chapel Hill:
University of North Carolina Press
Stein, Alexander “On Listening in Music and Psychoanalysis”, Journal for the
Psychoanalysis of Culture and Society (3/22/2000)
Sterne, Jonathan (2003) The Audible Past: cultural origins of sound
reproduction, Durham: Duke University Press
Thompson, Emily (2002) The Soundscape of Modernity: architectural acoustics
and the culture of listening in America, 1900-1933, Cambridge, Massachusetts:
MIT Press
“Parks Associates: Listening to Music Tops the List of Most Important Home
Media Activities; Consumers find more value in listening to music than in
watching TV or using the PC.” Business Wire; 7/15/2003

J Milo Taylor – Reading List – Books, Journal Articles, Web Writing

? (2001). "Svar pa fragan vad ar ljudkonst? [Answer to the question: what is sound art?]." Paletten (Sweden), vol. 62(no. 4-5): pp. 32-3, 2 illus.
Andersen, N. A., N. A. i. i. N. Andersen, et al. (1986). "Phonic sculpture: mechanically actuated musical instruments in a sculptural context." Leonardo 19(2): 99-106.
Assche, C. v., D. i. B. Gordon, et al. (2000). "Douglas Gordon: a new generation of readymades." Art Press(255): 27-32.
Attali. J. (1985). Noise - The Political Economy of Music, University of Minnesota Press.
Augaitis, D. L., Dan (Ed) (1994). Radio rethink: art, sound and transmission - selected survey of radio art in Canada, 1967-1992. Banff, Alberta:, Walter Phillips Gallery, Banff Centre.
Backlund, N. (1989). "Sounds like fun." ID 36: 85.
Bandt, R. (1985). Sounds in Space, Wind Chimes and Sound Sculptures, Victorian Arts Council, Australia.
Bandt, R. (1995). "Sculpting sounds: an introduction to sound sculpture in Australia." Art and Australia 32: 536-47.
Bandt, R. (2000). "Sounding spaces, acoustic world: Australian sound designs." Public Art Review 11(2): 23-6.
Barbieri, H. D. (1990). "Sound vision." High Performance 13: 79.
Barbosa, A. (2003). "Displaced Soundscapes:A survey of network systems for music and sonic art creation." Leonardo Music Journal 13: pp 53-59.
Baschet, B. and F. Baschet (1987). "Sound sculpture: sounds, shapes, public participation, education." Leonardo 20(2): 107-14.
Battcock, G. (1981). Breaking the Sound Barrier, A Critical Anthology of New Music, Dutton.
Baudrillard, J. (1995). Simulcra and Simulation University of Michigan Press.
Benjamin, W. (1968). The Work of Art in the Age of Mechanical Reproduction. New York, Schocken Books,.
Bennett, M. V. (1985). "Sounded, sounding, to sound: sound and the seduction of the visual artist." High Performance 8(3): 34-8.
Berk, A. (2000). "'Rooms for listening' at CCAC." Artweek 31(11): 17.
Berry, R., Dahlstedt (2003). "Artificial Life: Why Should Musicians Bother?" Contemporary Music Review 22(3): 57-67.
Bertrand, V. (2004). "Quand l'art dialogue avec le son." Connaissance des Arts(619): 102-7.
Bickel, S. (July-Aug. 2005). "Carston Nicolai: crystalline beauty in mathematical space." Sculpture vol. 24(pt. 6): pp. 40-45.
Blackwell, T. and M. Young (2004). "Self-organised Music." Organised Sound 9(no2): 123-136.
Blain, F.-A. (Jan. 2004). "Questions sur Audiolab 3: le son en reconnaissance [Questions about Audiolab 3: in appreciation of sound]." Beaux Arts Magazine (France)(no. 236): pp. 32.
Bouruet-Aubertot, V. (1999). "Art et son: en phase de resonance." Beaux Arts Magazine(178): 33.
Briers, D. (Dec. 2001-Jan. 2002). "Janet Cardiff." Art Monthly (U.K.)(no. 252): pp. 45-6, 1 illus.
Briers, D. (May 1999). "Acoustic shadows." Art Monthly (U.K.)(no. 226): pp. 34-5, 1 illus.
Bull, H. (1979). "Boy Can See With His Ears." Lecture/performance at AUDIO SCENE'79.
Bull, H. and R. Adrian. (1979). "Sound On - Audio Scene '79 at Modern Art Galerie, Vienna."   Retrieved May 15th, 2006.
Bull M., B. L. (2004). The Auditory Culture Reader, Berg.
Burger, P. (1985). Theory of the Avant-Garde Translated by Michael Shaw., University of Minnesota Press.
Byrne, D. (2002). "Machines of Joy: I Have Seen the Future and It Is Squiggly." Leonardo Music Journal 12: pp 7-10.
Cage, J. (1978). Silence, Marion Boyars.
Caillaud, B. (1997). "Sonagraphic art." Leonardo 30(1): 67.
Cascone, K. (2000). "The Aesthetics of Failure." Computer Music Journal 24.
Cascone, K. (2002). "Laptop Music - Counterfeiting Aura in the Age of Infinite Reproduction." Parachute(no 107): pp 52-9.
Cascone, K. (2006). Composing Emergent Sound Art using Simple Genetic Algorithms. Goldsmith's College of Art.
Castant, A. (1996). "Experiments in aural objecthood." Art Press(211): 44-8.
Caux, J. (2002). "New York, new sound, new spaces: Musee d'art contemporain." Art Press(280): 12-14.
Chadabe, B. (2000). "Sounding places: works by Ron Kuivila." Public Art Review 11(2): 27-8.
Chadabe, J. (1997). Electric Sound: The Past and Promise of Electronic Music. New Jersey,USA, Prentice-Hall.
Chanan, M. Musica Practica.
Chasalow, E. (2006). "Composing from Memory:the convergence of archive creation and electro-acoustic composition." Organised Sound 11(1): pp 63-71.
Chattopadhyay, C. W., Josef (1992). "Noisemakers: sound art in the nineties     ." Artweek (U.S.A.) vol. 23(no. 16): pp. 4-5, 3 illus.
Chion, M. (1991). L'art du son fixes, Editions Metamkine Fonataine.
Clark, R. (Sept. 2003). "Janet Cardiff." Art Review (U.K.) vol. 54: pp. 105,.
Collins, N. (2003). "Groove, Pit and Wave." Leonardo Music Journal 13: pp 1-3.
Conomos, J. (1995). "Sound in space." Art and Australia 33: 283-4.
Conrad, T., T. i. I. M. Oursler, et al. (2003). "Who Will Give Answer to the Call of My Voice? Sound in the Work of Tony Oursler." Grey Room(11): 44-57.
Cooper, T. (2004). "Ryoji Ikeda." Contemporary(no. 68): pp. 30-5.
Coyle, R. Sound in space: adventures in Australian sound art.
Cranfield, B. (2002). "Producing Noise: Oval and the Politics of Digital Audio." Parachute(107): 42-51.
Crowe, N. (2002). "Bandwagon Jumping: The International 3, Manchester." Art Monthly(262): 35-6.
Cunningham, D. (2000). "Sonic boom: Hayward Gallery, London." Art Monthly(237): 34-6.
Cutler, C. (2004). "A History of Plunderphonics."   Retrieved 19th January 2004, from http://www.l-m-c.org.uk/texts/plunder.html.
Dahlstedt, P., Berry, Rodney, Haw, Catherine Gakki-mon Planet.
Dahlstedt, P. (2001). Mutasynth.
Davis, R. (1996). "Sound art: some notes away from definition." Artweek 27: 11-12.
de la Motte, H. L., Bernhard; and Schulz, Bernd (Editors) (2003). Resonances.
de la Motte-Haber, H. E. b. e. b. K., Christian; Osterwold, Matthias; Weckwerth, Georg; Schafer, R. Murray; Breitsameter, Sabine; Föllmer, Golo; Straebel, Volker; Kahn, Douglas; Baurmann, Gisela; Sanio, Sabine; Barthelmes, Barbara; Glasmeier, Michael (1996). Klangkunst [Sound art]. Munich; New York:, Prestel.
de Ruyter, T. (Sept. 2005). "volume minimal: un art de la projection du son/Sound art minimal elements." Art Press(no. 315): pp. 49-54.
Debord, G. (1967). Society of the Spectacle. Boston, USA, Zone Books, MIT Press.
Deleuse, G. (199?). Cinema 2: The Time-Image.
Deleuze G., G. F. (1987). A Thousand Plateaus: Capitalism and Schizophrenia, University of Minnesota Press.
Dessaignes, M. (2002). "Images Amplifiees." Parachute(no 107): pp 118-23.
Dick, T. (2001). "Sightgags and soundtricks." Border Crossings 20(2): 125-6.
Driscoll, J. R., Matt "David Tudor's `Rainforest': an evolving exploration of resonance." Leonardo Music Journal vol. 14, 2004: pp. 25-30.
Drobnick, J. E. (2004). Aural Cultures: Sound Art.
D'Souza, A. (2002). "A World of Sound." Art in America 90(4): 110-15, 161.
Duchamp, M. (1957). The Creative Act.
Duckworth, W. (1999). "Making music on the web." Leonardo Music Journal 9: 13-17.
Dunn, D. (??). "Nature, Sound art and the Sacred."?? ??(??): ??
Egan, D. Concepts in Architectural Acoustics, McGraw`Hill Book Company.
Eisenberg, E. (1987). The Recording Angel. Yale, Yale University Press.
England, P. (2002). Making the Nature Scene. The Wire: pp41-47.
Epplay, V. (2002). "De la singularite du son." Parachute(107): 94-7.
Exley, R. (2000). "Sound effects." Blueprint(170): 64.
Fisher, J. A. (1998). "What the hills are alive with: in defense of the sounds of nature." The Journal of Aesthetics and Art Criticism 56(2): 167-79.
Fletcher, A. (2000). "Sound effects--strategies of evocation." Make, the magazine of women's art(89): 24-5.
Föllmer, G. (2005). "Lines of Net Music." Contemporary Music Review 24(no.6): pp. 439-444.
Fontana, B. (May 1990). Landscape Soundings / KlanglandSchaften. Vienna.
Fox, T. Exploring the Limits.
Francblin, C. (2000). "Malachi Farrell: Shock Horror History." Art Press(no 258): 30-2.
Frisk, H. and M. Yoshida (2005). "New Communications Technology in the Context of Interactive Sound Art:an empirical analysis." Organised Sound 10(2): pp 121-127.
Furlong, W. (1994). "Sound in recent art." Art & Design 9: 62-7.
Garnett, G. E. (2001). "The aesthetics of interactive computer music." Computer Music Journal 25(1).
Garry, M. "A survey of four Contemporary Sound Artists."   Retrieved April 16th, 2006, from Vibrofiles_com-
Gaskin, V. (1998-1999,). "Adam Chodzko in discussion with Robin Rimbaud (aka Scanner)." Everything (U.K.) vol. 2(no. 4): pp. 16-20, 6 illus.
Gaye, L., M. Jacobs, et al. (2003). "Sonic City: The urban Environment as a musical interface." from http://www.viktoria.se/fal/projects/soniccity/pdf/NIME03_Gaye.pdf.
Gervais, R. (2002). "Electric Readymade." Parachute(no 107): pp 32-41.
Gilman-Sevcik, F. G.-S., Tim (March-April 2002). "Janet Cardiff." Flash Art (Italy) vol. 34(no. 223): pp. 102, 1 illus.
Glass, P., Subotnick, Morton, Miller,Paul (aka DJ Spooky),Moran,John, Riesman, Michael. "Music and Technology: A Roundtable Discussion." Andante - Everything Classical Volume,  DOI: 
Goldsmith, K. (2000). "Silence in the museum." Nu: the Nordic Art Review (Sweden) vol. 2(no. 5): pp. 14, 1 illus.
Gorman, S. (March 2003). "Wandering and wondering: following Janet Cardiff's missing voice." Performance Research vol. 8(pt. 1): pp. 83-92,.
Graham, B. (2002). "Groove: Huddersfield Art Gallery." Art Monthly(262): 36-7.
Greenberg, C. (Oct 1981). "Intermedia." Arts Magazine (U.S.A.) Vol.56,(no 2): pp 92-3.
Gysin, B. "Sound Waves, Cut-up Method."  Volume,  DOI: 
Harris, M. (1998). "Noises Off." Art Monthly(219): pp 1-5.
Hayashi, Y. and N. i. U. s. Shibata (2000). "Recent sound art in Japan." Public Art Review 11(2): 29-30.
Hecker, T. (2002). "Sound and "The Victorious Realm of Electricity"." Parachute(no107): pp60-7.
Helfand, G. (2000). "Breaking the sound art barrier." Art & Auction 22(14): 60-1.
Henri, A. (1974). Environments and Happenings. London, Thames & Hudson.
Henry_Cow Amygdala. mp3.
Hinant, G.-M. (2003). "Tohu-Bohu: Considerations on the nature of noise in 78 fragments." Leonardo Music Journal 13: pp 43-46.
Huberman, A. (May 2005). "The sound of space." Art Review vol. 56: pp. 54-59.
Irvin, S. (April 2005). "Appropriation and authorship in contemporary art." British Journal of Aesthetics vol. 45(pt. 2): pp. 123-137, bibliog.
Kahn, D. (2001). Noise Water Meat, MIT Press.
Kahn, D. (2006). "Sound Art, Art, Music."   Retrieved 28th April 2006.
Kahn, D. W., G., (1992). Wireless Imagination, Sound, Radio and the Avant-Garde, The MIT Press.
Kangas, M. (1996). "SoundCulture 96." Sculpture 15: 60.
Kelly, E. (2006). "Deconstructing Speech: new tools for speech manipulation." Organised Sound 11(1): 73-80.
Kihm, C. and C. Penwarden (2004). "Exposer le son / Sound and Vision: Noise in the Art Museum." Art Press(306): 46-50.
Kim-Cohen, S. (May 2005). "The lost voice." Art Review vol. 56: pp. 66-69,.
King, E. A. (2002). ""Visual sounds: parts I & II": The Mattress Factory." Sculpture 21(5): 70-1.
Kofoed, K. (2003). "The Sound of Art: A Conversation with Steve Roden." Artweek 34(8): 12, 29.
Kraabel, C. (2005). Danger:User Serviceable Parts. Resonance - Locality & Reproduction Issue. 10: pp 35-39.
Kubisch, C. Travelling to Another Planet.
Labelle, B. (1999). "The sound of music: contemporary sound-art and the phenomenal world." Art Papers 23(2): 36-9.
Labelle, B. (2000). The Walls have Ears. The Wire.
LaBelle, B. (2003). "Short circuit." Contemporary(no. 53-54,): pp. 66-71, 6 illus.
LaBelle, B. (Sept.-Oct. 2000). "A point within a circle: Brandon LaBelle interviews Pauline Oliveros." Art Papers (U.S.A.) vol. 24(no. 5): pp. 16-21, 6 illus.
Lamm, A. (March 2002). "Carsten Nicolai." ARTnews (U.S.A.) vol. 101(no. 3): pp. 130, (1 colour).
Landi, A. (Dec. 2001). "Sonic boom." ARTnews (U.S.A.) vol. 100(no. 11): pp. 106-7, (4 colour).
Lane, M. (Feb. 2003). "Sound advice." How vol. 18(pt. 1): pp. 36, 38, 40, 41, 45-6.
Lapp, A. (2002). "Hommage a John Cage." Art Monthly(255): 47-8.
Laumonier, A. (2000). "Londres sonic boom: the art of sound: Hayward Gallery." Art Press(259): 69.
Lista, M. (Sept. 2002). "L'oeil de Christian Marclay [The eye of Christian Marclay]." Oeil (France)(no. 539): pp. 28-9, (2 colour).
Lopez, F. (1996) "Cagean Philosophy: a devious version of the classical procedural paradigm."  Volume,  DOI: 
Lopez, F. (1998) "Environmental sound matter."  Volume,  DOI: 
Lopez, F. (January 1997). "Schizophonia vs. l’objet sonore: soundscapes and artistic freedom."   Retrieved April 16th, 2006.
Lopez Rojo, A. (Feb. 2000). "Ars Sonora [Resonant art]." Lapiz (Spain) vol. 19(no. 160): pp. 78-89, 14 illus. (5 colour) bibliog.
MacDonald, C. (Sept. 2005). "His raw materials - Bruce Nauman at Tate Modern." PAJ vol. 27(pt. 3, no. 81): pp. 93-100.
Mandelis, J., Husbands, Phil (2003). "Musical Interaction with Artificial Lifeforms: Sound Synthesis and Performance Mappings." Contemporary Music Review 22(3): 69-77.
Marcelis, B. (2004). "City Sonics." Art Press(305): 86.
Marclay, C. A., Laurie (May 2005). "All the right notes." Art Review vol. 56: pp. 60-65.
Martin, V. (1996). "The last frontier: sound art in Southern California." Artweek 27: 13-14.
Mason, B., S. (2005). "Hitting the High Notes." Art & Antiques 28(12): 56-7.
McLennan, A. (1994). "A brief topography of Australian sound art and experimental broadcasting." Continuum (Australia) vol. 8.(no. 1): pp. 302-17, 3 illus.
McLuhan, M. (1994). Understanding Media: The Extensions of Man, MIT Press.
Meadows, M. S. (2003). Pause and Effect, The Art of Interactive Narrative, New Riders.
Means, D. (2000). "Zone of magnified power: site-specific sound art." Public Art Review 11(2): 18-22.
Migone, C. (Jan.-March 2005). "Frictions: Sound Objects and Surfaces." Parachute(no. 117): Supp. pp. 5-6.
Miller, P. D. "Across the Morphic Fields: The Art of Mariko Mori."   Retrieved April 16th, 2006, 
Miller, P. D. "Fluid Neon Bright Shadows: The Music of Iannis Xenakis."   Retrieved April 16th, 2006,
Miller, P. D. (2002). "On The Record: Notes for the "Errata Erratum" Duchamp Remix Project at LA MOCA." 
Montejo Navas, A. (March 2004). "Plastica sonora brasilena/Brazilian sound art." Lapiz (Spain), vol. 23(no. 201): pp. 58-77.
Mulder, R., Allik, Kristi (2002). "Frangrances of Time and Space: An Omniscape Installation."
Neaud, F. (June 2005,). "Bernard Stiegler à l'ircam [Bernard Stiegler at the IRCAM]." Beaux Arts Magazine(no. 252): pp. 47-49.
Neill, B. (Summer 2003). "Christian Marclay." Bomb(no. 84): pp. 44-51, 4 illus. (3 colour).
Norman, K. (2004). Sounding Art, Ashgate.
Obadike, K. T. (2001). "What's in a name? Seeing Sound Art in Black Visual Traditions." Art Journal 60(no4 4-5).
Ohlin, A. (2003). "New Sound System: Bruce Odland's Tonic." Art Papers 27(3): 10-11.
Oliveros, P. Deep Listening: A Composers' Sound Practice.
Oliveros, P. The Roots of the Moment: Collected Writings 1980-1996.
Oliveros, P. (1984). Software For People: Collected Writings 1963-1980.
Oliveros, P. (1999). "Quantum Improvisation: The Cybernetic Presence." May 15th 2006.
Oliveros, P. (2000). "Quantum Listening: From Practice to Theory (To Practice Practice)."
Ouzman, S. (2001). "Seeing is deceiving: rock art and the non-visual." World Archaeology 33(2): 237-56.
Pare, A.-L. (Winter 2001-2002). "Sculpting the imagination." Espace (Canada)(no. 58): pp. 7-15, 8 illus. (3 colour) bibliog.
Pesch, M. (July-Sept. 2002,). "Transfer and transformation: strategies in the oeuvre of Carsten Nicolai." Parachute (Canada)(no. 107): pp. 80-93, (7 colour).
Phillips, T. (1992). "The Sound in my life (Art Reproduction)." Arts Review 44: 560.
Pollack, B. (Nov. 2004). "Feel the noise." ARTnews vol. 103, pt. 10: pp. 127.
Poschardt, U. (1995). DJ Culture. Hamburg, Rogner & Bernhard GmbH & Co., Verlag KG.
Puckette, M. (2005, July 11). "Theory and Techniques of Electronic Music."   Retrieved January 18th, 2006.
Rabinowitz, P. (Sept. 2002). "The sound of reformed space: Liz Phillips's responsive installations." PAJ (U.S.A.) vol. 24(no. 3): pp. 35-43, 4 illus.
Reck Miranda, E. (1995). "Granular synthesis of sounds by means of a cellular automaton." Leonardo 28(4): 297-300.
Renoult, J.-P. (2005). "Christian Marclay: ce que vous voyez, c'est ce que vous entendez / Christian Marclay: What You See Is What You Hear." Art Press(309): 18-24.
Risset, J.-C. (June 2004). "The liberation of sound, art-science and the digital domain: contacts with Edgard Varese." Contemporary Music Review(23 (2)): pp.27-54.
Ritchie, M. i. T. f. s., c. Parents and, et al. (2001). "Matthew Ritchie." Parkett(61): 136-75.
Robert, P. (Sept. 2005). "Dialogue: Mark Bain - Sonic interventions." Sculpture vol. 24(pt. 7): pp. 22-23.
Robinson, J. (2004). "The Sculpture of Indeterminacy: Alison Knowles's Beans and Variations." Art Journal 63(4): 96-115.
Roche, H. (1999). "@Sinusoidal' at San Francisco State University." Artweek 30(5): 16-17.
Rosenboom, D. (2002). "Pleasure has an Opposite, or Somewhere over Whose Rainbow?" Leonardo Music Journal 12: pp 73-78.
Rudi, J. (2003). "Norge et lydrike, Norway remixed: a sound installation." Organised Sound 8(2): pp 151-155.
Rumsey, F. (2001). Spatial Audio, Focal Press.
Russolo L. (1916). L'arte dei Rumori, Edizioni Futuriste di Poesia.
Ryan, D. (June 2005). "Ryoji Ikeda." Art Monthly(no. 287): pp. 39.
Samuelsen, G. (1997). "Christian Marclay." New Art Examiner 25: 63.
Sato, M. a. m. s. Japan: part of collective MrK with Toshiya Tsunoda, Jio Shimuzu, Atsushi Tominaga, Hiroyuki Lida. interest in phenomena of physical world. fluorescent lights, tape machines, speaker amplification, theoretical physics.
Sawyer, R. K. (May 2002). "A discourse on discourse: an archaeological history of an intellectual concept." Cultural Studies 16 (3): p.433-56.
Scarborough, J. and K. i. C. s. Jones (1991). "The Noise machine." Artweek 22: 14.
Schafer, R., M., (1977). The Tuning of the World.
Schoning, K. (1994). "Sound mind sound." Du(6): 40-2.
Schutze, B. (2002). "Montreal Mushroom Gathering:Ruminations on a Town Full of Sounds and Scenes." Parachute(no 107): pp 102-13.
Senn, D. (1997). "Pendulum-based instruments, percussive video, sound art, and the permanence of ephemeral public art." Organised Sound 2 (no.3): 151-63.
Shaff, S. (2002). "AUDIUM: sound-sculptured space." Leonardo (U.S.A.) vol. 35(no. 3).
Shaw-Miller, S. r. (2001). "Analysing musical multimedia (Book Review); Noise, water, meat (Book Review)." Art History 24(1): 139-46.
Sherburne, P. (2004). "Christian Marclay's cochlear implants/Christian Marclays Innenohr-Implantate." Parkett(no. 70): pp. 20-33.
Sherburne, P. (July-Sept. 2002). "Sound art/sound bodies: electronic music's anatomy lessons." Parachute (Canada)(no. 107): pp. 68-79, bibliog.
Simmons, D. (2002). "Deviant Discourses: An Interview with Critical Art Ensemble." Parachute(no107): pp 124-31.
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