Achard, Ken. 2005. The Peavey Revolution: Hartley Peavey: The Gear, the
Company, and the All-American Success Story. San Francisco: Backbeat
Books.
Ahmed, Sara. 2004. The Cultural Politics of Emotion. New York: Routledge.
———. 2006. Queer Phenomenology: Orientations, Objects, Others. Durham,
N.C.: Duke University Press.
Amacher, Maryanne. 1994. “Synaptic Island: A Psybertonal Topology.”
Architecture as a Translation of Music, edited by E. Martin, 32–35. New
York: Princeton Architectural Press (Pamphlet Architecture 16).
———. 2004. Psychoacoustic Phenomena in Musical Composition: Some
Features of a Perceptual Geography. FO(A)RM 3: 16–25.
“Around the World in News, Science.” 1936. Washington Post, May 31, PY4.
Balsamo, Anne. 1996. Technologies of the Gendered Body: Reading Cyborg
Women. Durham, N.C.: Duke University Press.
Bernstein, David W., ed. 2008. The San Francisco Tape Music Center: 1960s
Counterculture and the Avant-Garde. Berkeley: University of California
Press.
Bodle, Carrie. 2006. “Sonification/Listening Up.” Leonardo Music Journal
16, special section: “Sound and the Social Organization of Space,” guest
edited by T. Rodgers: 51–52.
Born, Georgina. 1995. Rationalizing Culture: ircam, Boulez, and the Institu-
tionalization of the Musical Avant-Garde. Berkeley: University of Califor-
nia Press.
Bosma, Hanna. 2003. “Bodies of Evidence, Singing Cyborgs and Other Gen-
der Issues in Electrovocal Music.” Organised Sound 8 (1): 5–17.
Bradby, Barbara. 1993. “Sampling Sexuality: Gender, Technology and the
Body in Dance Music.” Popular Music 12 (2): 155–76.
Brady, Erika. 1999. A Spiral Way: How the Phonograph Changed Ethnography.
Jackson: University Press of Mississippi.
Bridges, Elizabeth. 2005. “Love Parade GmbH vs. Ladyfest: Electronic Mu-
sic as a Mode of Feminist Expression in Contemporary German Cul-
ture.” Women in German Yearbook 21: 215–40.
References
Previous Page Next Page