Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-fscjk Total loading time: 0 Render date: 2024-12-28T19:59:18.807Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  05 January 2024

Jonathan Goldman
Jonathan Goldman
Affiliation:
Université de Montréal
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Avant-Garde on Record
Musical Responses to Stereos
 , pp. 282 - 310
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Secondary Sources

Boulez, Pierre, Figures–Doubles–Prismes für Orchester (London: Universal Edition UE 13994, 1964).Google Scholar
Brant, Henry, Antiphony One, for Symphony Orchestra (New York: Carl Fischer, 1977).Google Scholar
Braxton, Anthony, Composition 82, for Four Orchestras (New York: Tri-Centric Foundation, 1978).Google Scholar
Dutilleux, Henri, Symphonie no. 2 (“Le Double”) (Paris: eugel, 1959).Google Scholar
Ives, Charles, Symphony No. 4, James B. Sinclair, William Brooks, Kenneth Singleton, Wayne D. Shirley and Thomas M. Brodhead (eds.) (New York: Associated Music Publishers, 2011).Google Scholar
Mayuzumi, Toshirō, Nirvāna Symphony, for Male Chorus and Orchestra (New York: Peters EP6336, 1969).Google Scholar
Nono, Luigi, Composizione per orchestra Nr. 2. Diario polacco 58 (Mainz: Ars Viva, 1959).Google Scholar
Pousseur, Henri, Rimes pour différentes sources sonores (Milan: Edizioni Suvini Zerboni, 1962).Google Scholar
Schuller, Gunther, Spectra, for orchestra (New York: Associated Music Publishers 10798, 1964)Google Scholar
Somers, Harry, Stereophony, for orchestra (Toronto: E. C. Kerby, 1968).Google Scholar
Stockhausen, Karlheinz, Gruppen für 3 Orchester (London: Universal Edition UE 13673, 1963).Google Scholar
Stravinsky, Igor, Canticum Sacrum: Ad Honorem Sancti Marci Nominis for tenor & baritone soli, chorus & orchestra (London: Boosey & Hawkes, 1956).Google Scholar
Tremblay, Gilles, Cantique de durées (Paris: Éditions Salabert, 1960).Google Scholar
Albert Roussel/Henri Dutilleux-Suite en fa/2e Symphonie “Le Double,” LP, Erato STE 50278, 1966.Google Scholar
Anthony Braxton: For Four Orchestras, LP, Arista A3 L 8900, 1978.Google Scholar
Arnold Schönberg, Pierrot Lunaire, Pierre Boulez (cond.), LP, Wergo (Studio reihe neuer Musik), WER 60001, 1963.Google Scholar
Au temps des Dames de Chenonceaux. Légende historique, LP, music by René Cloërec, Ensemble vocal Marcel Couraud, Philips P 76.702 R, 1953.Google Scholar
Bernstein Live, 10 CD box set, New York Philharmonic, 2003.Google Scholar
Boucourechliev, Catherine Collard – Archipel 4, LP, Philips (Modern Music Series), 6504 112, 1971.Google Scholar
Butor/Pousseur, Votre Faust, LP box set, BASF/Harmonia Mundi, 01 21580-6 1-3 (French ed.), 01 20358–1 1–3 (German ed.), 1973.Google Scholar
Darmstadt Aural Documents Box 1, CD box set, NEOS 11,060, 2010.Google Scholar
Earle Brown Contemporary Sound Series, Vols. 1–6, 6 CD set, WER 6928 2, WER 6931 2, WER 6934 2, WER 6937 2, WER 6940 2, WER 6943–2, 2009–2012.Google Scholar
Gabrieli: Canzonas for Brass, Winds, Strings and Organ, LP, Columbia Masterworks MS 7142, 1968.Google Scholar
The Glory of Gabrieli (Music for Multiple Choirs, Brass and Organ), LP, Columbia Masterworks MS7071, 1968.Google Scholar
The Glory of Venice: Gabrieli in San Marco, LP, Columbia Masterworks M30937, 1971.Google Scholar
Iannis Xenakis/Betsy Jolas/André Boucourechliev – New Sounds from Paris, LP, Angel Records – S–36655, 1968.Google Scholar
Ici a commencé l’histoire, LP, Arab Republic of Egypt, Ministry of Culture, Organisation of Egyptian Antiquities, S.T. 5, S.T. 6, 1961.Google Scholar
Karlheinz Stockhausen – Complete Piano Music, LP, CBS 77,209 1967.Google Scholar
Karlheinz Stockhausen: Gesang der Jünglinge/Kontakte, LP, SLPM 138,811, 1962.Google Scholar
Karlheinz Stockhausen: Gruppen/Carré, LP, Deutsche Grammophon (coll. Avant-garde) 104,989, 1968.Google Scholar
Karlheinz Stockhausen – Max Neuhaus – Zyklus – Four Realizations by Max Neuhaus, CD, Alga Marghen–plana-N 23NMN.054, 2004.Google Scholar
Karlheinz Stockhausen – Studie I/Studie II/Gesang der Jünglinge, LP, Deutsche Grammophon – LP 16133, 1957.Google Scholar
Karlheinz Stockhausen – Zyklus für einen Schlagzeuger: Von zwei Schlagzeugern in zwei verschiedenen Fassungen gespielt/Klavierstück X, LP, Wergo, WER 60010, 1970.Google Scholar
Karlheinz Stockhausen, Kontakte, LP, Wergo, WER 60009, 1964.Google Scholar
Karlheinz Stockhausen, Mikrophonie I and II, LP, Columbia Masterworks, MS 7355, 1967.Google Scholar
Leopold Stokowski/American Symphony Orchestra – Ives – Symphony No. 4, LP, Columbia Masterworks, MS 6775, 1965.Google Scholar
Luciano Berio et Karlheinz Stockhausen, Klavierstücke IX & XI/Cinque Variazioni/Sequenza IV, LP, Marie-Françoise Bucquet (piano), Philips, 6500–101, 1970.Google Scholar
Luciano Berio, Pierre Boulez, Olivier Messiaen, Karlheinz Stockhausen – Serenata I/Sonatine/Cantéyodjayâ/Zeitmasze, LP, Vega (Présence de la musique contemporaine), C30A139, 1958.Google Scholar
Luigi Nono – Maderna Volume 17, CD, Arkadia – CDMAD 027.1, 1992.Google Scholar
Le Marteau sans maître/Nr. 5 Zeitmasse for Five Woodwinds, LP, cond. Robert Craft, Columbia Masterworks, ML 5275, 1958.Google Scholar
Maurice Jarre: Musique de scène pour le théâtre national populaire, CD, BMG 7432146832–2, 1997.Google Scholar
The New Music. Karlheinz Stockhausen, Krzysztof Penderecki, Earle Brown, Henri Pousseur, Rome Symphony Orchestra, Bruno Maderno (cond.), LP, RCA Victrola, RCA VICS 1239, 1967.Google Scholar
Pierre Boulez – Henri Pousseur – Mauricio Kagel – Karlheinz Stockhausen – Les concerts du domaine musical, LP, Vega, C30–A278, 1960.Google Scholar
Pierre Boulez – Le Marteau sans maître, LP, Vega C35A67, 1956.Google Scholar
Pierre Boulez – Le visage nuptial/Le soleil des eaux/Figures, Doubles, Prismes, CD, Erato 2292–45494, 1990.Google Scholar
Pierre Boulez, Structures pour deux pianos, premier livre et deuxième livre, LP, Wergo (Studio reihe neuer Musik), WER 60011, 1965.Google Scholar
Sound in the Round, LP, Concert-Disc, CS-22, 1958.Google Scholar
Sounds in Space, LP, RCA Victor, SP 3313, 1958.Google Scholar
Stravinsky: Agon, Canticum Sacrum, LP, Columbia Masterworks, mono: ML 5215, 1957, stereo: MS 6022, 1959.Google Scholar
Toshirō Mayuzumi: Nirvãna-Symphonie, LP, Time Records, LP, S/8004, 1962; Mainstream Records MS 5012, 1970; Toshiba, LP TA 72028, n.d.; Philips PH 8536, 1978.Google Scholar
Variations for Orchestra/Spectra/Correspondences/Atlas Eclipticalis, Deutsche Grammophon, CD, 431 698–2, 1994.Google Scholar
Webern/Nono/ Stockhausen/Boulez – Les Concerts Du Domaine Musical, LP, Vega C30A66, 1956.Google Scholar
Adorno, Theodor W., “The Form of the Phonograph Record (1934),” Thomas Y. Levin (trans.), October 55 (Winter 1990), pp. 56–61.Google Scholar
Alvarès, Albert Lévi, “Le Disque et la musique contemporaine,” Esprit 280 (1960), pp. 124–131. www.jstor.org/stable/24255083.Google Scholar
Amy, Gilbert, “Orchestre et espace sonore,” Esprit (Jan. 1960), pp. 75–89; 85.Google Scholar
Anon, ., “John Cage Offers Stereophonic Concert Including Eight Radios and Four Pianos,” New York Times (31 May 1956), p. 21.Google Scholar
Anon, “Mozart in Aix-en-Provence,” Darmstädter Echo (4 August 1959).Google Scholar
Anon, “Le ‘Requiem’ de Berlioz en stéréophonie,” Le Monde, 11 December 1958, p. 13.Google Scholar
Anon, “Reviews and Ratings of New Classical Albums,” Billboard (16 March 1959), p. 57.Google Scholar
Anon, “WFUV To Program Stereophonic FM: Fordham Radio Station Will Begin Broadcasts Oct. 1 – New Technique Planned,” New York Times (22 September 1958), p. 52.Google Scholar
Barraqué, Jean and Hodeir, André, Dans le secret et l’inattendu: correspondance et essais, Feneyrou, Laurent and Fargeton, Pierre (eds.) (Sampzon: Delatour, 2021).Google Scholar
Barthes, Roland, “L’Activité structuraliste” (1963), in Roland Barthes, Essais critiques (Paris: Seuil, 1964), pp. 221–228; Eng. trans., “Structuralist activity,” in Barthes, Critical Essays, trans. Richard Howard (Evanston, IL: Northwestern University Press, 1972), pp. 213–220.Google Scholar
Barthes, RolandLe plaisir du texte (Paris: Seuil, 1973).Google Scholar
Berio, Luciano, “Nostro Faust,” in Scritti sulla musica, ed. Angela Ida De Benedictis (Turin: Einaudi), pp. 398–405; French transl., “Notre Faust,” Contrechamps 1(1983), pp. 51–56.Google Scholar
Berlioz, , Grand traité d’instrumentation et d’orchestration (Paris: Schonenberger, 1843).Google Scholar
Bernhart, José, “Relation entre l’acoustique architecturale et l’acoustique microphonique,” Annales des Télécommunications 5/10 (1950), pp. 338–346.Google Scholar
Bernhart, José, Traité de prise de son (Paris: Éditions Eyrolles, 1949).Google Scholar
Boulez, Pierre, L’écriture du geste: Entretiens avec Cécile Gilly sur la direction d’orchestre (Paris: Bourgois, 2002).Google Scholar
Boulez, Pierre “ … explosante-fixe …, ” Tempo 98 (1972), pp. 22–35.Google Scholar
Boulez, Pierre Music Lessons: The Collège de France Lectures, Dunsby, Jonathan, Goldman, Jonathan and Whittall, Arnold (eds.) (London/Chicago: Faber/University of Chicago Press, 2018).Google Scholar
Boulez, Pierre Orientations: Collected Writings, ed. Nattiez, Jean-Jacques trans. Martin Cooper (London: Faber, 1986).Google Scholar
Boulez, Pierre Penser la musique aujourd’hui (Paris: Denoël-Gonthier, 1963); Eng. transl., Boulez on Music Today, trans. Susan Bradshaw (London: Faber, 1971).Google Scholar
Boulez, Pierre Points de repère I. Imaginer, ed. Nattiez, Jean-Jacques (Paris: Bourgois: 1991).Google Scholar
Boulez, Pierre Stocktakings from an Apprenticeship, trans. Stephen Walsh, introduction by Piencikowski, Robert T. (Oxford University Press, 1991).Google Scholar
Boulez, Pierre and Deliège, Célestin, Par volonté et par hasard (Paris: Seuil, 1975); Eng. transl., Conversations with Célestin Deliège (London: Eulenberg, 1976).Google Scholar
Brant, Henry, “The uses of antiphonal distribution and polyphony of tempi in composing,” American Composers’ Alliance Bulletin 4/3 (1955), pp. 13–15; p.14.Google Scholar
Braxton, Anthony, Composition Notes, book D (Synthesis Music, 1988).Google Scholar
Braxton, Anthony Tri-Axium Writings (San Francisco: Synthesis Music, 1985), 3 vols.Google Scholar
Braxton, AnthonyTri-Centric System Notes, brochure (2016).Google Scholar
Britton, Dorothy, “Symphony ‘Nirvāna’,” Concert Program, NHK Symphony, cond. Hiroyuki Iwaki, 2 April 1958.Google Scholar
Brown, Earle, “General instructions for conducting ‘open form’” (1962), https://earle-brown.org/wp-content/uploads/Earle-Brown-open-form-general-instructions.pdfGoogle Scholar
Butor, Michel, 6 810 000 mille litres d’eau par seconde : etude stereophonique (Paris: Gallimard, 1965). “1. Influence de formes musicales sur quelques œuvres,” Musique en Jeu 4 (1971), pp. 63–70.Google Scholar
Butor, Michel “La Musique: Art Réaliste,” Esprit 280 (1960), pp. 138–156.Google Scholar
Butor, Michel Correspondance, 1955–1978 (Nantes: Éditions Joseph K, 1996).Google Scholar
Butor, Michel Description de San Marco (Paris: Gallimard, 1963).Google Scholar
Butor, Michel Entretiens: Quarante ans de vie littéraire (Nantes: Éditions Joseph K, 1999).Google Scholar
Butor, Michel “L’espace du Roman,” in L’espace du roman: Essais sur le roman (Paris: Gallimard, 1969).Google Scholar
Butor, Michel Michel Butor (Paris: Seghers, 2003).Google Scholar
Butor, Michel Mobile; étude pour une représentation des Etats-Unis (Paris: Gallimard, 1962).Google Scholar
Butor, Michel Répertoire (Paris: Editions de minuit, 1960).Google Scholar
Butor, Michel “Le théâtre et la musique aujourd’hui” (1963), in Borio, Gianmario and Danuser, Hermann (eds.), Im Zenit der Moderne: Die Internationalen Ferienkurse für Neue Musik Darmstadt 1946–1966 (Freiburg im Breisgau: Rombach, 1997), vol. III, pp. 229–234.Google Scholar
Butting, Max, “Music of and for the Radio,” Modern Music 8/3(1931), pp. 15–19.Google Scholar
Butting, Max “Musik für Radio-Orchester, op. 37,” Pult und Taktstock 6/1 (1929), p. 15.Google Scholar
Caudron, Jean-Philippe, “Son et lumière: Une plongée féérique dans l’histoire de la France,” La Vie catholique (May 1960), pp. 20–22.Google Scholar
Cayssials, Alfred, “La voie du son et lumière reste ouverte,” Revue française de l’électricité 238 (1972), pp. 38–39.Google Scholar
Chamfray, , Claude, “Premières auditions françaises,” Courier musical de France 41(1973), p. 19.Google Scholar
Charbonnier, Georges, Halbreich, Harry and Varese, Edgard, Entretiens avec Edgard Varese (Paris: P. Belfond, 1970).Google Scholar
Christ, Yvan, “Dénoncez les vandales: Une grande campagne dirigée,” Arts (16 April 1958), n.p.Google Scholar
Christ, Yvan “Pour ou contre ‘Son et lumière’. Les adversaires l’emportent sur les partisans,” Arts (19 December 1956), n.p.Google Scholar
Clark, Sedgwick, “Boulez – Complete Works on DG,” Musical America Blogs (1 August 2013), www.musicalamerica.com/mablogs/?p=12689.Google Scholar
Cohn, Arthur, “Review of Recorded Music: Stereo,” Musical Courier (July 1959), p. 15.Google Scholar
Cowell, Henry, “Review of First American Performance of Déserts,” Musical Quarterly 41/3 (1955), pp. 370–373.Google Scholar
Crespelle, Jean-Paul, “Paul Robert-Houdin a eu l’idée de ‘Son et lumière’ en voyant le château de Chambord illuminé un soir d’orage en 1947 par la foudre,” France-Soir (9 August 1958).Google Scholar
Croche, Florestan, “New Records: A Masterpiece by Charles Ives,” The Baltimore Sun (2 January 1966), p. 81.Google Scholar
D. R., “The International Scene: Cologne Host to 34th Festival of the ISCM,” Musical Courier (Aug. 1960), p. 23.Google Scholar
Dahlhaus, Carl, Aesthetics of Music, William Austin (trans.) (Cambridge University Press, 1982).Google Scholar
Deleuze, Gilles, “Renverser le platonisme (les simulacres),” Revue de Métaphysique et de Morale 71/4 (1966), pp. 426–438.Google Scholar
Donat, Misha, Review of LP RCA RL11674, Tempo 123 (Dec. 1977), pp. 34–35.Google Scholar
Dutilleux, Henri, “Diversities in Contemporary French Music,” in Kasemets, Udo and Beckwith, John (eds.), The Modern Composer and His World (Toronto: University of Toronto Press, 1961), pp. 77–85.Google Scholar
Dutilleux, Henri Mystère et mémoire des sons, entretiens avec Claude Glayman (Arles: Actes Sud, 1997).Google Scholar
Earle Brown Music Foundation, “A Life in Music” (2013), www.earle-brown.org/#life_in_music.Google Scholar
Eco, Umberto, The Open Work, trans. Anna Cancogni (Cambridge, MA: Harvard University Press, 1989).Google Scholar
Ericson, Raymond, “Concert: Japanese Music,” New York Times (3 November 1979), p. 13.Google Scholar
Freas, Ralph, “Not All Stereo is Good Hi-Fi Sound,” Billboard (23 February 1957), p. 32.Google Scholar
Froment-Coste, Yves, “‘La stéréophonie’, qui assure le relief du son comme on obtient le relief de l’image verra les débuts radiophoniques de René Clair,” Le Figaro, 10 June 1950, pp. 1, 7.Google Scholar
Garlick, Lewis, “The Graphic Artist and the Record Industry,” Journal of the Audio Engineering Society, 25/10–11 (1977), pp. 779–784.Google Scholar
Gavoty, Bernard (alias “Clarendon”), “Pierre Boulez ou La polka des chaises,” Le Figaro (18 March 1958), p. 18.Google Scholar
Gaymard, L. “L’illumination des grands monuments, les spectacles de son et lumière.” Revue des collectivités locales (Dec. 1958), pp. 3–13.Google Scholar
Goléa, Antoine, La musique de la nuit des temps aux aurores nouvelles (Paris: Alphonse Leduc, 1977).Google Scholar
Goléa, Antoine Rencontres avec Pierre Boulez (Paris: Julliard, 1958).Google Scholar
Gould, Glenn, “The Prospects of Recording,” High Fidelity 16/4(1966), p. 47.Google Scholar
Gould, Glenn “Radio as Music: Glenn Gould in Conversation with John Jessop,” The Glenn Gould Reader, ed. Tim Page (New York: Vintage Books, 1990), pp. 374–388.Google Scholar
Hall, David, “A Masterwork Takes Its Rightful Place: Ives’ Fourth Symphony Brilliantly Realized by Conductor Leopold Stokowski,” Hi-Fi Stereo Review (Nov. 1965), pp. 81–82.Google Scholar
Hall, David “Premiere and Cultural Turning Point: Charles Ives’ Fourth Symphony,” Hi-Fi Stereo Review (July 1965), pp. 55–58.Google Scholar
Hamilton, David, “Stockhausen, Karlheinz (1928–) Klavierstucke I–XI,” in Records in Review 1969 Edition (Great Barringon, MA: Wyeth Press, 1969), pp. 366–367.Google Scholar
Hamon, Jean, “Propos sur Doubles de Pierre Boulez,” Combat (20 March 1958), p. 2.Google Scholar
Hamon, Jean “Toujours à propos de Doubles de Pierre Boulez,” Combat (24 March 1958), p. 2.Google Scholar
Hamon, Jean “Où en est la stéréophonie?” Combat (26 August 1960).Google Scholar
Helm, Everett, “Darmstadt Holiday Courses for New Music,” Musical Times 100/1401 (Nov. 1959), p. 615.Google Scholar
Helm, Everett “Donaueschingen,” Musical Times 100/1402 (Dec. 1959), p. 676.Google Scholar
Helm, Everett “Donaueschingen Festival and Space Music,” The Musical Times 99/1390 (Dec. 1958), p. 676.Google Scholar
Helm, Everett “Space, It’s Wonderful,” Saturday Review 41 (15 November 1958), p. 55.Google Scholar
Ingarden, Roman, The Work of Music and the Problem of Its Identity, trans. Adam Czerniawski, ed. Harrell, Jean G. (Berkeley: University of California Press, 1986).Google Scholar
Ives, Charles, Memos, ed. Kirkpatrick, John (New York: Norton, 1991).Google Scholar
“Journées internationales de musique expérimentale,” festival programme, 5–10 October 1958, www.centre-iannis-xenakis.org/items/show/721.Google Scholar
Kasemets, Udo and Beckwith, John, The Modern Composer and His World: A Report from the International Conference of Composers, Held at the Stratford Festival, Stratford, Ontario, Canada, August 1960. Toronto: University of Toronto Press, 1961.Google Scholar
Keller, Hans, “The New in Review: Donaueschingen, 1959,” The Music Review 21/1(Feb. 1960), pp. 79–80.Google Scholar
Kirby, Fred, “New Avant-Garde LP’s Out – A La Mod,” Billboard (25 March 1967), p. 34.Google Scholar
Klein, Howard, “The Ives Fourth: An Audacious Yankee Masterpiece,” New York Times (31 October 1965), p. X23.Google Scholar
Koegler, Horst, “The International Scene: Berlin,” Musical Courier (Dec. 1958), p. 23.Google Scholar
Kolben, Robert, “Stereophony Today: A Brief Review,” Gravesaner Blätter 19–20 (1960), p. 183.Google Scholar
Kozinn, Allan, “Andrew Kazdin, Record Producer, Dies at 77,” New York Times (30 November 2011), www.nytimes.com/2011/12/01/arts/music/andrew-kazdin-classical-record-producer-dies-at-77.html.Google Scholar
Kraglund, John, “Stereo Comes Alive for TSO,” The Globe and Mail (16 March 1963), p. 15.Google Scholar
Lachenmann, Helmut, [“Luigi Nono”], lecture at the Hochschule für Musik, Stuttgart (26 October 1960), in De Benedictis, Angela Ida and Mosch, Ulrich (eds.), Alla ricerca di luce e chiarezza (Florence: Leo Olschki, 2012), pp. 219–231.Google Scholar
Lange, Art, “Record Reviews: Anthony Braxton, For Four Orchestras,” Downbeat (7 June 1979), p. 18.Google Scholar
Larrabee, Eric, “Jazz Notes,” Harper’s 225/1346 (1962), p. 96.Google Scholar
Lehmann, Hans Ulrich, “First Performances: Boulez’s Figures Doubles Prismes,” Tempo 68 (1964), 34–35.Google Scholar
Leibowitz, René, Le compositeur et son double. Essais sur l’interprétation musicale (Paris: Gallimard, 1971); augmented ed., 1986.Google Scholar
Lyon, Raymond, Guide du concert et du disque 39/229 (3 April 1959).Google Scholar
Mallarmé, Stéphane, Le “Livre” de Mallarmé: premières recherches sur des documents inédits, ed. Scherer, Jacques (Paris: Gallimard, 1957).Google Scholar
Maquet, Jean, “La haute fidélité, un bien ou un mal pour la musique?,” Paris-Match 833 (27 March 1965), pp. 3–9.Google Scholar
McClure, John, “How we taped the sound of San Marco,” High Fidelity (Feb. 1968), pp. 52–58.Google Scholar
McEvoy, Clovis, “Beyond Stereo: Dolby Atmos and the Race for Space,” MusicTech (26 November 2021), https://musictech.com/guides/essential-guide/beyond-stereo-dolby-atmos-and-the-race-for-space/.Google Scholar
McMillan, Ann, “Celebrated Villager: Edgard Varèse 1883–1965,” Contemporary Music Review 23/1(2004), pp. 3–9.Google Scholar
Moles, Abraham André, Rohmer, Elisabeth and Schwach, Victor. Psychosociologie de l’espace. Paris: L’Harmattan, 2012.Google Scholar
Morgan, Robert P., Review of Gruppen LP DGG 137002 in High Fidelity’s Records in Review, 1970, p. 355.Google Scholar
Morgan, Robert P. Review of Archipels in Records in Review 1971 Edition (Great Barrington, MA: Wyeth Press, 1971), p. 193.Google Scholar
Nono, Luigi, “Geschichte une Gegenwart in der Musik von heute,” (1959), Darmstädter Beiträge zur neuen Musik 3 (1960), pp. 41–47; Eng. transl., “The Historical Reality of Music Today,” The Score 27 (1960), pp. 41–45.Google Scholar
Nono, Luigi Écrits, ed. Feneyrou, Laurent (Paris: Bourgois, 1993).Google Scholar
Nono, Luigi Luigi Nono. Scritti e colloqui, ed. de Benedictis, Angela Ida and Rizzardi, Veniero (Milan: Ricordi-LIM, 2001), vol. 1.Google Scholar
Patterson, Charles A., “Jazz and All That,” Audio Magazine (Aug. 1958), p. 69.Google Scholar
Peignot, Jérôme, “À propos de la musique dans les spectacles son et lumière,” Musica 35 (Feb. 1957), pp. 8–12.Google Scholar
Pestalozza, Luigi, “Musica Applicata,” Musica d’oggi: nuova serie 1/8 (1958), pp. 502–503.Google Scholar
Philippot, Michel, “Les formes musicales déterminées par une pensée radiophonique: Musique pour la radio – Musique crée par la radio (1976),” in Id., Écrits (Sampzon: Delatour, 2010), pp. 541–551.Google Scholar
“PIERRE BOULEZ v. COMMISSIONER OF INTERNAL REVENUE, RESPONDENT,” United States Tax Court, 16 October 1984, No. 12705–79, https://casetext.com/case/boulez-v-commissioner-of-internal-revenue–1Google Scholar
Pincherle, Marc, “La musique,” Les Nouvelles Littéraires (20 March 1958), p. 10.Google Scholar
Poullin, Jacques, “Son et espace,” La Revue musicale 236, pp. 105–114.Google Scholar
Pousseur, Henri, Écrits théoriques 1954–1967, ed. Decroupet, Pascal (Sprimont: Mardaga, 2004).Google Scholar
Pousseur, Henri Musiques croisées (Paris: L’Harmattan, 1997).Google Scholar
Reynolds, Roger, “Thoughts on what a record records,” The Phonograph and Our Musical Life: Proceedings of a Centennial Conference 7–10 December 1977, ed. Wiley Hitchcock, E. (New York: Institute for Studies in American Music (ISAM Monographs no. 14), 1980), pp. 28–34.Google Scholar
Robert-Houdin, Paul, Monmarché, Georges and Duran, Frédérique, La féerie nocturne des châteaux de la Loire (Paris: Hachette, 1958).Google Scholar
Rolontz, Bob, “Sound Record Sales Boom after 3 Years of Stereo,” Billboard Music Week (6 November 1961), p. 15.Google Scholar
Rostand, Claude, “Igor Markevitch et Pierre Boulez à Aix,” Le Monde (31 July 1959), p. 9.Google Scholar
Roux, E., “Les spectacles de ‘Son et lumière’,” Gazette de Lausanne (27 September 1957).Google Scholar
Salzman, Eric, “Disks: Lukas Foss. Composer Revives Contemporary Art as Foundation for His Technique,” New York Times (13 May 1962), p. X14.Google Scholar
Sandow, Greg, “From Miles Davis to Bjork, They’ve Loved Stockhausen,” Wall Street Journal (19 December 2007), www.wsj.com/articles/SB119802039672937905.Google Scholar
Santon, Chester, “Light Listening,” Audio (Apr. 1961), p. 8.Google Scholar
Schneider, Marcel, “La musique à Paris,” Combat (27 March 1958), p. 3.Google Scholar
Schneider, Marcel “La vita musicale all’estero: Francia,” Musica d’oggi n° 2 (1959), pp. 172–174.Google Scholar
Schonberg, Harold C., “Munch Directs Local Premiere of Symphony no. 2 by Dutilleux,” New York Times (17 December 1959), p. 49.Google Scholar
Schonberg, Harold C. “A Complex Score Is Ives’ no. 4,” New York Times (25 April 1965), p. X13.Google Scholar
Schuller, Gunther, Gunther Schuller: A Life in Pursuit of Music and Beauty (London: Boydell & Brewer, 2011).Google Scholar
Shanet, Howard, “Notes on the Programs,” concert program, New York Philharmonic, Leonard Bernstein (cond.), 1–3 April 1960, p. 2. New York Philharmonic Digital Archives, https://archives.nyphil.org/index.php/artifact/74b8c37d-2efc-4216-8a82-4b0da4628909-0.1/fullview#page/2/mode/2up.Google Scholar
Siohan, Robert, “Stéréophonie et haute fidélité,” Le Monde (7 March 1959), p. 13.Google Scholar
Stockhausen, Karlheinz, “Music and Space,” Die Reihe 5 (1961), p. 71.Google Scholar
Stockhausen, Karlheinz “Clavier Music 1992,” Perspectives of New Music 31/2 (1993), pp. 136–149.Google Scholar
Stockhausen, Karlheinz Texte, vol. 2 (Cologne: DuMont, 1964).Google Scholar
Stravinsky, Igor, An Autobiography (New York: Norton, 1962).Google Scholar
Stravinsky, Igor Confidences sur la musique, propos recueillis (1912–1939), Dufour, Valérie (Arles, Actes Sud, 2013).Google Scholar
Stravinsky, Igor “New Sound as Stravinsky Hears It: Stravinsky and Sound,” New York Times (15 March 1959), pp. M1, 14.Google Scholar
Stravinsky, Vera and Craft, Robert, Stravinsky: In Pictures and Documents (New York: Simon & Schuster, 1978).Google Scholar
Strongin, Theodore, “When the Listener Is Composer,” The New York Times (16 June 1968).Google Scholar
Strongin, Theodore “When Teen-agers Get to College,” New York Times (10 December 1967), p. 192.Google Scholar
Sunier, John, The Story of Stereo (New York: Gernsback, 1960).Google Scholar
Tardieu, Jean, “Décade de musique expérimentale,” Le Revue musicale 236 (1957), pp. 103–104.Google Scholar
Tatnall Canby, Edward, “More Stereo Tapes,” Audio Magazine (Oct. 1956), p. 72.Google Scholar
Tatnall Canby, Edward “Record Revue,” Audio Magazine (Jan. 1960), p. 46.Google Scholar
Tatnall Canby, Edward “Record Revue,” Audio Magazine (Dec. 1962), p. 50.Google Scholar
Taubman, Howard, “Music: Schuller ‘Spectra’: Philharmonic Offers Premiere of Work,” New York Times (16 January 1960), p. 14.Google Scholar
Taubman, Howard “Music: Strange Doings,” New York Times (2 April 1960), p. 17.Google Scholar
Tremblay, Gilles, “Note pour Cantique de durées,” Revue d’esthétique 21/2–4 (1968), pp. 51–58; repr. in Circuit 6/1 (1995), pp. 43–50.Google Scholar
Unger, Heinz, “Stereophony for Orchestra (letter),” The Globe and Mail (27 March 1963), p. 6.Google Scholar
Vicentino, Nicola, L‘antica musica ridotta alia moderna prattica […] (Rome: Antonio Barre, 1555); Eng. transl. in Ancient Music Adapted to Modern Practice, trans. Maria Rika Maniates, ed. Claude V. Palisca (New Haven: Yale University Press, 1996).Google Scholar
Wörner, Karl H., “Current Chronicle: Germany,” The Musical Quarterly 46/2(1960), pp. 270–275.Google Scholar
Wörner, Karl H. “Germany,” The Musical Quarterly 45/2 (1959), pp. 237–241.Google Scholar
Wörner, Karl H. Stockhausen: Life and Work, Bill Hopkins (trans.) (London: Faber and Faber, 1973).Google Scholar
Yoshida, Hidekazu, “A Review of the World of Musical Composition in 1958,” in Masterpieces of Contemporary Japanese Composers 1959 (Tokyo: Ongaku no Tomo-sha, 1959), p. 5.Google Scholar
Zipser, Alfred R., “Plants Quicken Tempo to Meet Stereophonic Sales Crescendo: Orders Booming in Stereo Field,” New York Times (6 September 1959), p. F1.Google Scholar
Adkins, Monty, “Book Review. Cambridge Introductions to Music: Electronic Music,” Organised Sound 20/2(2015), p. 273.Google Scholar
Anderson, Drake, “(Per)forming Open Form: A Case Study with Earle Brown’s Novara,” Music Theory Online 26/3 (2020), https://doi.org/10.30535/mto.26.3.1Google Scholar
Anderson, Tim J., Making Easy Listening Material Culture and Postwar American Recording (Minneapolis–London: University of Minnesota Press, 2006).Google Scholar
Anderson, Tim J. “Training the Listener: Stereo Demonstration Discs in an Emerging Consumer Market,” in Théberge, Paul, Devine, Kyle and Everrett, Tom (eds.), Living Stereo. Histories and Cultures of Multichannel Sound (New York–London, Bloomsbury Academic, 2015), pp. 107–124.Google Scholar
Arbo, Alessandro, “Musical and Technical Reproducibility: A Paradigm Shift,” in Musical Listening in the Age of Technological Reproduction, ed. Gianmario Borio (London–New York: Ashgate/Routledge, 2015), pp. 53–68.Google Scholar
Arnold, Denis, Giovanni Gabrieli and the Music of the Venetian High Renaissance (London; New York: Oxford University Press, 1979).Google Scholar
Arnold, Denis “The Significance of ‘Cori Spezzati,’” Music & Letters 40/1(1959), pp. 4–14.Google Scholar
Ashby, Arved, Absolute Music, Mechanical Reproduction (Berkeley: University of California Press, 2010).Google Scholar
Atlas, Allan W., Renaissance Music (New York-London: Norton, 1998).Google Scholar
Aylward, John, “Metric Synchronizations and Long-Range Polyrhythms in Elliott Carter’s Fifth String Quartet,” Perspectives of New Music 47/2 (2009), pp. 88–99.Google Scholar
Baroncini, Rodolfo, Giovanni Gabrieli (Palermo: L’epos, 2012).Google Scholar
Barrière, Jean-Baptiste, ed., Le Timbre, métaphore pour la composition (Paris: Bourgois, 1991).Google Scholar
Barry, Eric D., “High Fidelity Sound as Spectacle and Sublime 1950–1961,” in Suisman, David and Strasser, Susan (eds.), Sound in the Age of Mechanical Reproduction (Philadelphia: University of Pennsylvania Press, 2010), pp. 115–139.Google Scholar
Barry, Eric D. “Mono in the Stereo Age,” in Théberge, Paul, Devine, Kyle and Everrett, Tom (eds.), Living Stereo. Histories and Cultures of Multichannel Sound (New York–London, Bloomsbury Academic, 2015), pp. 125–146.Google Scholar
Barthel-Calvet, Anne-Sylvie, ed., Propositions pour une historiographie critique de la création musicale après 1945 (Metz: Centre de Recherche Universitaire Lorrain d’Histoire, 2011).Google Scholar
Barthel-Calvet, Anne-Sylvie and Murray, Christopher (eds.), Critical Historiographies of the Post-War Avant-Garde: New Music Networks (London: Routledge, 2022).Google Scholar
Battier, Marc, “Recent Discoveries in the Spatial Thought of Early Musique Concrète,” in Brech, Martha and Paland, Ralph (eds.), Kompositionen für hörbaren Raum: Die frühe elektroakustische Musik und ihre Kontexte (Bielefeld: transcript Verlag, 2015), pp. 123–136.Google Scholar
Baumgartner, Michael, “Braxton, Anthony,” Grove Music Online, https://doi.org/10.1093/gmo/9781561592630.article.A2256091.Google Scholar
Bayer, Francis, De Schönberg à Cage. Essai sur la notion d’espace sonore dans la musique contemporaine (Paris, Klincksieck, 1987).Google Scholar
Beal, Amy C., “In Interview with Earle Brown,” Contemporary Music Review 26/3–4(2007), pp. 341–356.Google Scholar
Beal, Amy C. New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification (Berkeley: University of California Press, 2006).Google Scholar
Beltrán-Miranda, Mauricio and Morris, Christian, “Between the Pages: Composition Process in Dutilleux’s Symphony no. 2,” Tempo 67/266 (2013), pp. 54–64.Google Scholar
Benedictis, Angela Ida De, “Biography: Nono, Luigi,” (2013) Fondazione Archivio Luigi Nono Onlus, trans. Mark Weir, www.luiginono.it/en/luigi-nono/biography/.Google Scholar
Bennett, Samantha and Bates, Eliot, Critical Approaches to the Production of Music and Sound (New York: Bloomsbury, 2018).Google Scholar
Bernstein, David W., The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde (Los Angeles: University of California Press, 2016).Google Scholar
Biró, Dániel Péter, Goldman, Jonathan, Heusinger, Detlef and Stratz, Constanze, Live Electronics Im/in the SWR Experimentalstudio (Frankfurt: Wolke, 2018).Google Scholar
Bitter, Christof, “Requiem pour un jeune poète,” Contrechamps 5 (1985), pp. 92–101.Google Scholar
Blanchard, Gérard, “Le structuralisme de Michel Butor,” Communication et langages 11 (1971), pp. 5–23.Google Scholar
Blesser, Barry and Salter, Linda-Ruth, Spaces Speak, Are You Listening?: Experiencing Aural Architecture (Cambridge: Massachusetts Institute of Technology Press, 2009).Google Scholar
Boret, Didier, “Tous les soirs un nouveau ‘Son et Lumière’ conte les grands moments de Chambord,” La Croix (16 July 1965).Google Scholar
Borgerson, Janet and Schroeder, Jonathan, Designed for Hi-Fi Living: The Vinyl LP in Midcentury America (Cambridge: Massachusetts Institute of Technology Press, 2018).Google Scholar
Borgerson, Janet and Schroeder, Jonathan “How Stereo Was First Sold to a Skeptical Public,” The New York Times, 12 December 2018, https://theconversation.com/how-stereo-was-first-sold-to-a-skeptical-public-103668.Google Scholar
Borio, Gianmario and Danuser, Hermann, eds., Im Zenit der Moderne: Die Internationalen Ferienkurse für Neue Musik Darmstadt 1946–1966 (Freiburg im Breisgau: Rombach, 1997).Google Scholar
Born, Georgina, “On Musical Mediation: Ontology, Technology and Creativity,” Twentieth Century Music 2/1 (2005), pp. 7–36.Google Scholar
Born, Georgina Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (Berkeley-London: University of California Press, 2010).Google Scholar
Born, Georgina ed., Music, Sound and Space: Transformations of Public and Private Experience (Cambridge University Press, 2013).Google Scholar
Born, Georgina and Barry, Andrew, “Music, Mediation Theories and Actor-Network Theory,” Contemporary Music Review 37/5–6 (2018), pp. 443–487.Google Scholar
Bosseur, Dominique and Bosseur, Jean-Yves, “Collaboration Butor/Pousseur,” Musique en jeu 4 (1971), pp. 83–111.Google Scholar
Bosseur, Jean-Yves, “‘ Votre Faust,’ Miroir Critique,” Revue Belge de Musicologie 43 (1989), pp. 57–70.Google Scholar
Bourdieu, Pierre, “La production de la croyance,” Actes de la recherche en sciences sociales 13/1 (1977), pp. 3–43.Google Scholar
Bourgeois, Jacques, “La révolution de Pierre Boulez a fait long feu à Lamoureux,” Arts–Lettres–Spectacles (19–25 March 1958), p. 9.Google Scholar
Bourneuf, Roland, “L’Organisation de l’espace dans le roman,” Études Littéraires 3/1 (1970), pp. 77–94.Google Scholar
Bradley, Fari, “Halim El Dabh: An Alternative Genealogy of Musique Concrète,” Ibraaz 9/5 (30 November 2015), www.ibraaz.org/essays/139/.Google Scholar
Braun, Hans-Joachim, Music and Technology in the Twentieth Century (Baltimore: Johns Hopkins University Press, 2002).Google Scholar
Brégégère, André, “The Serial Concept in Pousseur’s Votre Faust,” in Fitzsimmons, Lorna and McKnight, Charles (eds.), The Oxford Handbook of Faust in Music (Oxford University Press, 2019), https://doi.org/10.1093/oxfordhb/9780199935185.013.10.Google Scholar
Brend, Mark, The Sound of Tomorrow: How Electronic Music Was Smuggled into the Mainstream (London: Bloomsbury Academic, 2012).Google Scholar
Briner-Aimo, Ermanno, “Stereophonic Effects by Monaural Means,” Gravesaner Blätter 7/25 (1964), pp. 86–96.Google Scholar
Britannica Academic, “Table tennis,” https://academic.eb.com/levels/collegiate/article/table-tennis/70842.Google Scholar
Brøvig-Hanssen, Ragnhild, “Listening to or through Technology: Opaque and Transparent Mediation,” in Bennett, Samantha and Bates, Eliot (eds.), Critical Approaches to the Production of Music and Sound (New York: Bloomsbury, 2018), pp. 195–210.Google Scholar
Brown, Lee B., “Documentation and Fabrication in Phonography,” The Paideia Archive: Twentieth World Congress of Philosophy 1 (1 January 1998): 6–17. DOI: https://doi.org/10.5840/wcp20-paideia199812.Google Scholar
Brown, Lee B. “Phonography, Rock Records, and the Ontology of Recorded Music,” The Journal of Aesthetics and Art Criticism 58/4 (2000), pp. 361–372.Google Scholar
Bruil, Rudolf A., “Origins and Development of the Three-Channel Stereophonic Sound Recording: Monaural, Multi-Track, Binaural and Trinaural Sound Recording (2001),” Sound Fountain, www.soundfountain.com/mercury/trinaural.html.Google Scholar
Bryant, David, “Cori Spezzati in Composition and Sound,” in A Companion to Music in Sixteenth-Century Venice, ed. Katelijne Schiltz (Boston: Brill, 2017), pp. 371–394.Google Scholar
Bryant, David “The Cori Spezzati of St. Mark’s: Myth and Reality,” Early Music History: Studies in Medieval and Early Modern Music (Cambridge University Press, 1981), pp. 165–186.Google Scholar
Bryant, David and Quaranta, Elena, “Written and Unwritten Practices in the Tradition of Cori Spezzati. Gabrieli’s Contribution in Context,” in Baroncini, Rodolfo, Bryant, David and Collarile, Luigi (eds.), Giovanni Gabrieli: Transmission and Reception of a Venetian Musical Tradition (Turnhout: Brepols, 2016), pp. 97–106.Google Scholar
Buch, Esteban, “Le duo de la musique savante et la musique populaire: Genres, hypergenres et sens commun,” in Pedler, Emmanuel and Cheyronnaud, Jacques (eds.), Théories ordinaires (Paris: Editions de l’EHESS, 2013), pp. 43–62.Google Scholar
Buhler, James, Neumeyer, David and Deemer, Rob, Hearing the Movies: Music and Sound in Film History (Oxford University Press, 2010).Google Scholar
Bull, Michael, Sound Spaces, Places Cultures and Technologies (London: Routledge, 2013).Google Scholar
Bull, Michael Sound Moves: iPod Culture and Urban Experience (London: Routledge, 2009).Google Scholar
Burgess, Richard James, The History of Music Production (Oxford University Press, 2014).Google Scholar
Caemerbeke, Pascale, “Le son du TNP de Jean Vilar: Les questionnaires des spectateurs (1952–1963),” Revue Sciences/Lettres 5 (2017), pp. 1–13.Google Scholar
Campbell, Edward, Boulez, Music and Philosophy (Cambridge University Press, 2010).Google Scholar
Cardew, Cornelius, “Report on ‘Carré’: Part 2,” The Musical Times 102/1425 (1961), pp. 698–700.Google Scholar
Cardew, Cornelius “Report on Stockhausen’s ‘Carré’,” The Musical Times 102/1424 (1961), pp. 619–622.Google Scholar
Caringer, Kelly Heath, “To Produce and Persist: A Dialectical Investigation of Purpose in Commercial Stereophony,” diss. Southern Illinois University Carbondale, 2017.Google Scholar
Carter, David, “The Middle Space of Lifestyles and Middlebrow Cultures,” in Fields, Capitals, Habitus. Australian Culture, Inequalities and Social Divisions, Bennett, Tony et al. (eds.) (London: Routledge, 2021), pp. 169–183.Google Scholar
Carter Drennan, Dorothy, “Henry Brant’s Use of Ensemble Dispersion, as Found in the Analysis of Selected Compositions,” diss. University of Miamai, 1975.Google Scholar
Carver, Anthony F., “Cori Spezzati. I: The Development of Sacred Polychoral Music to the Time of Schütz; II: An Anthology of Sacred Polychoral Music,” Music & Letters 72/1 (1991), pp. 93–96.Google Scholar
Castanet, Pierre Albert, “L’espace spiralé dans la musique contemporaine,” in Chouvel, Jean-Marc and Solomos, Makis (eds.), L’espace: Musique/Philosophie (Paris: Harmattan, 1998), pp. 85–103.Google Scholar
Celant, Germano, The Record as Artwork: From Futurism to Conceptual Art (Fort Worth (Texas): Fort Worth Art Museum, 1977).Google Scholar
Chang, Ed, “Stockhausen: Sounds in Space,” blog, “Kontakte,” http://stockhausenspace.blogspot.com/2015/08/stockhausen-on-electronic-music-wdr.html.Google Scholar
Cherney, Brian, “Harry Somers,” unpublished manuscript.Google Scholar
Chouvel, Jean-Marc, L’Espace: Musique/Philosophie (Paris, L’Harmattan, 1998).Google Scholar
Chowrimootoo, Christopher and Guthrie, Kate (eds.), “Colloquy: Musicology and the Middlebrow,” Journal of the American Musicological Society 73/2(2020), pp. 327–395.Google Scholar
Clarke, Eric F., “Music, Space and Subjectivity,” in Music, Sound and Space: Transformations of Public and Private Experience, ed. Georgina Born (Cambridge University Press, 2013), pp. 90–110.Google Scholar
Clarke, Eric F. “The Impact of Recording on Listening,” Twentieth-Century Music 4/1 (2007), pp. 47–70.Google Scholar
Cocteau, Jean, “C’est la nuit que parlent les pierres,” Réalités, Femina-Illustration 176 (Sept. 1960), p. 48.Google Scholar
Cohen, Brigid, “Sounds of the Cold War Acropolis: Halim El-Dabh at the Columbia-Princeton Electronic Music Center,” Contemporary Music Review 39/6(2020), pp. 684–707.Google Scholar
Cook, Nicholas, “Classical Music and the Politics of Space,” in Music, Sound and Space: Transformations of Public and Private Experience, ed. Georgina Born (Cambridge University Press, 2013), pp. 224–238.Google Scholar
Cook, Nicholas and Pople, Anthony, eds., The Cambridge History of Twentieth-Century Music (New York: Cambridge University Press, 2004).Google Scholar
Coste, Marion, Une leçon de musique donnée aux mots: les collaborations de Michel Butor avec Ludwig van Beethoven et Henri Pousseur (Paris: Presses Sorbonne Nouvelle, 2017).Google Scholar
Cott, Jonathan, Stockhausen: Conversations with the Composer (New York: Simon and Schuster, 1973).Google Scholar
Craft, Robert, “A Concert for St. Mark,” The Score (Dec. 1956), pp. 35–51.Google Scholar
Craft, Robert “The Composer and the Phonograph,” High Fidelity 34–35 (June 1957), pp. 99–100.Google Scholar
Culshaw, John, Ring Resounding (New York: Viking Press, 1967).Google Scholar
Cushing, Anthony, “Glenn Gould and ‘Opus 2’: An outline for a musical understanding of contrapuntal radio with respect to The Idea of North,” Circuit 22/2 (2012), pp. 21–35.Google Scholar
Dãllenbach, Lucien, Le livre et ses miroirs dans l’oeuvre romanesque de Michel Butor (Paris: Lettres modernes, 1972).Google Scholar
Dammerud, Jens Jørgen, “Stage Acoustics for Symphony Orchestras in Concert Halls,” diss., University of Bath (UK), 2009.Google Scholar
Daniel, Oliver, Stokowski: A Counterpoint of View (New York: Dodd, Mead & Co., 1982).Google Scholar
Day, Timothy, A Century of Recorded Music: Listening to Musical History (New Haven: Yale University Press, 2002).Google Scholar
Decroupet, Pascal, “Cherché, mais aussi, … trouvé. Gruppen de Stockhausen à travers ses esquisses,” Musurgia 6/1 (1999), pp. 63–76.Google Scholar
Decroupet, Pascal “Floating Hierarchies: Organisation and Composition in Works by Pierre Boulez and Karlheinz Stockhausen during the 1950s,” in Hall, Patricia and Sallis, Friedemann (eds.), A Handbook to Twentieth-Century Musical Sketches (Cambridge University Press, 2004), pp. 146–160.Google Scholar
Decroupet, Pascal “Gravitationsfeld Gruppen. Zur Verschränkung der Werke Gesang der Jünglinge, Gruppen und Zeitmaße und deren Auswirkung auf Stockhausens Musikdenken in der zweiten Hälfte der fünfziger Jahre,” Musiktheorie 12/1 (1997), pp. 37–51.Google Scholar
Decroupet, Pascal “Moments Doubles, Figurés en Prisme,” in Decroupet, Pascal and Leleu, Jean-Louis (eds.), Pierre Boulez: Techniques d’écriture et enjeux esthétiques (Geneva: Contrechamps, 2006), pp. 133–157.Google Scholar
Delalande, François, Analyser la musique, pourquoi, comment? (Paris: INA, 2013).Google Scholar
Deliège, Célestin, “Indetermination et improvisation,” International Review of the Aesthetics and Sociology of Music 2/2 (1971), pp. 155–191.Google Scholar
Deliège, Célestin Cinquante ans de modernité musicale de Darmstadt à l’IRCAM. Contribution historiographique à une musicologie critique (Liège: Mardaga, 2012).Google Scholar
Devine, Kyle, Decomposed: The Political Ecology of Music (Cambridge: Massachusetts Institute of Technology Press, 2019).Google Scholar
Dickey, Timothy, “Giovanni Gabrieli, O magnum mysterium, motet for 8 voices, C. 3,” AllMusic, www.allmusic.com/composition/o-magnum-mysterium-motet-for-8–voices-c-3–mc0002362331.Google Scholar
Dockwray, Ruth and Moore, Allan F., “Configuring the Sound-Box (1965–1972),” Popular Music 29/2 (2010), pp. 181–197.Google Scholar
Dollinger, Christina, “Raum in Luigi Nonos 1°Caminantes … Ayacucho (1987),” in Brech, Martha and Paland, Ralph (eds.), Kompositionen für hörbaren Raum: Die frühe elektroakustische Musik und ihre Kontexte (Bielefeld: transcript Verlag, 2015), pp. 287–302.Google Scholar
Donin, Nicolas, “Le travail de la répétition: Deux dispositifs d’écoute et deux époques de la reproductibilité musicale, du premier au second après–guerre,” Circuit 14/1 (2003), pp. 53–86.Google Scholar
Doyle, Peter, Echo and Reverb: Fabricating Space in Popular Music Recording, 1900–1960 (Middletown: Wesleyan University Press, 2005).Google Scholar
Drott, Eric, “The Politics of Presque Rien,” in Sound Commitments: Avant-Garde Music and the Sixties, ed. Robert Adlington (Oxford University Press, 2009), pp. 144–166.Google Scholar
Drott, Eric “The End(s) of Genre,” Journal of Music Theory 57/1(2013), pp. 1–45.Google Scholar
Ducard, Dominique, “Language and the Game of Chess,” Semiotica 214 (2017), pp. 199–217.Google Scholar
Dumesnil, René, “Pierre Boulez-Peter Frankl-Georges Prêtre aux concerts Lamoureux,” Le Monde (18 March 1958), p. 13.Google Scholar
Edge, Kevin, The Art of Selling Songs. Graphics for the Music Business, 1690–1990 (London: Futures, 1991).Google Scholar
Edwards, Allen, “Boulez’s Doubles and Figures Doubles Prismes: A Preliminary Study,” Tempo, 185 (1993), pp. 6–17.Google Scholar
Edwards, David, Eyries, Patrice and Callahan, Mike, “The Audio Fidelity Story,” www.bsnpubs.com/audiofidelity/01%20-%20Audio%20Fidelity%20Story.pdf.Google Scholar
Eisen, Cliff and Sadie, Stanley, “Mozart, (Johann Chrysostom) Wolfgang Amadeus,” Grove Music Online, https://doi.org/10.1093/gmo/9781561592630.article.6002278233.Google Scholar
Eisenberg, Evan, The Recording Angel: Music, Records and Culture from Aristotle to Zappa (New Haven, CT: Yale University Press, 1987; 2nd ed., 2005).Google Scholar
Elder, Rusty Dale, “The Late Choral Works of Igor Stravinsky: A Reception History,” diss. University of Missouri-Columbia, 2008.Google Scholar
Emmerson, Simon, Living Electronic Music (Aldershot: Ashgate, 2007).Google Scholar
Emmery, Laura, “Beyond Long-Range Polyrhythms: Harmonic Process in Elliott Carter’s Fourth String Quartet,” Contemporary Music Review 38/3–4 (2019), pp. 316–343.Google Scholar
Evans, Peter, “Karlheinz Stockhausen,” in Oxford History of Music, vol. 10 (“The Modern Age 1890–1960”), ed. Cooper, Martin (Oxford University Press, 1974), pp. 454–467.Google Scholar
Everard, Andrew, “Apple Music’s Spatial Audio with Dolby Atmos: What Is It and How Do You Get It?” Gramophone (Aug. 2021), www.gramophone.co.uk/features/article/apple-music-s-spatial-audio-with-dolby-atmos-what-is-it-and-how-do-you-get-it.Google Scholar
Faure, Michel, José Serebrier: un chef d’orchestre et compositeur à l’aube du XXIe siècle (Paris, l’Harmattan, 2001).Google Scholar
Fenlon, Iain, “The Performance of Cori Spezzati in San Marco,” in Architettura e Musica Nella Venezia Del Rinascimento (Milan: Mondadori, 2006), pp. 79–97.Google Scholar
Fink, Robert, Repeating Ourselves: American Minimal Music as Cultural Practice (Berkeley: University of California Press, 2009).Google Scholar
Fleury, Laurent, Le TNP de Vilar (Rennes: Presses Universitaires de Rennes, 2007).Google Scholar
Fox, Christopher, “Music after Zero Hour,” Contemporary Music Review, 26/1 (2007), pp. 5–24.Google Scholar
Freeman, Robin, “Camille and Claire,” Tempo 190 (1994), pp. 35–37.Google Scholar
Garrett, Pierre-Frédéric, “Les premiers ‘Son et lumière’ (1952–1961),” master’s thesis, École nationale supérieure de bibliothécaires, 1990.Google Scholar
Gayou, Évelyne, “‘Faire & Entendre’ ou les procédures de composition d’hier et d’aujourd’hui au GRM,” EMS08 Electroacoustic Music Studies Network International Conference 3–7 Juin 2008 (Paris) – INA–GRM et Université Paris–Sorbonne (MINT–OMF) 3–7 June 2008 (Paris) – INA–GRM and University Paris–Sorbonne (MINT–OMF), 2008, www.ems–network.org/ems08/papers/gayou.pdf.Google Scholar
Gayou, Évelyne Le GRM, Groupe de recherches musicales: Cinquante ans d’histoire (Paris: Fayard, 2007).Google Scholar
Gelatt, Roland, The Fabulous Phonograph 1877–1977 (New York: MacMillan, 1977).Google Scholar
Gembicki, Bartłomiej, “Early Music Recording as Mythography – Monteverdi and the ‘Other’ Vespers,” Muzyka 4 (2020), pp. 84–104.Google Scholar
Gembicki, Bartłomiej “The Memory of Meaning: Polychorality in Venice and the ‘Cori Spezzati’ Meme,” in Sounding the Past: Music as History and Memory, ed. Kügle, Karl (Trunhout: Brepols, 2020), pp. 257–271.Google Scholar
Gervasoni, Pierre, Henri Dutilleux (Paris: Actes Sud-Philharmonie de Paris, 2016).Google Scholar
Gillespie, Mark, Review of Peter Doyle, Echo and Reverb, Music Theory Spectrum 32/1 (2010), pp. 89–92.Google Scholar
Girard, Stéphane, “Éléments d’énonciation hétérotopique postmoderne dans 6 810 000 litres d’eau par seconde. Étude stéréophonique (Niagara) de Michel Butor,” Études Françaises 45/1 (2008), pp. 139–159.Google Scholar
Glasgow, Joshua, “Hi-Fi Aesthetics,” The Journal of Aesthetics and Art Criticism 65/2 (2007), pp. 163–174.Google Scholar
Goehr, Lydia, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (New York: Oxford University Press, 1992; 2007).Google Scholar
Goff, Martyn, “Review of The Stereo Record Guide, Vol. 3 by Edward Greenfield, Ivan March and Denis Stevens,” The Musical Times 104/1446 (Aug. 1963), pp. 561–562.Google Scholar
Goldman, Jonathan, “Éclairages sur l’au-delà: Introduction,” Circuit, 21/1 (2011), pp. 5–9, https://doi.org/10.7202/1001158ar.Google Scholar
Goldman, Jonathan “The Buttons on Pandora’s Box: David Tudor and the Bandoneon,” American Music 30/1(2012), pp. 30–60.Google Scholar
Goldman, Jonathan “Listening to Doubles in Stereo,” in O’Hagan, Peter and Campbell, Edward (eds.), Pierre Boulez Studies (Cambridge University Press, 2016), pp. 246–269.Google Scholar
Goldman, Jonathan The Musical Language of Pierre Boulez: Writings and Compositions (Cambridge University Press, 2011; 2014).Google Scholar
Goldman, Jonathan, Gribenski, Fanny and Romão, João (eds), Contemporary Music Review 39/6 (2020) (“Opening the Doors of the Studio”).Google Scholar
Goldman, Jonathan and Heusinger, Detlef, “Space, Time and Material in the Studio: Pierre Boulez in Conversation (2014),” in Biro, Daniel Peter, Goldman, Jonathan, Heusinger, Detlef and Stratz, Constanze (eds.), Live Electronics in/im SWR Experimentalstudio (Hofheim: Wolke, 2019), pp. 11–21.Google Scholar
Gordon, Ted, “‘New Sounds in Electronic Music’ – Steve Reich, Richard Maxfield, Pauline Oliveros (1967)” Library of Congress National Registry, www.loc.gov/static/programs/national-recording-preservation-board/documents/NewSoundsInElectronicMusic.pdf.Google Scholar
Gracyk, Theodore, “Listening to Music: Performances and Recordings,” The Journal of Aesthetics and Art Criticism 55/2 (1997), pp. 139–150.Google Scholar
Gracyk, Theodore Rhythm and Noise: An Aesthetics of Rock (Durham, NC: Duke University Press, 1996).Google Scholar
Grajeda, Tony, “The ‘Sweet Spot’: The Technology of Stereo and the Field of Auditorship,” in Théberge, Paul, Devine, Kyle and Everrett, Tom (eds.), Living Stereo: Histories and Cultures of Multichannel Sound (New York–London, Bloomsbury Academic, 2015), pp. 37–63.Google Scholar
Griffiths, Paul, “Boulez Discography” (compiled for the website Andante, 2001, no longer online).Google Scholar
Griffiths, Paul Concise History of Avant-Garde Music from Debussy to Boulez (New York: Thames and Hudson, 1978; 1985).Google Scholar
Grubbs, David, Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording (Durham, Duke University Press, 2014).Google Scholar
Grun, Bernard, The Timetables of History: A Horizontal Linkage of People and Events (New York: Simon and Schuster, 1975).Google Scholar
Hamilton, Andy, “The Art of Recording, and the Aesthetics of Perfection,” British Journal of Aesthetics 43/4 (2003), pp. 345–362.Google Scholar
Harvey, Jonathan, The Music of Stockhausen (Berkeley-Los Angeles: University of California Press, 1975).Google Scholar
Hasselmann, Dominique, “Michel Butor/Une partition littéraire traversée du livre Description de San Marco de Michel Butor (Gallimard, 1963),” n.d. http://remue.net/cont/Butor_musique.htmlGoogle Scholar
Haynes, Bruce, End of Early Music (New York: Oxford University Press, 2007).Google Scholar
Heath Caringer, Kelly, “To Produce and Persist: A Dialectical Investigation of Purpose in Commercial Stereophony,” diss. Southern Illinois University Carbondale, 2017.Google Scholar
Hecker, Tim, “Glenn Gould, the Vanishing Performer and the Ambivalence of the Studio,” Leonardo Music Journal, 18 (2008), pp. 77–83.Google Scholar
Heffley, Michael, liner notes to “The Complete Arista Recordings of Anthony Braxton,” CD box set, Mosaic Records, MD8-242, 2008, www.academia.edu/2320077/The_Complete_Arista_Recordings_of_Anthony_Braxton_Liner_Notes._Google Scholar
Heilbroner, Robert, “Technological Revisionism Revisited,” in Smith, Merritt Roe and Marx, Leo (eds.), Does Technology Drive History? The Dilemma of Technological Determinism (Cambridge: Massachusetts Institute of Technology Press, 1994), pp. 67–78.Google Scholar
Heilbroner, Robert “Do Machines Make History?,” Technology and Culture 8/3 (1967), pp. 335–345.Google Scholar
Herd, Judith Ann, “The Neonationalist Movement: Origins of Japanese Contemporary Music,” Perspectives of New Music 27/2 (1989), pp. 118–163.Google Scholar
Herrera, Eduardo, “Electroacoustic Music At CLAEM: A Pioneer Studio in Latin America,” Journal of the Society for American Music 12/2 (2018), pp. 179–212.Google Scholar
Herrera, Eduardo Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-Garde Music (Oxford University Press, 2020).Google Scholar
Hicks, Michael, “Mass Marketing the American Avant-Garde, 1967–1971,” American Music 35/3 (2017), pp. 281–302.Google Scholar
Hoek, D. J., “Documenting the international avant garde: Earle Brown and the Time-Mainstream Contemporary Sound Series,” Notes 61/2 (Dec. 2004), pp. 350–360.Google Scholar
Horodysky, Timothée, Edgar Varèse: du son organisé aux arts audio (Paris, L’Harmattan, 2007).Google Scholar
Howard, Deborah, “Recordings of Music Written for St Mark’s: An Architectural Historian’s View,” in Word, Image, and Song: Essays on Early Modern Italy, ed. Cypess, Rebecca, Glixon, Beth Lise and Link, Nathan (Rochester, NY: University of Rochester Press, 2013), pp. 89–100.Google Scholar
Howard, Deborah and Moretti, Laura, Sound and Space in Renaissance Venice: Architecture, Music, Acoustics (New Haven, CT: Yale University Press, 2009).Google Scholar
Huey, Steve, “The Black Saint and the Sinner Lady – Charles Mingus,” AllMusic, www.allmusic.com/album/the-black-saint-and-the-sinner-lady-mw0000192238.Google Scholar
Hutchison, Dennis C., “Performance, Technology, and Politics: Hermann Scherchen’s Aesthetics of Modern Music,” diss. Florida State University, 2003.Google Scholar
Huthwohl, Joël, “Tellur, Yllen et la stéréo. Musique, sons et voix dans Nucléa au TNP en 1952,” Revue Sciences/Lettres 6 (2019), https://doi.org/10.4000/rsl.2195.Google Scholar
Iddon, Martin, New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez (Cambridge University Press: 2013).Google Scholar
Impett, Jonathan, Routledge Handbook to Luigi Nono and Musical Thought (London: Routledge, 2018).Google Scholar
Ithurria, Étienne, “Les Perses d’Athènes à la télévision (472 av. J.-C. – 1961 ap. J.-C.),” Littératures 2(1980), pp. 121–155.Google Scholar
Iverson, Jennifer, Electronic Inspirations (Oxford University Press, 2019).Google Scholar
Jaji, Tsitsi Ella, Africa in Stereo: Modernism, Music, and Pan-African Solidarity (New York: Oxford University Press, 2014).Google Scholar
Jameson, Frederic, Postmodernism, or, the Cultural Logic of Late Capitalism (New York: Verso, 1991).Google Scholar
Jongeneel, Else, Michel Butor et le pacte romanesque: Écriture et lecture dans L’Emploi du temps, Degrés, Description de San Marco et Intervalle (Paris: Corti, 1988).Google Scholar
Jouve, Vincent, “Réflexion et métaphore chez Roland Barthes,” Carnets 6 (2016), http://journals.openedition.org/carnets/761.Google Scholar
Kahn, Douglas, Noise, Water, Meat History of Voice, Sound, and Aurality in the Arts (Cambridge: Massachusetts Institute of Technology Press, 2015).Google Scholar
Kaltenecker, Martin, “Trois perspectives sur l’image sonore,” in Musique et enregistrement, ed. Frangne, Pierre-Henry and Lacombe, Hervé (Rennes: Presses Universitaires de Rennes, 2014), pp. 137–157.Google Scholar
Kanazawa, Masakata, “Mayuzumi, Toshirō,” Grove Music Online, https://doi.org/10.1093/gmo/9781561592630.article.18186.Google Scholar
Kane, Brian, “The Fluctuating Sound Object,” in Sound Objects, ed. Steintrager, James A. and Chow, Rey (Durham-London: Duke University Press, 2019), pp. 53–70.Google Scholar
Kane, Brian “Listening and technique,” 16 June 2021, Royal Musical Association Music and Philosophy Study Group, https://musicandphilosophy.ac.uk/mpsg-online-series–2021/.Google Scholar
Kane, Brian Sound Unseen: Acousmatic Sound in Theory and Practice (Oxford University Press, 2014).Google Scholar
Katz, Mark, Capturing Sound: How Technology Has Changed Music (Berkeley: University of California Press, 2004; 2010).Google Scholar
Katz, Mark “The Phonograph Effect: The Influence of Recording on Listener, Performer, Composer, 1900–1940,” diss. University of Michigan, 1999.Google Scholar
Kenton, Egon, Life and Works of Giovanni Gabrieli (Rome: American Institute of Musicology, 1967).Google Scholar
Kishimoto, Masashi, “Tracing the Development of Japanese Choral Tradition, and the Influence of Buddhism and Western Music,” diss., North Dakota State University, 2012.Google Scholar
Kivy, Peter, Sounding Off: Eleven Essays in the Philosophy of Music (Oxford University Press, 2012).Google Scholar
Klein, Lothar, “Twentieth century analysis: Essays in miniature,” Music Educators Journal vol. 54 (Dec. 1967), pp. 51–52.Google Scholar
Kolbert, Jack, “Michel Butor, the Peripatetic Writer: A Portrait of the Artist as Voyager,” World Literature Today 56/2 (1982), pp. 286–291.Google Scholar
Koury, Daniel J., Orchestral Performance Practices in the Nineteenth Century: Size, Proportions, and Seating (Rochester, NY: University of Rochester Press, 1986).Google Scholar
Krabbe, Niels, “J. C. Bach’s Symphonies for Double Orchestra,” Musik&Forskning, 1975, pp. 7–19, www.danishmusicologyonline.dk/arkiv/arkiv_musik_og_forskning_uk.html.Google Scholar
Kurtz, Michael, Stockhausen: A Biography, Richard Toop (trans.) (London: Faber and Faber, 1992).Google Scholar
Labelle, Brandon, Acoustic Territories: Sound Culture and Everyday Life (London: Bloomsbury Academic, 2019).Google Scholar
Landes, David, “Music Performativity in the Album: Charles Mingus, Nietzschean Aesthetics, and Mental Theater,” Liminalities 16/3 (2020), pp. 1–31.Google Scholar
Latour, Bruno, Reassembling the Social: An Introduction to Actor-Network-Theory (Oxford University Press, 2005).Google Scholar
Lawrence, Harold, “About Music, Musical Values in Stereo,” Audio Magazine (Oct. 1958), p. 88.Google Scholar
Layer, Harold A., “Exploring Stereo Images: A Changing Awareness of Space in the Fine Arts,” Leonardo 4/3 (1971), pp. 233–238.Google Scholar
L’Écuyer, Sylvia, “La musique classique à la radio,” in Musiques: Une encyclopédie pour le XXe siècle, vol. I: Musiques du XXe siècle, ed. Jean-Jacques Nattiez (Paris: Actes Sud/Cité de la musique, 2001), pp. 954–968.Google Scholar
Lerouge, Stéphane, “Entretien avec René Cloërec (1996),” Cinescores Center, https://cinescores.dudaone.com/entretien-avec-rene-cloerec.Google Scholar
Lewis, George E., “Improvised Music after 1950: Afrological and Eurological Perspectives,” Black Music Research Journal 22 (2002), pp. 215–246.Google Scholar
Lewis, Hannah, French Musical Culture and the Coming of Sound Cinema (New York: Oxford University Press, 2019).Google Scholar
Lippman, Edward A., “Music in Space: A Study in the Philosophy of Music,” diss. Columbia University, 1952.Google Scholar
Locanto, Massimiliano, “Igor Stravinsky’s The Flood in between Theatre and Television,”in Igor Stravinsky: Sounds and Gestures of Modernism, ed. Id. (Turnhout: Brepols, 2014), pp. 385–415.Google Scholar
Lock, Graham, Forces in Motion: The Music and Thoughts of Anthony Braxton (New York, Da Capo, 1988).Google Scholar
Losada, Catherine, “Isography and Structure in the Music of Boulez,” Journal of Mathematics and Music 2/3(2008), pp. 135–155.Google Scholar
Lubarsky, Eric, “Reviving early music: metaphors and modalities of life and living in historically informed performance,” diss. Eastman School of Music, 2018.Google Scholar
Lussac, Olivier, “Gruppen @ Karlheinz Stockhausen,” artperformance.org, www.artperformance.org/article-19127353.html.Google Scholar
Lydon, Mary, “‘Votre Faust’ as Total Art-Work,” World Literature Today 56/2 (1982), pp. 278–281.Google Scholar
Maconie, Robin, “Revisiting ‘Mikrophonie I’,” The Musical Times 152/1914 (2011), pp. 95–102.Google Scholar
Maconie, Robin “Stockhausen’s ‘Mikrophonie I’: Perception in Action,” Perspectives on New Music 10/2 (1972), pp. 92–101.Google Scholar
Maconie, Robin The Works of Stockhausen (London/Boston: Marion Boyars, 1976).Google Scholar
Maignant, Aurélien, “Facettes de Votre Faust: Une enquête,” Acta Fabula, 21/6 (2020), www.fabula.org:443/revue/document12961.php.Google Scholar
Maisonneuve, Sophie, “L’avènement d’une écoute musicale nouvelle au XXe siècle,” Communications 81 (2007), pp. 47–59.Google Scholar
Maisonneuve, Sophie L’invention du disque, 1877–1949: Genèse de l’usage des médias musicaux contemporains (Paris: EAC, 2009).Google Scholar
Manning, Peter, Electronic and Computer Music (4th ed., Oxford University Press, 2013).Google Scholar
Manning, Peter “The Influence of Recording Technologies on the Early Development of Electroacoustic Music,” Leonardo Music Journal 13(2003), pp. 5–10.Google Scholar
Mathieu, Julien, “Un mythe fondateur de la musique contemporaine: Le ‘scandale’ provoqué en 1954 par la création de Déserts d’Edgar Varèse,” Belin: Revue d’histoire Moderne & Contemporaine, vol. 51, n° 1 (2004): pp. 129–152.Google Scholar
Mattis, Olivia, “Varèse’s Multimedia Conception of ‘Déserts,’” The Musical Quarterly 76/4 (1992), pp. 557–583.Google Scholar
Maxfield, J. P., “Demonstration of Stereophonic Recording with Motion Pictures,” Journal of the Society of Motion Picture Engineers 30/2 (Feb. 1938), pp. 131–135.Google Scholar
McBride, Jerry L., “Advance Recordings: Innovative Label for American Twentieth-Century Avant-Garde Music,” ARSC Journal 50/1 (2019), pp. 1–43.Google Scholar
McGinn, Robert E., “Stokowski and the Bell Telephone Laboratories: Collaboration in the Development of High-Fidelity Sound Reproduction,” Technology and Culture 24/1 (1983), pp. 38–75.Google Scholar
Menger, Pierre-Michel, Le paradoxe du musicien: Le compositeur, le mélomane et l’État dans la société contemporaine (Paris: L’Harmattan, 1983).Google Scholar
Mervant-Roux, Marie-Madeleine, “Construire un public au temps de la hi-fi, de la stéréo, de la radio-télévision et du vinyle. Une dimension mal connue des recherches du tnp (Théâtre national populaire) de Jean Vilar (1952–1963),” conference talk at “Les sciences en action,” 22 March 2019, https://medias.ircam.fr/x490b0f.Google Scholar
Mervant-Roux, Marie-Madeleine “Pour une histoire des disques de théâtre. II. L’âge d’or des 33 tours (1950–1970). Comment a-t-on pu l’oublier si vite?” Théâtre/Public 197 (Oct. 2010), pp. 60–70.Google Scholar
Mervant-Roux, Marie-Madeleine “Pierre Schaeffer’s Microphones (1942). Between Radio and Theater,” Sound & Science: Digital Histories, https://soundandscience.de/contributor-essays/pierre-schaeffers-microphones-1942-between-radio-and-theaterGoogle Scholar
Miller, Elinor S., “Approaches to the Cataract: Butor’s Niagara,” Studies in 20th Century Literature 2/1(1977), pp. 33–54.Google Scholar
Miller, Leta E., “ONCE and Again: The Evolution of a Legendary Festival” liner notes, from the CD Box Set Music from the ONCE Festival 1961–1966. New York: New World Records CD 80567–2, 2003.Google Scholar
Molino, Jean, Le singe musicien: Essais de sémiologie et d’anthropologie de la musique, ed. Nattiez, Jean-Jacques and Goldman, Jonathan (Arles–Paris: Actes Sud/Ina, 2009).Google Scholar
Monighetti, Tatiana Baranova, “In between Orthodoxy and Catholicism: The Problem of Stravinsky’s Religious Identity,” Igor Stravinsky: Sounds and Gestures of Modernism (Turnhout: Brepols, 2014), pp. 3–30.Google Scholar
Monin, Éric, “La naissance des premiers spectacles son et lumière. Les très riches heures de Chambord,” in Édifice & artifice. Histoires constructives. Recueil de textes issus du Premier Congrès francophone d’histoire de la construction (Paris, 19–21 juin 2008), ed. Carvais, Robert et al. (Paris: Picard, 2010), pp. 856–864.Google Scholar
Monin, Éric “Les techniques pionnières des premiers spectacles son et lumière,” Revue Sciences/Lettres 6 (2019), https://doi.org/10.4000/rsl.2154.Google Scholar
Moore, Allan F., “Recorded British Folk Song,” in Living Stereo, pp. 165–182.Google Scholar
Moore, James H., Vespers at St. Mark’s: Music of Alessandro Grandi, Giovanni Rovetta, and Francesco Cavalli (Ann Arbor, MI: UMI Research Press, 1981).Google Scholar
Morris, Christian, “Stylistic Development and Variation Form Dutilleux’s Second Symphony, Le Double, in Context,” Mitteilungen der Paul Sacher Stiftung 29 (Apr. 2016), pp. 42–46.Google Scholar
Morucci, Valerio, “Reconsidering ‘cori spezzati’: A New Source from Central Italy,” Acta Musicologica 85/1 (2013), pp. 21–41.Google Scholar
Mowitt, John, “The Sound of Music in the Era of its Electronic Reproducibility,” in The Sound Studies Reader, ed. Jonathan Sterne (London: Routledge, 2012), pp. 213–224.Google Scholar
Murph, Megan, “Max Neuhaus and the Musical Avant-Garde,” master’s thesis, Louisiana State University, 2009.Google Scholar
Nattiez, Jean-Jacques, “Ce que je dois à François Delalande” (2021), Direzione Musicheria, www.musicheria.net/rubriche/studi-e-ricerche/5345-buon-compleanno-francois.Google Scholar
Nattiez, Jean-Jacques “La sémiologie et la musique: Un dialogue posthume avec Umberto Eco,” Analyse musicale 79 (2016), pp. 58–75.Google Scholar
Nattiez, Jean-Jacques La musique, les images et les mots (Montréal: Fides, 2010).Google Scholar
Navacchia, Stefania, “La Concezione Drammaturguca Dello Spazio-Tempo in Composizione per Orchestra n. 2 – Diario Polacco ’58 Di Luigi Nono,” Musica/Realtà: Rivista Quadrimestrale 31/92 (2010).Google Scholar
Needley, Douglas, “A Study of Parametric Organization in Selected Works of Luigi Nono,” master’s thesis, University of British Columbia, 1974.Google Scholar
Nelson, Jeff, “In Search of Musical Space: Metaphors, Schemas, and the Compositional Process,” diss. Northwestern University, 2014.Google Scholar
Nielinger-Vakil, Carola, Luigi Nono: A Composer in Context (Cambridge University Press, 2016).Google Scholar
Nilchiani, Azadeh, “Du relief sonore à la radio,” Sens public (2019), https://doi.org/10.7202/1067437ar.Google Scholar
Nones, Phillip, “Fête de la lumière: Florent Schmitt’s extravagant showpiece at the Paris Exposition (1936–37)” (2016), https://florentschmitt.com/2016/12/17/fete-de-la-lumiere-florent-schmitts–extravagant-showpiece-at-the-paris–exposition-1937/.Google Scholar
Oliver, Michael, Stravinsky (London: Phaidon, 1995).Google Scholar
Osborne, Richard, Vinyl: A History of the Analogue Record (London: Routledge, 2012; 2016).Google Scholar
Ouzounian, Gascia, “Sound Installation Art: From Spatial Poetics to Politics, Aesthetics to Ethics,” in Born, Georgina (ed.), Music, Sound and Space (Cambridge University Press, 2015), pp. 73–89.Google Scholar
Ouzounian, Gascia Stereophonica. Sound and Space in Science, Technology and the Arts (Cambridge, MA: Massachusetts Institute of Technology Press, 2020).Google Scholar
Overholt, Sara Ann, Stockhausen’s Musical Shapes: How a Master Composer Moves Sound (Saarbrücken: VDM Verlag, 2008).Google Scholar
Overholt, Sara Ann “Karlheinz Stockhausen’s Spatial Theories: Analyses of Gruppen für drei Orchester and Oktophonie, Electronische Musik von Dienstag aus Licht,” diss. University of California at Santa Barbara, 2006; published as Stockhausen’s Musical Shapes: How a Master Composer Moves Sound (Saarbrücken: VDM Verlag, 2008).Google Scholar
Owen, Barbara, E. Power Biggs, Concert Organist (Bloomington: Indiana University Press, 1987).Google Scholar
Palombini, Carlos, “Machine Songs V: Pierre Schaeffer: From Research into Noises to Experimental Music,” Computer Music Journal 17/3 (1993), pp. 14–19.Google Scholar
Patai, Daphne, “Temporal Structure as a Fictional Category in Michel Butor’s La Modification,” The French Review 46/6 (1973), pp. 1117–1128.Google Scholar
Paul, David C., Charles Ives in the Mirror: American Histories of an Iconic Composer (Urbana: University of Illinois Press, 2013).Google Scholar
Paulu, Burton, Radio and Television Broadcasting on the European Continent (Minneapolis: University of Minnesota Press, 1967).Google Scholar
Peterson, Richard A., “Le passage à des goûts omnivores: notions, faits et perspectives,” Sociologie et sociétés 36/1 (2004), pp. 145–164.Google Scholar
Peterson, Richard A. “Understanding Audience Segmentation: From Elite and Mass to Omnivore and Univore,” Poetics 21 (1992), pp. 243–258.Google Scholar
Peyser, Joan, To Boulez and Beyond (Lanham: Scarecrow Press, 2008).Google Scholar
Piekut, Benjamin, “Actor-Networks in Music History: Clarifications and Critiques,” Twentieth-Century Music 11/2 (2014), pp. 191–215.Google Scholar
Piekut, Benjamin Experimentalism Otherwise (Los Angeles: University of California Press, 2011).Google Scholar
Pierre, Bourdieu, “La production de la croyance,” Actes de la Recherche en Sciences Sociales, 13/1(1977), pp. 3–43.Google Scholar
Potter, Caroline, Henri Dutilleux: His Life and Works (London: Routledge, 1997).Google Scholar
Pozzi, Egidio, “From the project for a Passion selon Saint Marc to the Realization of the Canticum Sacrum: The Events Surrounding Stravinsky’s Venetian Commission,” Journal of Literature and Art Studies, 4/12 (2014), pp. 1053–1079.Google Scholar
Puffett, Kathryn, “Canticum Sacrum,” in The Cambridge Stravinsky Encyclopedia, ed. Campbell, Edward and Peter O’Hagan, (Cambridge University Press, 2021), p. 76.Google Scholar
Pulham, Bernard, Stockhausen discography (2009), https://vdocuments.mx/documents/karlheinz-en-discography.html.Google Scholar
Radano, Ronald Michael, “Anthony Braxton and His Two Musical Traditions, the Meeting of Concert Music and Jazz,” diss. University of Michigan, 1985.Google Scholar
Radano, Ronald Michael New Musical Figurations: Anthony Braxton’s Cultural Critique (Chicago: University of Chicago Press, 1993).Google Scholar
Radice, Mark A., Concert Music of the Twentieth Century: Its Personalities, Institutions, and Techniques (Upper Saddle River: Prentice Hall, 2003).Google Scholar
Rayner, William Smith, “Canticum Sacrum Ad Honorem Sancti Marci Nominis (1955),” diss. New York University, 1997.Google Scholar
Reynolds, Fred, “Ping pong, anyone?,” Hi-Fi/Stereo Review (Aug. 1961), pp. 46–49.Google Scholar
Rigal, Florence, Butor: La pensée-musique (Paris, L’Harmattan, 2004).Google Scholar
Rizzardi, Veniero, “Composizione per orchestra n. 2: Diario polacco ’58: Sinossi,” in the catalogue Con Luigi Nono. Festival internazionale di musica contemporanea, Venice Biennale 1992–93 (Milan: Ricordi, 1993), pp. 162–163; reprinted on Fondazione Archivio Luigi Nono Onlus, www.luiginono.it/opere/composizione-per-orchestra-n-2–diario-polacco-58/#tab-id-2.Google Scholar
Rockwell, John, All American Music: Composition in the Twentieth Century (New York: Knopf, 1983).Google Scholar
Rockwell, John and Steinke, Greg A., “Behrman, David,” Grove Music Online, https://doi.org/10.1093/gmo/9781561592630.article.6002278233.Google Scholar
Ross, Alex, The Rest is Noise: Listening to the Twentieth Century (New York: Farrar, Straus and Giroux, 2007).Google Scholar
Rossi, Jérôme, “Un ‘opéra Radiophonique’: Ariane de Georges Delerue et Michel Polac,” Revue LISA/ LISA e-Journal 12/ 6 (2014), p. 2, http://journals.openedition.org/lisa/6660.Google Scholar
Rouse, Christopher, “Nirvana Symphony by Toshiro Mayuzumi,” Notes 39/2(1982), pp. 455–456.Google Scholar
Salini, Dominique, Webern, Fourier et Butor selon Pousseur: Un voyage en Utopie (Paris: L’Harmattan, 2014).Google Scholar
Samuel, Claude, Panorama de l’art musical contemporain (Paris: Gallimard, 1962).Google Scholar
Sanden, Paul, Liveness in Modern Music: Musicians, Technology, and the Perception of Performance (London: Routledge, 2012).Google Scholar
Sanderson, Blair, “E. Power Biggs. The Glory of Gabrieli,” All Music Review, www.allmusic.com/album/the-glory-of-gabrieli-mw0001384374.Google Scholar
Sankey, Stuart, “Brant’s Grand Universal Circus,” Juilliard Review 3/3 (1956), pp. 21–37.Google Scholar
Schaller, Erika, Klang und Zahl: Serielles Komponieren zwischen 1955 und 1959 (Saarbrücken: Pfau, 1997).Google Scholar
Schlitz, Katelijne, “An Avant-Garde Look at Early Music: Luigi Nono’s Thoughts on Sixteenth-Century Polyphony,” Ars Lyrica 18 (2009), pp. 1–17.Google Scholar
Schmidt Horning, Susan, Chasing Sound: Technology, Culture, and the Art of Studio Recording from Edison to the LP (Baltimore: Johns Hopkins University Press, 2013).Google Scholar
Sedláčková, Kateřina, L’œuvre mobile de Michel Butor (Brno: Masarykova univerzita, 2012).Google Scholar
Serge, Alain-Y., “Comment revivent les splendeurs passées des châteaux de Chambord, de Versailles et de Vincennes grâce à Son et lumière,” Témoignage chrétien (1 July 1955), n.p.Google Scholar
Simeone, Nigel, “Music at the 1937 Paris Exposition: The Science of Enchantment,” The Musical Times, 143/1878 (2002), pp. 9–17.Google Scholar
Smalley, Roger, “Stockhausen’s Gruppen,” The Musical Times 108/1495 (1967), pp. 794–797.Google Scholar
Smarcz, Nicholas Henry, “The Development and Maturation of Brass Music in Renaissance Italy, ca. 1400–1600,” master’s thesis, Pennsylvania State University, 2012.Google Scholar
Smith, William A., “Leopold Stokowski: A Re-Evaluation,” American Music 1/3(1983), pp. 23–37; 31.Google Scholar
Smith, William A.The Mystery of Leopold Stokowski (London-Toronto: Associated University Presses, 1990).Google Scholar
Smyth, David H., “Stravinsky at the Threshold: A Sketch Leaf for Canticum Sacrum,” Mitteilungen der Paul Sacher Stiftung 10 (1997), pp. 21–26.Google Scholar
Solomon, Jason W., “Spatialization in Music: The Analysis and Interpretation of Spatial Gestures,” diss. University of Georgia, 2007.Google Scholar
Sommerich, Phillip, “Fifty Years New,” Classical Music 965 (19 May 2012), pp. 54–54.Google Scholar
Sorger, Martin, “Covering Music. A Brief History and Analysis of Album Cover Design,” Journal of Popular Music Studies 11 (1999), pp. 68–102.Google Scholar
Southern, Eileen, The Music of Black Americans (New York: Norton, 1971).Google Scholar
Sprout, Leslie, “Composing Film Music in Theory and Practice. Honegger’s Contributions to Les misérables and Rapt,” Journal of the American Musicological Society, 72/1(2019), pp. 43–113.Google Scholar
Stein, Erwin, “Igor Strawinsky: Canticum Sacrum Ad Honorem Sancti Marci Nominis,” Tempo 40 (1956), pp. 3–5.Google Scholar
Steintrager, James A. and Chow, Rey eds., Sound Objects (Durham, NC: Duke University Press, 2019).Google Scholar
Stenzl, Jürg, ed., Luigi Nono: Texte, Studien zu seiner Musik (Zurich: Atlantis, 1975).Google Scholar
Sterken, Sven, “Towards a Space-Time Art: Iannis Xenakis’s Polytopes,” Perspectives of New Music, 39/2 (2001), pp. 262–273.Google Scholar
Sterne, Jonathan, The Audible Past: Cultural Origins of Sound Reproduction (Durham, NC: Duke University Press, 2006).Google Scholar
Sterne, Jonathan “Headset Culture, Audile Technique, and Sound Space as Private Space,” TMG Journal for Media History 6/2(2014), pp. 57–82.Google Scholar
Sterne, Jonathan “The Stereophonic Spaces of Soundscape,” in Théberge, Paul, Devine, Kyle and Everrett, Tom (eds.), Living Stereo (New York: Bloomsbury Academic, 2015), pp. 65–84.Google Scholar
Sterne, Jonathan “What the Mind’s Ear Doesn’t Hear,” in Music, Sound and Space, ed. Georgina Born (Cambridge University Press, 2013), pp. 111–127.Google Scholar
Stiefel, Van R., “‘Maison Vague’: The Space Metaphor in Contemporary Music,” diss. Princeton University, 2002.Google Scholar
Stolla, Jochen, Abbild und Autonomie: Zur Klangbildgestaltung bei Aufnahmen klassischer Musik 1950–1994 (Baden-Baden: Tectum, 2004).Google Scholar
Stone, Kurt, “Ives’s Fourth Symphony: A Review,” The Musical Quarterly, 52/1 (Jan. 1966), pp. 1–16.Google Scholar
Strasser, Susan and Suisman, David, Sound in the Age of Mechanical Reproduction (Philadelphia: University of Pennsylvania Press, 2010).Google Scholar
Straus, Joseph N., “A Strategy of Large-Scale Organization in Stravinsky’s Late Music,” Integral 11 (1997), pp. 1–36.Google Scholar
Streicher, Ron and Alton Everest, F., The New Stereo Soundbook (Pasadena, CA: Audio Engineering Associates, 2006).Google Scholar
Strimple, Nick, Choral Music in the Twentieth Century (Pompton Plains: Amadeus Press, 2005).Google Scholar
Sutton, Gloria, The Experience Machine: Stan VanDerBeek’s Movie-Drome and Expanded Cinema (Cambridge: Massachusetts Institute of Technology Press, 2015).Google Scholar
Symes, Colin, Setting the Record Straight: A Material History of Classical Recording (Middletown, CT: Wesleyan University Press, 2004).Google Scholar
Szendy, Peter, Écoute, une histoire de nos oreilles (Paris: Édition de minuit, 2001).Google Scholar
Tagg, Phillip, Kojak, 50 Seconds of Television Music: Towards the Analysis of Affect in Popular Music (Göteborg: Musikvetenskapliga Institutionen, 1979).Google Scholar
Talbot, Michael and Lockey, Nicholas, “Vivaldi, Antonio,” Grove Music Online https://doi.org/10.1093/gmo/9781561592630.article.40120Google Scholar
Taruskin, Richard, “‘Alte Musik’ or ‘Early Music’?,” Twentieth-Century Music 8/1 (2011), pp. 3–28.Google Scholar
Taruskin, Richard Oxford History of Western Music, vol. 4 (The Early Twentieth Century) and vol. 5 (The Late Twentieth Century) (New York: Oxford University Press, 2010).Google Scholar
Tee, Jonathan, “Looking past the Stereo Loudspeakers: From the Home to the Amplified Concert Hall,” in Théberge, Paul, Devine, Kyle and Everrett, Tom (eds.), Living Stereo: Histories and Cultures of Multichannel Sound (New York–London: Bloomsbury Academic, 2015), pp. 147–164.Google Scholar
Thacker, Andrew, Moving through Modernity: Space and Geography in Modernism (Manchester: Manchester University Press, 2003).Google Scholar
Théberge, Paul, Devine, Kyle and Everrett, Tom, eds., Living Stereo: Histories and Cultures of Multichannel Sound (New York: Bloomsbury, 2015).Google Scholar
Thompson, Emily Ann, The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933 (Cambridge, MA: Massachusetts Institute of Technology Press, 2008).Google Scholar
Tone, Yasunao, “John Cage and Recording,” Leonardo Music Journal 13 (2003), pp. 11–15.Google Scholar
Toop, Richard, “Messiaen/Goeyvaerts, Fano/Stockhausen, Boulez,” Perspectives of New Music 13/1 (1974), pp. 141–169.Google Scholar
Trochimczyk, Maja “Space and Spatialization in Contemporary Music: History and Analysis, Ideas and Implementations,” diss. McGill University, 1994.Google Scholar
Harley, Maria Anna “Spatiality of Sound and Stream Segregation in Twentieth Century Instrumental Music,” Organised Sound 3/2 (1998), pp. 147–166.Google Scholar
Harley, Maria Anna “From Point to Sphere: Spatial Organization of Sound in Contemporary Music (after 1950),” Canadian University Music Review, no. 13 (1993), pp. 123–144.Google Scholar
Valiquet, Patrick, “The Spatialisation of Stereophony: Taking Positions in Post-war Electroacoustic Music,” International Review of the Aesthetics and Sociology of Music 43/2 (2012), pp. 403–421.Google Scholar
van den Toorn, Pieter C., The Music of Igor Stravinsky (New Haven, CT: Yale University Press, 1983).Google Scholar
Vande Gorne, Annette, “L’interprétation spatiale: Essai de formalisation méthodologique,” Demeter 2002, http://demeter.revue.univ-lille3.fr/interpretation/vandegorne.pdf.Google Scholar
Vande Gorne, Annette “Space, Sound, and Acousmatic Music: The Heart of the Research,” in Brech, Martha and Paland, Ralph (eds.), Kompositionen für hörbaren Raum: Die frühe elektroakustische Musik und ihre Kontexte (Bielefeld: transcript Verlag, 2015), pp. 205–220.Google Scholar
Veitl, Anne, Politiques de la musique contemporaine: Le compositeur, la “recherche musicale” et l’État en France de 1958 à 1991 (Paris: L’Harmattan, 1997).Google Scholar
Villalobos Acosta, César, “Light Shows and Narratives of the Past,” International Journal of Historical Archaeology 17/2(2013), pp. 332–350.Google Scholar
Walsh, Stephen, Stravinsky: The Second Exile: France and America, 1934–1971 (New York: Knopf, 2006).Google Scholar
Ward, Meredith C., “Leveraging a Long and Tuneful History: Perspectival Manipulation, Surround Sound, and Dolby Atmos,” in The Oxford Handbook of Cinematic Listening, ed. Carlo Cenciarelli (Oxford Academic, online ed., 2021). https://doi.org/10.1093/oxfordhb/9780190853617.013.10Google Scholar
Watkins, Glenn, The Gesualdo Hex (New York: Norton, 2010).Google Scholar
Welsh, John P., “Open Form and Earle Brown’s Modules I and II (1967),” Perspectives of New Music 32/1(1994), pp. 254–290.Google Scholar
Wen-Chung, Chou, “Varèse: A Sketch of the Man and His Music,” The Musical Quarterly 52/2 (1966), pp. 151–170.Google Scholar
White, Eric Walter, Stravinsky: The Composer and His Works (Berkeley: University of California Press, 1966).Google Scholar
Whittall, Arnold, “Individualism and Accessibility: The Moderate Mainstream, 1945–75,” in The Cambridge History of Twentieth-Century Music, ed. Cook, Nicholas and Pople, Anthony (Cambridge University Press, 2004), pp. 364–394.Google Scholar
Wicke, Peter, “The Art of Phonography: Sound, Technology and Music,” The Ashgate Research Companion to Popular Musicology (London: Routledge, 2016), pp. 147–168.Google Scholar
Wilson, Charles, “Gyorgy Ligeti and the Rhetoric of Autonomy,” Twentieth-Century Music 1/1 (2004), pp. 5–28.Google Scholar
Wooley, Nate, “Anthony Braxton’s Language Music,” Sound American 16 (2016), http://archive.soundamerican.org/sa_archive/sa16/sa16-language-music.html.Google Scholar
Young, Katherine, “Nothing is as it Appears: Anthony Braxton’s Trillium J,” diss., Northwestern University, 2017.Google Scholar
Zarlino, Gioseffo, Le istitutioni harmoniche (Venice, 1561), ed. Fenlon, Iain and Da Col, Paolo (Sala Bolognese: A. Forni, 1999).Google Scholar
Zhang, Zhiyue, “Preservation in the Dark: Current Trends and Future Prospects for Son et Lumiere in China,” master’s thesis, Columbia University, 2019.Google Scholar
Zhou, Qinru, “The Dialectical Conception in Toshirō Mayuzumi’s Nirvāna Symphony – A Sample for Studying the Thinking Characteristics of East Asian Contemporary Composers,” diss., UCLA, 1996.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Jonathan Goldman, Université de Montréal
  • Book: Avant-Garde on Record
  • Online publication: 05 January 2024
  • Chapter DOI: https://doi.org/10.1017/9781009363433.009
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Jonathan Goldman, Université de Montréal
  • Book: Avant-Garde on Record
  • Online publication: 05 January 2024
  • Chapter DOI: https://doi.org/10.1017/9781009363433.009
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Jonathan Goldman, Université de Montréal
  • Book: Avant-Garde on Record
  • Online publication: 05 January 2024
  • Chapter DOI: https://doi.org/10.1017/9781009363433.009
Available formats
×