Listening through the Noise: The Aesthetics of Experimental Electronic Music

By Joanna Demers | Go to book overview
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BIBLIOGRAPHY

Abbate, Carolyn. 2004. Music—Drastic or gnostic? Critical Inquiry 30: 505–536.

Adorno, Theodor W. 1997. Aesthetic Theory, trans. Robert Hullot-Kentor. Minneapolis: University of Minnesota Press.

———. 2002a. On jazz. In Essays on Music, trans. Jamie Owen Daniel, 470–495. Berkeley: University of California Press.

———. 2002b. On popular music. In Essays on Music, trans. Jamie Owen Daniel, 437–469. Berkeley: University of California Press.

———. 2002c. On the fetish-character in music and the regression of listening. In Essays on Music, trans. Richard Leppert, 288–317. Berkeley: University of California Press.

Agawu, V. Kofi. 1991. Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton, N.J.: Princeton University Press.

Anderton, Craig. 2004. Keyboard reports: Korg Legacy Collection. Keyboard 30/8: 58–64.

Atkinson, Simon. 2007. Interpretation and musical signification in acousmatic listening. Organised Sound 12/2: 113–122.

Attali, Jacques. 1985. Noise: The Political Economy of Music, trans. Brian Massumi. Minneapolis: University of Minnesota Press.

Augoyard, Jean-François, and Henry Torgue, eds. 2006. Sonic Experience: A Guide to Everyday Sounds, trans. Andrea McCartney and David Paquette. Montréal: McGill-Queen’s University Press.

Auslander, Philip. 1999. Liveness: Performance in a Mediatized Culture. New York: Routledge.

Babbitt, Milton. 2003. The composer as specialist. In The Collected Essays of Milton Babbitt, ed. Stephen Peles, 48–54. Princeton, N.J.: Princeton University Press.

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