LIST of REFERENCES

Adkins, Monty. 2019. “Fragility, noise, and atmosphere in ambient music”. In Music Beyond Airports: Appraising Ambient Music. University of Huddersfield Press. 


Appleton, Velvy. 2017. “High Anxiety-Window Scene”. YouTube video, 0:35. 2017. 

https://www.youtube.com/watch?v=RTCo2ChE5R0.


Bonfantini, Massimo. 1997. La semiosi e l’abduzione. Bompiani.


Bonfantini, Massimo e Proni, Giampaolo. 1983. “To guess or not to guess?” In The Sign of the Three, edited by Umberto Eco and Thomas A. Sebeok. Indiana University Press. 


Baudrillard, Jean. 1994. Simulacra and Simulation. University of Michigan Press.


Clarke, Eric. 2005. Ways of Listening. Oxford University Press.


D’Errico, Mike. 2015. "Off the grid: Instrumental hip-hop and experimentalism after the golden age”. IThe Cambridge Companion to Hip-Hop, edited by Justin A. Williams. Cambridge University Press.

https://doi.org/10.1017/CCO9781139775298.026.


De Assis, Paulo. 2022. “Hypermusic: New Musical Practices at the Crossroads  of Music, Art, and Philosophy”. In New Paradigm for Music Research: Art, Society and Technology, edited by Adolf Murillo, Inés Monreal, Jesus Tejada and David Carabias. Publicacions de la Universitat de València.

https://doi.org/10.7203/PUV-OA-532-0 .


Epstein, Nomi. 2017. “Musical Fragility: A Phenomenological Examination”. Tempo 71 (281): 39-52.

https://doi.org/10.1017/S0040298217000432.


Gibson, James J. 1999. Un approccio ecologico alla percezione visiva. Il Mulino.


Giomi, Francesco and Ligabue, Marco. 1996. “Metodo estesico-cognitivo e analisi della musica contemporanea”. Sonus (15): 38-61.


Guerra Lisi, Stefania e Stefani, Gino. 2004. Dizionario di Musica nella Globalità dei Linguaggi. Lim.


Guerra Lisi, Stefania e Stefani, Gino. 2010. Il corpo matrice di segni nella Globalità dei Linguaggi. Borla.


Harper, Adam. 2014. “Lo-Fi aesthetics in popular music discourse”. PhD diss., Oxford University


Kelly, Caleb. 2009. Cracked Media: The Sound of Malfunction. MIT Press. 

 

Landy, Leigh. 2007. Understanding the Art of Sound Organization. MIT Press.


Leman, Marc. 2008. Embodied Music Cognition and Mediation Technology. MIT Press.


Leman, Marc, Micheline Lesaffre, and Pieter-Jan Maes, eds. 2017. Embodied Music Interaction. Routledge.


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

https://doi.org/10.1162/014892601300126098.


Masters, Marc. 2023. High Bias: The Distorted History of the Cassette Tape. University of North Carolina Press.


Nees, Michael A. 2016.“Have We Forgotten Auditory Sensory Memory? Retention Intervals in Studies of Nonverbal Auditory Working Memory”.  Frontiers in Psychology. Frontiers Media SA. 

https://doi.org/10.3389/fpsyg.2016.01892.


Norman, Katharine. 1996. “Real-World Music as Composed Listening”. Contemporary Music Review, (15): 1-27. Taylor and Francis.

 

Retrontario. 2009. “Maxell Hi-Fidelity 1983”. YouTube video, 0:31. 2009. 

https://www.youtube.com/watch?v=Zk71h2CQ_xM.

 

Roads, Curtis. 2004. Microsound. MIT Press. 


Sangild, Torben. 2002. The Aesthetics of Noise. Datanom.


Schaeffer, Pierre. 1966. Traité des objets musicauxÉditions du Seuil.

 

Schaeffer, Pierre. 2012. In Search of a Concrete Music. Translated by Christine North and John Dack. University of California Press.


Schafer,  Raymond Murray. 1969. The New Soundscape. BMI.


Smalley, Denis. 2007. “Space-form and the acousmatic image”. Organised Sound 12 (1): 35-58.

https://doi.org/10.1017/S1355771807001665.


Western, Tom. 2018. “Field Recording and the Production of Place”. ICritical Approaches to the Production of Music and Sound, edited by Eliot Bates and Samantha Bennett. Bloomsbury Academic.


Windleburn, Maurice. 2021. “Musical Hyperrealism: Exploring Noah Creshevsky’s compositions through Jean Baudrillard’s ideas”. Organised Sound 26 (3): 403-412. 

https://doi.org/10.1017/S1355771821000480.

 

Windsor, W. Luke. 2004. “An Ecological Approach to Semiotics”. Journal for the Theory of Social Behaviour 34 (2): 179-98.
 
Windsor, William L.. 2000. “Through and around the acousmatic: the interpretation of electroacoustic sounds”. In Music, Electronic Media and Culture, edited by S. Emmerson. Ashgate.

• LIST of REFERENCES