• Smalley, D. “Spectromorphology: explaining sound-shapes.” Org. Sound 2, 2 (Aug. 1997), 107-12
• Vassilonadis, Y. “An Interview with Philippe Leroux” Computer Music Journal, 32, 3 (2008), 11-24
• Zicarelli, D. Keynote, ICMC2001, LaHabana, Cuba
• Clarke, John Michael “L’apres MIDI: A vision of music and technology in the 21st century” CMR, (15-3), 57-61

Protocols

• M. Wright, A. Freed, A. Momeni,
• Essl, K. “OpenSound Control: State of the Art 2003”, NIME 2003

Interactive/Generative Music:

• Chadabe, J. “Interactive Composing: An Overview“, Computer Music Journal 8-1, 1984
• Essl, K. “Lexikon Sonate” Website article

Performance & Reception:

• McNutt, E. “Performing electroacoustic music: a wider view of interactivity.” Org. Sound 8, 3 (2003), 1-8

Contemporary Music Review, vol. 18, no. 3, 1999 “The Aesthetics of Live-Electronic Music”

1. M. Battier, “Introduction,” pp. 1–3.
2. L. Theremin, “Recollections,” pp. 5–8
3. I. Chusid, “Beethoven-in-a-box: Raymond Scott’s electronium,” pp. 9–14
4. J. Appleton, “Reflections of a former performer of electroacoustic music,” pp. 15–19
5. J. Eaton, “This is an instrument!,” Contemporary Music Review, pp. 21–24
6. J. Chadabe, “The performer is us,” Contemporary Music Review, vol. 18, no. 3, pp. 25–30
7. J.-C. Risset, “Composing in real-time?,” Contemporary Music Review, vol. 18, no. 3, pp. 31–39
8. M. Stroppa, “Live electronics or…live music? Towards a critique of interaction,” pp. 41–77
9. J. Harvey, “The metaphysics of live electronics,” pp. 79–82
10. R. Rowe, “The aesthetics of interactive music systems,” pp. 83–87
11. C. Chafe, “Interplay (er) machines,” Contemporary Music Review, pp. 89–97
12. G. Lewis, “Interacting with latter-day musical automata,” pp. 99–112
13. M. Subotnick, “The use of computer technology in an interactive or ‘Real time’ performance environment,” pp. 113-117
14. M. Waisvisz, “Riding the Sphinx—Lines about ‘Live’,” pp. 119–126
15. “Notes on Contributors,” pp. 131–132