References
Andrews, Jeff. “Colin Stetson Makes You Forget Everything You Know About the Saxophone.” VICE, May 5, 2017. https://www.vice.com/en/article/jpy89y/colin-stetson-makes-you-forget-everything-you-knew-about-the-saxophone.
Bhagwati, Sandeep. “Sounding the Climate we Live in: On Ways and Means of Artistic Research in Music and Sound.” (Draft Paper) The AEC European Platform for Artistic Research in Music EPARM 2021. 18-21 March 2021, Online. (A)
Bhagwati, Sandeep. “Sounding the Climate we Live in: On Ways and Means of Artistic Research in Music and Sound.” (Power Point Slides) The AEC European Platform for Artistic Research in Music EPARM 2021. 18-21 March 2021, Online. (B)
Boles, Benjamin. “Colin Stetson.” NOW Magazine, August 25, 2011. https://nowtoronto.com/colin-stetson.
Borgdorff, Henk. The Conflict of the Faculties Perspectives on Artistic Research and Academia. Leiden, Netherlands: Leiden University Press, 2012.
Bowers, John, and Phil Archer. “Not Hyper, Not Meta Not Cyber but Infra-Instruments.” In Proceedings of the 2005 International Conference on New Interfaces for Musical Expression, 5-10. 2005.
Burtner, Matthew. “The Metasaxophone: Concept, Implementation, and Mapping Strategies for a New Computer Music Instrument.” Organised Sound 7, no. 2 (2002): 201-213.
Butcher, John. Invisible Ear. Bandcamp. Weight of Wax, 2003.
Coules, Andy. “The History of Live Sound – Part 1.” Harman Professional Solutions – Insights. Accessed April 13, 2023. https://pro.harman.com/insights/av/the-history-of-live-sound-part-1/.
Croft, John. “Composition is not Research.” Tempo 69, no. 272 (2015): 6-11.
Di Scipio, Agostino. Modes of Interference / 2. Self-Published, 2006.
Dudas, Richard. “‘Comprovisation’: The Various Facets of Composed Improvisation within Interactive Performance Systems.” Leonardo Music Journal 20 (2010): 29-31.
Dunin-Woyseth, Halina. “Some Notes on Mode 1 and Mode 2: Adversaries or Dialogue Partners?” In The Routledge Companion to Artistic Research in the Arts. Edited by Michael Biggs and Henrik Karlsson, 64-81. New York: Routledge, 2011.
edgare. “John Butcher at All Tomorrow’s Parties.” YouTube. Dec 12, 2010. https://www.youtube.com/watch?v=uCjrN8ZuIqM.
d'Escriván, Julio. “To Sing the Body Electric: Instruments and Effort in the Performance of Electronic Music.” Contemporary Music Review 25, no. 1-2 (2006): 183-191.
Ferguson, John R., and Andrew R. Brown. “Fostering a Post-Digital Avant-Garde: Research-Led Teaching of Music Technology.” Organised Sound 21, no. 2 (2016): 127–37.
Fischer, Michael C. “Michael Fischer, feedback-saxophone, Vienna 2018.” YouTube. April 9, 2019. https://youtu.be/JTRkuAcFsWw.
Garnett, Guy E. “The Aesthetics of Interactive Computer Music.” Computer Music Journal 25, no. 1 (2001): 21-33.
Giddins, Gary. “Bing Crosby, The Unsung King of Song,” New York Times. January 28, 2001. https://www.nytimes.com/2001/01/28/books/music-bing-crosby-the-unsung-king-of-song.html.
Google Arts and Culture. “W49 Hörspielverzerrer.” Accessed March 23, 2023. https://artsandculture.google.com/asset/w49-h%C3%B6rspielverzerrer-firma-h-maihak-ag-hamburg/-QGxLY3VP63lfg?hl=en.
Hanford I.I.I., John C. “With the Power of Soul: Jimi Hendrix in Band of Gypsys.” PhD diss., University of Washington, 2003.
Herald, Christopher R. “The Advent of an Artist-Composer Movement Exemplified by the Works of Saxophonists Colin Stetson, Evan Parker, and Contemporaries.” DMA diss., University of Arizona, 2017.
Horning, Susan Schmidt. Chasing Sound: Technology, Culture & the Art of Studio Recording from Edison to the LP. Baltimore: Johns Hopkins University Press, 2013.
Huddersfield Contemporary Music Festival. “Solos and plurals: the improvisation of John Butcher.” Accessed April 17, 2020. https://hcmf.co.uk/solos-and-plurals-the-improvisation-of-john-butcher/.
Kant, Immanuel and Mary J. Gregor. The Conflict of the Faculties = Der Streit Der Fakultäten. New York: Abaris Books, 1979.
Kjørup, Søren. “Pleading for Plurality: Artistic And Other Kinds Of Research.” In The Routledge Companion to Research in the Arts, edited by Michael Biggs and Henrik Karlsson, 54-73. Routledge: New York, NY, 2011.
Kolkowski, Aleksander, and Alison Rabinovici, “Bellowphones and Blowed Strings: The Auxeto-Instruments of Horace Short and Charles Algernon Parsons.” In Material Culture and Electronic Sound. Edited by Frode Weium and Tim Boon, 1-42. Smithsonian Institution Scholarly Press, Washington, D.C., 2016.
Lauba, Christian. Neuf Etudes for Saxophones in 4 books. Paris: Alphonse Leduc, 1996.
Lockheart, Paula. “A History of Early Microphone Singing, 1925-1939: American Mainstream Popular Singing at the Advent of Electronic Microphone Amplification,” Popular Music and Society 26, no. 3 (2003): 367-385.
Londeix, Jean-Marie. Tablature des Doigtes compares des Notes suraigues. Paris, France: Alphonse Leduc, 1974.
McCracken, Allison. “‘God’s Gift to Us Girls’: Crooning, Gender, and the Re-Creation of American Popular Song, 1928-1933.” American Music 17, no. 4 (1999): 365-395.
McPherson, Andrew P., and Youngmoo E. Kim. “The Problem of the Second Performer: Building a Community Around an Augmented Piano.” Computer Music Journal 36, no. 4 (2012): 10-27.
Mooney, James. “Grey Area performs: Hugh Davis, Stockhausen, Christian Wolff, Owen Green.” Program notes for Quintet, 5.
Mooney, James. “The Hugh Davies Collection: live electronic music and self-built electro-acoustic musical instruments, 1967-1975.” Science Museum Group Journal 7, Spring (2017). http://journal.sciencemuseum.org.uk/browse/issue-07/the-hugh-davies-collection/.
Pace, Ian. “Composition And Performance Can Be, And Often Have Been, Research.” Tempo 70, no. 275 (01, 2016): 60-70.
Palacio-Quintin, Cléo. “2008: Eight Years of Practice on the Hyper-Flute: Technological and Musical Perspectives.” In A NIME Reader Current Research in Systematic Musicology, vol. 3. Edited by A.R Jensenius and M.J. Lyons, 335–351. Springer, Cham, 2017.
Palacio-Quintin, Cléo. “Composition d’oeuvres pour hypre-flûtes et traitement audionumérique interactif.” DM thesis, Université de Montréal, 2011.
Palombini, Carlos. “Machine Songs V: Pierre Schaeffer: From Research into Noises to Experimental Music.” Computer Music Journal 17, no. 3 (1993): 14–19.
Polaris Music Prize. “About.” Accessed Sept 10, 2022. https://polarismusicprize.ca/about/.
Potter, John, and Neil F. Sorrell. A History of Singing. Cambridge: Cambridge University Press, 2014.
Richards, John. “Getting the Hands Dirty.” Leonardo Music Journal 18, (2008): 25-31.
Schloss, W. Andrew. “Using Contemporary Technology in Live Performance: The Dilemma of the Performer.” Journal of New Music Research 32, no. 3 (2003): 240.
Skains, R. Lyle. “Creative Practice as Research: Discourse on Methodology.” Media Practice and Education 19, 1 (2018): 82-97.
Skains, Lyle. “PBR Method.” Creative Practice as Research: Discourse on Methodology. Accessed July 5, 2021. https://scalar.usc.edu/works/creative-practice-research/media/pbr-method.
Social Sciences and Humanities Research Council. “Definitions of Terms.” Accessed June 15, 2021. https://www.sshrc-crsh.gc.ca/funding-financement/programs-programmes/definitions-eng.aspx#a3.
Stetson, Colin. New History Warfare Vol 2: Judges. Constellation, 2011. LP.
Stockhausen, Karlheinz. Mikrophonie I: für Tamtam, 2 Mikrophone, 2 Filter und Regler, Nr. 15, 1964: 6 Spieler. London: Universal Edition, 1974.
Stockhausen, Karlheinz, and Jerome Kohl. “Electroacoustic Performance Practice.” Perspectives of New Music 34, no. 1 (1996): 74-105.
Stockhausen, Karlheinz, and Robin Maconie. Stockhausen on Music: Lectures and Interviews. London: Marion Boyars, 1989.
The Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen (AEC). “Key Concepts for AEC Members Artistic Research An AEC Council ‘White Paper’, 2015.” Accessed February 5, 2021. https://www.aec-music.eu/userfiles/File/Key%20Concepts/White%20Paper%20AR%20-%20Key%20Concepts%20for%20AEC%20Members%20-%20EN.pdf.
Théberge, Paul. Any Sound You Can Imagine: Making Music / Consuming Technology. Hanover: Wesleyan University Press, 1997.
van Eck, Cathy. Between Air and Electricity. New York: Bloomsbury Academic, 2018.
Wikipedia. “John Butcher.” Accessed May 4, 2022. https://en.wikipedia.org/wiki/John_Butcher_(musician)
Williams, Sean. “Stockhausen Meets King Tubby’s: The Transformation of the Stepped Filter into an Instrument.” In Material Culture and Electronic Sound. Edited by Frode Weium and Tim Boon, 159-184. Washington, D.C.: Smithsonian Institution Scholarly Press, 2016.