Books and Articles

Wolvington, J. W. (1987) “Digital Audio Post-Production: Sound Editing Transformed.” Motion Imaging Journal, 96(1): 34-36. Society of Motion Picture & Television Engineers.

Chaudhary, A., Freed, A. and Wright, M. (1999) “An open architecture for real-time audio processing software.” Audio Engineering Society 1999 Convention.

Savage, J. and Challis, M. (2002) “A digital arts curriculum? Practical ways forward.” Music Education and Research, 4(1): 7-23. Taylor & Francis.

Devaney, J. (2003) “Reasonable Influences: The Advantages and Obstacles encountered with Commercial Software Packages used in Introductory Undergraduate Electronic Music Courses.” In Proceedings of the ICMC (Singapore).

Duignan, M., Noble, J., Barr, P. and Biddle, R. (2004) “Metaphors for electronic music production in Reason and Live.” Lecture Notes in Computer Science [Computer Human Interaction], 3101: 111-120. Springer.

Eyers, D. (2004) “‘Ambiguous Live’ – Exploring Collaborative, Dynamic Control of MIDI Sequencers.” Lecture Notes in Computer Science [Computer Music Modeling and Retrieval], 2771: 54-63. Springer.

Pejrolo, A. (2005) Creative Sequencing Techniques for Music Production: a Practical Guide for Logic, Digital Performer, Cubase and Pro Tools. Oxford: Focal Press.

Smith, J. (2005) “Review: Andrea Pejrolo, Creative Sequencing Techniques for Music Production: a Practical Guide for Logic, Digital Performer, Cubase and Pro Tools.” Organised Sound, 10(3): 275-276.

Doloswala, K. N. (2006) “Creativity and access in electronic music: cracked and pirated software instruments.” DRUID Summer Conference 2006 (Copenhagen, Denmark).

Noack, H. (2006) “Linux and music out of the box.” In Proceedings of the Linux Audio Conference (LAC2006).

Burns, C. and Surges, G. (2008) “NRCI: Software Tools for Laptop Ensemble.” In Proceedings of the ICMC (SARC, Belfast, N. Ireland).

Phillips, D. (2008) “State of the art: Linux audio 2008.” Linux Journal, 2008(173). Houston, TX : Belltown Media.

Väkevä, L. (2010) “Garage Band or GarageBand®? Remixing musical features.” British Journal of Music Education [Special Issue – Informal Learning in Music Education], 27(1): 59-70. Cambridge, UK: Cambridge University Press.

Väisänen, J. and Jauhiainen, J. (2010) “Seq1: an aleatoric music sequencer for the realtime creation of soundscapes.” In Proceedings of the 14th International Academic MindTrek Conference: Envisioning Future Media Environments (MindTrek ’10), p. 127-129.

Lenberg, H. (2011) “Music Software for the Masses: How to reach new target groups through user-centered design.” Master of Science Thesis, KTH Computer Science and Communication, Stockholm, Sweden.

Hudson, A. J. (2012) “Complication with Optimistic Outcome: Pro Tools, Digital Audio, and the Evolution of Musical Technologies.” The Science in Society Review, Vol. 8. Arizona State University: The Triple Helix.

Martin, A., Jin, C. T., Carey, B., Bown, O. (2012) “Creative Experiments Using a System for Learning High-Level Performance Structure in Ableton Live.” In Proceedings of the Ninth Sound and Music Computing Conference (SMC 2012), Copenhagen, Denmark.

Of Possible Interest

Bolton, J. (2006) “Web-based Composition: Removing barriers to increase composition opportunities in upper primary classrooms.” In Proceedings of the 27th World Conference of the International Society for Music Education (Kuala Lumpur, Malaysia).

Antin, J., Perkel, D. and Sims, C. (2008) “Unexpected collaborations: Kids’ Appropriation of GarageBand as a Group Creative Tool.” UCM iSchool Report #2008-027. University of California Berkeley.