Adorno, Theodor W. Quasi una Fantasia : Essays on Modern Music, Translated by Rodney Livingstone, London : Verso, 1994.

Adorno, Theodor W. The Philosophy of Modern Music, Translated by Anne G. Mitchell and Wesley V. Blomster, London : Sheed and Ward, 1987.

Appleton, Jon H. 'Electroacoustic Music', The New Harvard Dictionary of Music, Edited by Don Michael Randel, London : Harvard University Press, 1986.

ASHLEY, SCOTT. 1996. *Acousmatic Site*. At http://www.geocities.com/Athens/Acropolis/3867/index.html

BARRIERE, Jean-Baptiste. 1991. *Le timbre: metaphore pour la composition*. Paris: Christian Bourgois, IRCAM.

BAYLE, Fran$B9P(Jis (ed.). 1986. *Catalogue GRM 1948--86*. Paris: Richard-Masse [now distributed by Herman].

BAYLE, Fran$B9P(Jis. (ed.) 1990. *Pierre Schaeffer: l'oeuvre musicale*. Four CDs and text. Paris: INA-GRM/S$B8?(Juier, distr. ADDA.< /font>

BAYLE, Fran$B9P(Jis. 1995. Un certain Pierre Schaeffer... *Ars sonora* 2. http://www.imaginet.fr/manca/invite/asr/asr2p11 .html [now down]

BORN, Georgina. 1995. *Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde*. Berkeley: University of California Press.

Boulez, Pierre. 'Entries for a Musical Encyclopedia', Revel$B;T(J d'Apprenti, Oxford : Clarendon, 1991.

Boulez, Pierre. 'Technology and the Composer', The Language of Electroacoustic Music, London : Macmillan, 1986.

Chanan Michael - Repeated Takes: a short history of recording and its effect on music, London 1995

CHION, Michel. 1991. *L'art des sons fix$B8e(J, ou la musique concretement*. Fontaine: Metamkine, Nota Bene, Sono Concept.

CHION, Michel. 1995. Le mat$B8d(Jiau en question. *Ars sonora* 2. At http://www.imaginet.fr/manca/invite/asr/asr2p57.html [now down].

CHION, Michel. 1995. Pierre Schaeffer, 1910--1995: une certaine zone objective dans la musique. *Ars sonora* 2. At http://www.imaginet.fr/manca/invite/asr/asr2p06.html [now down].

CHION, Michel. 1997. Une reaction de Michel Chion. *Ars sonora* 5. http://www.imaginet.fr/manca/invite/asr/005asr/asr5_0 5.html [down in June 1999]

Chion, Michel. La musique $BqM(Jectroacoustique, Paris : PUF, 1982.

Cogan, Robert., New images of musical sounds. Harvard University Press, Cambridge, Mass 1985.

COLLIN, Mathew and GODFREY, John. 1998. *Altered State*. London: Serpent's Tail.

DALLET, Sylvie and BRUNET, Sophie. 1997 (undated). *Itineraires d'un chercheur: bibliographie comment$B;F(J de l'oeuvre $B;D(Jrit de Pierre Schaeffer --- A Career in Research: Pierre Schaeffer, a Commented Bibliography of Published Works*. Montreuil-sous-Bois: Centre d'$B;U(Judes et de Recherche Pierre Schaeffer.

De Poli, Giovanni, Piccialli Aldo, Road Curtis (eds.), Representations of Musical Signals. Cambridge/MA : MIT Press, 1991

Delalande, Fran$B9P(Jis. 'La musique $BqM(Jectroacou stique, coupure et continuit$B;(J Ars Sonora, Revue 4, November, 1996.

Dhomont, Francis. 'Acousmatic Update', Journal of Electroacoustic Music, Volume 9, January 1996.

Dhomont, Francis. 'Acousmatic, Qu'est-ce a dire?', Cycle de l'errance, CD, Empreintes Digitales, IMED 9607.

DHOMONT, Francis. 1995. Elements pour une syntaxe. *Ars sonora* 1. At http://www.imaginet.fr/manca/invite/asr/asr1p45.html [now down].

Dobson Richard, A Dictionary of Electronic and Computer Music Technology, OUP, 1992

Dodge, Charles & Jerse Thomas A., Computer music: synthesis, composition, and performance, 1985, Computer Music Journal

Emmerson Simon ed., The Language of ElectroA coustic Music, London, MacMillan, 1986

Emmerson Simon ed., Timbre Composition in Electroacoustic Music, Contemporary Music Review, Harwood 1994 (under journals)

Emmerson, Simon. Analysis and the Composition of Electroacoustic Music, PhD Thesis, City University, 1981.

Emmerson, Simon. Relation of Language to Materials, London : Macmillan, 1986.

Erickson, Robert. Sound Structure in Music, Berkley and Los Angeles : University of California, 1975.

Ernst, David. The Evolution of Electronic Music, London : Collier Macmillan Publishers, 1977.

ESHUN, Kodwo. 1998. *More Brilliant than the Sun: Adventures in Sonic Fiction*. London: Quartet.

ESHUN, Kodwo. 1998. Future Sound of Berlin. *The Wire* 169. Also at http://www.snafu.de/~circonium/music/future.html

F$B)-(JLMER, Golo. 1992. *Dokumentation elektroa kustischer Musik in Europa*. Berlin: Inventionen '92.

Goehr, Lydia. The Imaginary Museum of Musical Works : An Essay in the Philosophy of Music, Oxford : Clarendon Press, 1992.

GRAEVENITZ, Antje von and LANDY, Leigh (eds). 1992. *Avant-Garde and Technology*. Editions Rodopi.

Greenburg, Charlotte. The New Harvard Dictionary of Music, Edited by Don Michael Randel, London : Harvard University Press, 1986.

 Griffiths, Paul - A guide to electronic music, Thames and Hudson 1979

Griffiths, Paul - Modern music and after, Oxford New York : Oxford University Press, 1995

Griffiths, Paul. Modern Music : The avant garde since 1945, London : J M Dent & Sons Ltd., 1981.

Hanslick, Eduard. On the Musically Beautiful: A contribution towards the revision of the Aesthetics of Music, Translated and edited by Geoffrey Payzant, Indianapolis : Hackett Publishing Company, 1986.

Harrison, Jonty. 'Sound, Space, Sculpture: some thoughts on the 'what', 'how', and (most importantly) 'why' of diffusio n...and related topics', Journal of Electroacoustic Music, May, 1996.

Harvey, Jonathan. The Music of Stockhausen : An Introduction, London : Faber, 1975.

HENRY, Pierre. 1997. Electroacoustic Alchemist. *The Wire* 160.

HODGKINSON, Tim. 1996 (?). Sampling, Power, and Real Collision. *Resonance* 5 (1). Also at http://www.l-m-c.org.uk/texts /hodgkinson.html

H$B‹M(Jler, York. 'Resonance: Composition Today', Musical Thought at IRCAM, Volume 1, London : G+B/harwood, 1984.

Kahn, Douglas -  'Noise, Water, Meat: A History of Sound in the Arts' MIT Press; ISBN: 0262112434

KAHN, Douglas and WHITEHEAD, Gregory (eds.). 1992. *Wireless Imagination: Sound, Radio, and the Avant-Garde*. Cambridge: MIT Press.

Kahn, Douglas ed., Wireless Imagination: Sound, Radio and the Avant-Garde, MIT press, 1994

Kolers, Paul A. 'Some Psychological Aspects of Pattern Recognition', Recognising Patterns : Studies in Living and Automatic Systems, ed. Paul Kolers and Murray Eden, Cambridge : Massachusettes Institute of Technology, 1968.

Landy Leigh ed., What's the Matter with Today's Experimental Music? Gordon and Breach, 1991

LANDY, Leigh. 1991. *What's the Matter With Today's Experimental Music?: Organized Sound Too Rarely Heard*. Harwood .

LANDY, Leigh. 1994. *Experimental Music Notebooks*. Gordon & Breach.

LARIVI$Bq3(JE, Regis R$B;O(Jouard. 1996. Osez dire ce que vous appelez pomme. *Ars sonora* 3. At http://www.imaginet.fr/manca/i nvite/asr/asr3_032.html [now down]

LARIVI$Bq3(JE, Regis R$B;O(Jouard. 1997. $B%R(J propos du concept d'objet sonore. *Ars sonora* 5. At http://www.imaginet.fr/manca/i nvite/asr/005asr/asr5_04.html [now down]

Luening,O. The Development and Practice of Electronic Music, New Jersey : Prentice Hall Inc., 1975.

MacDonald, Alistair. 'Performance Practice in the Presentation of Electroacoustic Music', Journal of Electroacoustic Music, Volume 9, May 1996.

Mackay Andy - Electronic Music Phaidon, 1981 (an excellent starting point for history/background)

Manning Peter, Electronic and Computer Music Clarendon Press / OUP, 1985

MANNING, Peter. 1985. *Electronic and Computer Music*. Oxford: Oxford University Press. [revised edition 1993]

Manning, Peter. Electronic and Computer Music, Second Edition, Oxford : Clarendon Press, 1993.

MIRANDA, Eduardo (ed.). 1999. *M$BWT(Jica y nuevas tecnolog$BCB(Js: perspectivas para el siglo XXI*. Barcelona: L'Angelot.

MORRIS, Adalaide. (ed.). 1997. *Sound States: Innovative Poetics and Acoustical Technologies*. With CD. Chapel Hill: University of North Carolina Press.

Nattiez, Jean-Jacques. Music and Discourse: Towards a Semiology of Music, Translated by Carolyn Abbate, New Jersey : Princeton University Press, 1990.

Norman, Katharine ed. APoetryof Reality: Composing with Recorded Sound,Contemporary Music Review, Gordon and Breach, 1996 (under journals)

Nyman, Michael. Experimental Music : Cage and Beyond, London : Studio Vista, 1974.

OSTERTAG, Bob. 1996 (?). Why Computer Music Sucks. *Resonance* 5 (1). Also at http://www.l-m-c.org.uk/texts/ostertag.htm l.

Ouellette, Fernand. Edgar Var$BoT(Je, Translated by Derek Coltman, London : Calder & Boyars, 1966.

PALOMBA, Cristina. 1997. Pierre Schaeffer: alla ricerca dell'oggetto sonoro. *Musica/Realt$B/ (J v. 18, n. 52 (March), pp. 65--78. Libreria Musicale Italiana. Also at http://imiucca.csi.unimi.it/ ~gpiana/dm1schcp.htm

PALOMBINI, Carlos. 1993. Pierre Schaeffer, 1953: towards an Experimental Music. *Music & Letters* 74 (4): 542--57. Also: *Electronic Musicological Review* 3. http://www.cce.ufpr.br/~rem/REMv3 .1/vol3.1/Schaefferi.html

PALOMBINI, Carlos. 1997. Technology & Pierre Schaeffer. *MikroPolyphonie* 4.01. http://farben.latrobe.edu.au/mikro pol/

PALOMBINI, Carlos. 1998. Technology & Pierre Schaeffer: Walter Benjamin$BcT(J *technische Reproduzierbarkeit*, Martin& nbsp; Heidegger$BcT(J *Ge-stell* and Pierre Schaeffer$BcT(J *Arts-Relais*. *Organised Sound* 3 (1): 35--43.

PALOMBINI, Carlos. 1999. La m$BWT(Jica concreta revisada. In Miranda 1999: 25--40 English translation in the *Electronic Musicological Review* 4. http://cce.ufpr.br/~rem/REMv4/vol4/arti-palombini.h tm

Pressing, J. Novelty, 'Progress and Research Method in Computer Music Composition', Proceedings of the 1994 ICMC, Aarhus, Denmark, DIEM, 1994.

REYNOLDS, Simon. 1988. *Energy Flash: a Journey Through Rave Music and Dance Culture*. London: Picador.

RIDDELL, Alistair. 1996. Ecstasy Solf$B=H(Je. *Sounds Australian*, v. 14, n. 47. Also at  http://www.alphalink.com.au /~amr/ES.html

Roads Curtis ed., Composers and the computer, MIT 1985

Roads, Curtis. The Music Machine : Selected readings from Computer Music Journal, London : Massachusetts Institute of Technology, 1989.

Roads Curtis, et. al. (ed.),Aesthetics and Electroacoustic Music, Academie Bourges, Volume I-1995; Acteon Mnemosyne Paris, 1996.

Roads, Curtis, Stephen Travis Pope, Aldo Piccialli, Giovanni De Poli (eds.), Musical Signal Processing, Lisse/NL : Swets & Zeitlinger, 1997.

Rognoni, Luigi. The Second Vienna School : Expressionism and Dodecaphony, Translated by Robert W. Mann, London : John Calder, 1977.

Salzman, Eric. Twentieth Century Music : An Introduction, New Jersey : Prentice Hall, 1988.

SCHAEFFER, Pierre and HODGKINSON, Tim. 1987. Pierre Schaeffer Interviewed by Tim Hodgkinson. *Recommended Records Quarterly Magazine* 2 (1): 4--9. Also: http://www.cs.nww.edu/~tisue/schaeffe r.html and http://ele-mental.coil.com/ele_ment/said&did/schaeffer.interview.htm l

Schaeffer, Pierre. Que sais-je - La Musique Concrete, Paris : Presses Universitaires De France, 1967.

Schoenberg, Arnold. Five Orchestral Pieces op.16, London : Eulenberg, 1922.

SILVA, Conrado. 1985. M$BWT(Jica eletroac$BWT(Jtica na Am$B;S(Jica Latina'. Separate volume of *Art* 13: 105--15. Salvador: Federal University of Bahia.

Smalley, Denis. 'Spectro-morphology and Structuring Processes', The Language of Electroacoustic Music, London : Macmillan,1986.

Sparshott, F.E., 'Aesthetics of Music', The New Grove Dictionary of Music and Musicians, Volume 16, London : Macmillan, 1980.

Stuckenschmidt, H.H. 'The Third Stage: Some observations on the aesthetics of Electronic Music', Translated by Hans G. Helm, Die Reihe, Volume 1, Cologne : Universal Edition, 1958.

Theberge, Paul, Any sound you can imagine: Making Music/Consuming Technology, University Press of New England, 1997

Toop, David  - Ocean of Sound - pub.  Serpent's Tail 1995

Vande Gorne, Annette. 'Les mots pour le dire : Lexique des musiques electroacoustiques', Ars Sonora, Revue 3, March 1996.

Vande Gorne, Annette. 'Une histoire de la musique electroacoustique', Ars Sonora, Revue 3, March, 1996.

Wells, Thomas H.The Technique of Electronic Music, New York : Schirmer Books, 1981.< /font>

Windsor, William Luke. A Perceptual Approach to the Description and Analysis of Acousmatic Music, Ph. D Thesis, Department of Music, City University, London, 1995.

Winkler Todd, Composing interactive music : techniques and ideas using Max, c1998< /font>

Wishart, T. 'Sound Symbols and Landscapes', The Language of Electroacoustic Music, London : Macmillan, 1986.

WOBBLY. (undated). Fun no More: Appropriation for Profit. *Thresholds: Viewing Culture* 10. At http://www.arts.ucsb.edu/~t vc/v10/v10wobbl.html it comprises most of Schaeffer's output (for which see Dallet and Brunet 1997 above), most of Chion's, IRCAM publications and the apparently now extinct *Ars Sonora* online review. the *Contemporary Music Review* 10 (2), of 1994 and the journal *Organised Sound*.

Books around the GRM's tradition, e.g., Musique acousmatique, Pierre Schaeffer, etc., are published at great part by Buchet/Chastel, 18, rue de Cond'e, F-75006 Paris ; Fax : +33-1-44320561 (the new one about PS [Pierre Schaeffer : des Transmissions 'a Orph'ee : Communication et musique entre 1936 et 1986] by l'Harmattan (Paris/Montreal) : 1999, though), and might, perhaps, be ordered via "alapage" http://www.ala page.com/ ;

Excellent catalogue, online, as well as for Paris' visitors -- the Ircam's mediatheque :http://mediatheque.ircam.fr/ articles/index.html

Another one, by the Centre de documentation de la musique contemporaine (cit'e de la musique) : http://www.cdmc.asso.fr/ html/cdmc/present/cdmc_gene.htm (currently under construction, though).