Anonymous. 120 Years of Electronic Music: Electronic Musical Instrument 1870-1990. 

http://www.obsolete.com/120_years/, Jan 2006.

Arata, Luis O. Reflections about Interactivity.  Webarticle: http://media-in-transition.mit.edu/articles/arata.html. Des, 1999.

Attali, Jacques. Noise: The Political Economy of Music. Minneapolis: University of Minnisota Press, 1985.

Birnbaum, D; Fiebrink, R; Malloch, J; Wanderley, M. "Towards a Dimension Space for Musical Artifacts" in Proceedings of NIME 2005. (eds.) Fels, Sidney & Blaine, Tina. University of British Columbia. Vancouver: 2005.

Boden, Margaret A. The Creative Mind: Myths and Mechanisms. Wiedenfield and Nicholson. London. 1990.

Bongers, Bert & Harris, Yolande. "A Structured Instrument Design Approach: The Video-Organ" in NIME 2002 Proceedings. Limerick: University of Limerick, Department of Computer Science and Information Systems, 2002.

-----. 2000. "Physical Interfaces in the Electronic Arts. Interaction Theory and Interfacing Techniques for Real-time Performance." In M. Wanderley and M. Battier, (eds). Trends in Gestural Control of Music. Paris: Ircam - Centre Pompidou. 

-----. 1993. "The Use of Active Tactile and Force Feedback in Timbre  Controlling Electronic Instruments", Proceedings, International Computer Music  Conference (ICMC 1993).  

Cage, John. Silence. Hanover: Wesleyan University Press, 1961.

Chadabe, Joel. "The Limitations of Mapping as a Structural Descriptive in Electronic Instruments" in NIME 2002 Proceedings. Limerick: University of Limerick, Department of Computer Science and Information Systems, 2002.

-----. Electric Sound: The Past and Promise of Electronic Music. New Jersey: Prentice Hall, 1997.

-----. “Remarks on Computer Music Culture”. Computer Music Journal, 24:4, pp. 9-11, Winter 2000. Massachusetts Institute of Technology.

Cook, Perry. "Principles for Designing Computer Music Controllers" in Proceedings of NIME 2001. http://hct.ece.ubc.ca/nime/2001/program.html (May, 2005).

Cox, Christoph & Warner, Daniel. Audio Culture: Readings in Modern Music. Continuum, New York, 2004.

Cross, Ian. AI and Music Perception.

http://www-ext.mus.cam.ac.uk/~ic108/AISB99/, June 2002.

Eacott, John. (ed.) Cybersonica: Proceedings. International Festival of Music & Sound. June 5-7 2002. London: University of Westminister, 2002.

------. Form and Transience: Generative Music Composition in Practise.

http://www.informal.org/form_and_transience.htm, May 2002.

------. Morpheus: Emergent Music.

http://www.informal.org/morpheus_emergent_music.htm, May 2002.

Föllmer, Golo. Soft Music. Webarticle: http://crossfade.walkerart.org/foellmer/text_print.html, July, 2002.

Gartland-Jones, Andrew; Copley, Peter. "The Suitability of Genetic Algorithms for Musical Composition" in Contemporary Music Review. Vol. 22, no. 3, 2003.

Gascone, Kim. “The Aesthetics of Failure: ”Post-Digital” Tendencies in Contemporary Computer Music.” Computer Music Journal, 24:4, pp. 12-18, Winter 2000. Massachusetts Institute of Technology.

Hunt, Andy; Wanderley, Marcelo M. & Paradis, Matthew. "The Importance of Parameter Mapping in Electronic Instrument Design" in NIME 2002 Proceedings. Limerick: University of Limerick, Department of Computer Science and Information Systems, 2002.

---- ; Wanderley, Marcelo M. & Kirk, Ross. "Towards a Model for Instrumental Mapping in Expert Musical Interaction", in Proceedings of International Computer Music Conference. 2000.

---- ; Kirk, Ross. "MidiGrid: Past, Present and Future"  in Proceedings of NIME 2003. http://hct.ece.ubc.ca/nime/2003/onlineproceedings/TOC.html (May, 2005).

----- ; R. Kirk. 2000. "Mapping Strategies for Musical Performance." In M. Wanderley and M. Battier, (eds.) Trends in Gestural Control of Music. Paris: Ircam - Centre Pompidou.

Huhtamo, Erkki, “Time Traveling in the Gallery: An Archeological Approach in Media Art” pp. 233-268. Immersed in Technology: Art and Virtual Environments. (ed.) Moser, Mary Anne. Cambridge: The MIT Press, 1996.

Jacob, Bruce L. “Algorithmic composition as a model of creativity” in Organised Sound 1(3), pp. 157-65. 1996. Cambridge University Press.

Jordá, Sergi. "Digital Instruments and Players: Part I - Efficiency and Apprenticeship" in Proceedings of NIME 2004. http://hct.ece.ubc.ca/nime/2004/NIME04/paper/index.html (May, 2005).

-----. New Musical Interfaces and New Music-Making Paradigms. Webarticle: http://www.iua.upf.es/~sergi/articles/NIME2001.pdf, July, 2002.

-----. “Faust Music On Line (FMOL): An Approach to Real-time Collective Composition on the Internet”, Leonardo Music Journal. Vol. 9, pp. 5-12, 1999.

-----. "Multi-user Instruments: Models Examples Promises" in Proceedings of NIME 2005. (eds.) Fels, Sidney & Blaine, Tina. University of British Columbia. Vancouver: 2005.

-----. Digital Lutherie: Crafting musical computers for new musics' performance and improvisation. PhD Thesis, University of Pompeu Fabra, Barcelona: 2005

Kahn, Douglas.  Noise, Water, Meat: A History of Sound in the Arts.  MIT Press, Cambridge, 1999.

LaBelle, Brandon & Steve Roden. Site of Sound: of Architecture and the Ear. Los Angeles: Errant Bodies Press, 1999.

Lansdown, John. Artificial Creativity: An Algorithmic Approach to Art.

http://www.cea.mdx.ac.uk/CEA/External/Staff96/John/artCreat.html, May 2002.

Levitin, Daniel J; McAdams, Stephen & Adams, Robert L. "Control Parameters for Musical Instruments: A 

Foundation for New Mappings of Gesture to Sound" in Organised Sound, 7(2), pp. 171-189.

Link, Stan. “The Work of Reproduction in the Mechanical Aging of an Art: Listening to Noise” in Computer Music Journal, 25:1, pp. 34-47, Spring 2001. Massachusetts Institute of Technology.

McCartney, James. "Rethinking the Computer Music Language: SuperCollider" in Computer Music Journal, 26:4, pp. 61–68, Winter 2002.

-----. "A Few Quick Notes on Opportunities and Pitfalls of the Application of Computers in Art and Music" in Ars Electronica, 2003. Ars Electronica.

Moravcsik, Michael J. Musical Sound: An Introduction to the Physics of Music. Kluwer Academic/ Plenum Publishers. New York: 2002.

Nyman, Michael. Experimental Music: Cage and Beyond. Cambridge: Cambridge University Press, 1974.

Orio, Nicola; Schnell, Norbert & Wanderley, Marcelo M. "Input Devices for Musical Expression: Borrowing Tools from HCI" in Proceedings of NIME 2001. http://hct.ece.ubc.ca/nime/2001/program.html (May, 2005).

Paradiso, Joseph A. "Dual-Use Technologies for Electronic Music Controllers: A Personal Perspective" in Proceedings of NIME 2003. http://hct.ece.ubc.ca/nime/2003/onlineproceedings/TOC.html (May, 2005).

----- "New  ways  to  play:  Electronic music interfaces". IEEE Spectrum 34, 12, 1997. pp. 18-30. 

Pope, Stephen T. "Computer Music Workstations I have Known and Loved." in Proceedings of the 1995 International Computer Music Conference, p. 7. Banff, 1995. 

Pratella, Balilla, Manifesto of Futurist Musicians, 1912, 

http://www.futurism.fsnet.co.uk/manifestos/manifesto05.htm

Puckette, Miller S. "Max at Seventeen" in Computer Music Journal 26/4, pp. 31-43. MIT Press, 2002.

http://www-crca.ucsd.edu/~msp/publications.html (April, 2005)

---- "Using PD as a Score Language" in Proceedings ICMC 2002. pp. 184-187. and http://www-crca.ucsd.edu/~msp/publications.html (April, 2005)

---- "A Divide Between 'Compositional' and 'Performative' Aspects of PD" reprinted from the PD convention in Graz 2004. http://www-crca.ucsd.edu/~msp/publications.html (April, 2005)

Reich, Steve. Music as Gradual Process. (1968). Webarticle: http://www.oberlin.edu/~jaltieri/gradualprocess.html. June, 2002.

Richard, Dominique. “Code-notes-music: an epistemological investigation of algorithmic music” in Organised Sound 1(3), pp. 173-7. 1996. Cambridge University Press.

Roads, Curtis. The Computer Music Tutorial. The MIT Press, Cambridge, Massachusetts, 1996.

-----. Microsound. MIT Press, Cambridge, Massachussets, 2001.

Rovan, J; Wanderley, M; Dubnov, S and Depalle, P. "Instrumental Gestural Mapping Strategies as Expressivity Determinants in Computer Music Performance." Kansei, The Technology of Emotion. Proceedings of the AIMI International Workshop, A. Camurri, ed. Genoa: Associazione di Informatica Musicale Italiana, pp. 68-73. 1997.

Russolo, Luigi. The Art of Noise, 1913. (webarticle) http://www.futurism.fsnet.co.uk/manifestos/manifesto09.htm, Jan, 2002.

Ryan, Joel. Instrument Design at STEIM. http://www.steim.org/steim/texts.php

Schnell, Norbert & Battier, Marc. "Introducing Composed Instruments, Technical and Musicological Implications" in NIME 2002 Proceedings. Limerick: University of Limerick, Department of Computer Science and Information Systems, 2002.

Schwarz, K. Robert. Minimalists. London: Phaidon, 1996.

Supper, Martin. “A Few Remarks on Algorithmic Composition” in Computer Music Journal, 25:1, pp. 48-53, Spring 2001. Massachusetts Institute of Technology.

Tanaka, Atau. "Mobile Music Making" in Proceedings of NIME 2004. http://hct.ece.ubc.ca/nime/2004/NIME04/paper/index.html (May, 2005).

Toop, David. Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds. London: Serpent’s Tail, 1995.

Verplank, Bill; Sapp, Craig & Mathews, Max. "A Course on Controllers", in Proceedings of NIME 2001. http://hct.ece.ubc.ca/nime/2001/program.html (May, 2005).

Waisvisz, Michel. "Composing the Now", 2003 lecture: http://crackle.org/composingthenow.htm, Accessed: Sept 2005.

-----. "Waisvisz on Gestural Controllers". http://crackle.org/MW's%20gestural%20round%20table.htm, Accessed: Sept 2005.

-----. "Touchstone" http://crackle.org/touch.htm, Accessed: Sept 2005.

Wanderley, Marcelo M. "Performer-Instrument Interaction: Applications to Gestural Control of Sound Synthesis". PhD thesis. Paris: 2001. http://www.ircam.fr/wanderle/Thesis/Thesis_comp.pdf

-----., and Battier, M (eds). Trends in Gestural Control of Music. Paris: Ircam - Centre Pompidou. 2000.

Wessel, David & Wright, Matthew. "Problems and Prospects for Intimate Musical Control of Computers", in Proceedings of NIME 2001. http://hct.ece.ubc.ca/nime/2001/program.html (May, 2005).

-----., M. Wright, and J. Schott. "Intimate Musical Control of Computers with a Variety of Controllers and Gesture Mapping Metaphors." In Proceedings of the 2002 International Conference on New Interfaces for Musical Expression - NIME02, pp. 171-173. 2002.

Wilson, Stephen. Information Arts: Intersections of Art, Science and Technology. Cambridge, The MIT Press, 2002.

Wishart, Trevor. On Sonic Art. Hardwood Academic Publishers, Amsterdam. 1996.

Xenakis, Iannis. “Tutorial Article. Determinacy and indeterminacy” in Organised Sound 1(3), pp. 143-55. 1996. Cambridge University Press.

Young, John P. Networked Music: Bridging Real and Virtual Space.

http://www.netmuse.org/intro.html, July 2002.

Z, Pamela. A Tool is a Tool. http://www.pamelaz.com/tool.htm, July 2002.

Zölzer, Udo. (ed). DAFX: Digital Audio Effects. Wiley, Chicester. 2002.