handbook / Bibliography

Collected references from all Handbook entries.

Sources cited across the Handbook, gathered in one place. Each entry carries its own reference list at the foot of the page; this list is built from those, so it cannot fall out of step with them. Entries published so far are the only source of what appears here, and the list will grow as entries do.

  • Cavaliere, S., and Piccialli, A. (1997). Granular synthesis of musical signals. In Musical Signal Processing, 155-186.
  • Choi, K. (2026). Order and Interstices. Rope Editions.
  • De Campo, A. (2004). Microsound. In N. Collins and J. d'Escrivan (eds.), The Cambridge Companion to Electronic Music. Cambridge University Press.
  • De Campo, A., and Pietruszewski, M. (2025). Microsound. In S. Wilson, D. Cottle, and N. Collins (eds.), The SuperCollider Book, 2nd ed. Cambridge, MA: MIT Press.
  • De Poli, G., and Piccialli, A. (1991). Pitch-synchronous granular synthesis. In G. De Poli, A. Piccialli and C. Roads (eds.), Representations of Musical Signals. Cambridge, MA: MIT Press.
  • Ernst, W. (2019). As slow as possible? On the machinic (non-)sense of the sonic present and digital indifference toward time. ASAP/Journal, 4(3), 671-688.
  • Gabor, D. (1946). Theory of communication. Part 1: The analysis of information. Journal of the Institution of Electrical Engineers, 93(26), 429-441.
  • Gabor, D. (1947). Acoustical quanta and the theory of hearing. Nature, 159(4044), 591-594.
  • Grisey, G. (1989-90). Le Noir de l'Étoile, for six percussionists, tape and transmission of pulsar signals.
  • Haworth, C. (2015). Sound synthesis procedures as texts: an ontological politics in electroacoustic and computer music. Computer Music Journal, 39(1), 41-58.
  • Hecker, F. (2006). Pulsar Wg'lett. On Recordings for Rephlex. Rephlex.
  • Hewish, A., Bell, S. J., Pilkington, J. D. H., Scott, P. F., and Collins, R. A. (1968). Observation of a rapidly pulsating radio source. Nature, 217, 709-713.
  • Holtzman, S. R. (1978). A Description of an Automatic Digital Sound Synthesis Instrument. DAI Research Report No. 59. Edinburgh: Department of Artificial Intelligence, University of Edinburgh.
  • Jenny, G. (1958). L'Ondioline: conception et réalisation. Toute la radio.
  • Johnston, S., and Kerr, M. (2017). Polarimetry of 600 pulsars from observations at 1.4 GHz with the Parkes radio telescope. Monthly Notices of the Royal Astronomical Society, 474, 4629. Data via the EPN Database of Pulsar Profiles, CC BY 4.0.
  • Jung An Tagen, and Frye, E. (2020). Pulsar Acid.
  • Jung An Tagen, and Frye, E. (2022). Phantom Acid. Superpang.
  • Kaegi, W., and Tempelaars, S. (1978). VOSIM: a new sound synthesis system. Journal of the Audio Engineering Society, 26(6), 418-425.
  • Kleine-Tebbe, J.-L. (2024). Sub-sample accurate events from phasor ramps. scsynth.org forum thread. scsynth.org/t/8856
  • Kleine-Tebbe, J.-L. (2025a). GrainUtils. SuperCollider plugin, GPL-3.0. github.com/dietcv/GrainUtils
  • Kleine-Tebbe, J.-L. (2025b-). GrainUtils: sub-sample accurate EventScheduler and dynamic VoiceAllocator. scsynth.org forum thread. scsynth.org/t/12197
  • Koenig, G. M. (1959). Studium im Studio. die Reihe, 5. English ed. (1961). Bryn Mawr: Theodore Presser.
  • Koenig, G. M. (1987). Genesis of form in technically conditioned environments. Journal of New Music Research, 16(3), 165-175.
  • Mason, B. (2024). PdPG: Pure Data implementation of Curtis Roads' Pulsar Generator, v1.0.0. Software. github.com/whosebodyisthis/PdPG
  • Mathews, M. V. (1969). The Technology of Computer Music. Cambridge, MA: MIT Press.
  • Pietruszewski, M. (2020a). The New Pulsar Generator Recordings Volume 1. Fancyyyyy, FCY0003. CD and book.
  • Pietruszewski, M. (2020b). The digital instrument as an artifact. In P. Weibel, L. Brümmer, and S. Kanach (eds.), From Xenakis's UPIC to Graphic Notation Today, 613-627. Berlin: Hatje Cantz / Karlsruhe: ZKM.
  • Pietruszewski, M. (2021). New Pulsar Generator (nuPG). Software.
  • Pietruszewski, M. (2022). Synthetic Pulsar (Speculative Sonification). In xCoAx 2022: Proceedings of the 10th Conference on Computation, Communication, Aesthetics & X, 375-378. DOI 10.24840/xCoAx_2022_56.
  • Pietruszewski, M. (2024). The New Pulsar Generator (nuPG): Compositional Practice, Digital Sound Synthesis Model and Their Temporalities. PhD thesis, University of Edinburgh.
  • Pietruszewski, M. (2026). Media-archaeological synthesis. Manuscript in review.
  • Pope, S. T. (1997). Sound and Music Processing in SuperCollider. Santa Barbara: CREATE.
  • Pulsar.scramble, vols. 1-3 (2020-2021). Various artists. $ pwgen 20.
  • Rawlinson, J. (2021). Pulsar Retcon. Superpang, SP63.
  • Roads, C. (2001a). Microsound. Cambridge, MA: MIT Press.
  • Roads, C. (2001b). Sound composition with pulsars. Journal of the Audio Engineering Society, 49(3), 134-147.
  • Roads, C. (2001c). PulsarGenerator Manual of Operation. Document version 1, 24 March 2001. Santa Barbara: CREATE.
  • Roads, C. (2004). Point, line, cloud: the legacy of Iannis Xenakis. In Presences of Iannis Xenakis, ed. M. Solomos. Paris: CDMC.
  • Roads, C. (2020). Composing Electronic Music: A New Aesthetic. Rev. ed. New York: Oxford University Press.
  • Rodet, X. (1984). Time-domain formant-wave-function synthesis. Computer Music Journal, 8(3), 9-14.
  • Schmickler, M. (2007). Altars of Science. Editions Mego.
  • Schmickler, M. (2009). Bonner Durchmusterung. Sonification by Alberto de Campo, projections by Carsten Goertz, supervision by Michael Geffert. Premiered May 2009, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn.
  • Stockhausen, K. (1957). . . . wie die Zeit vergeht . . . die Reihe, 3, 10-43. English ed. (1959): . . . How Time Passes . . . Bryn Mawr: Theodore Presser.
  • Thomson, W. (1881). The tide gauge, tidal harmonic analyser, and tide predicter. Minutes of Proceedings of the Institution of Civil Engineers, 65, 2-10; discussion 26-72.
  • Tremblay, P. A., Roma, G., and Green, O. (2021). Enabling programmatic data mining as musicking: the Fluid Corpus Manipulation toolkit. Computer Music Journal, 45(2), 9-23.
  • Vaggione, H. (1991). A note on object-based composition. In G. De Poli, A. Piccialli and C. Roads (eds.), Representations of Musical Signals. Cambridge, MA: MIT Press.
  • Wakefield, G., and Taylor, G. (2022). Generating Sound & Organizing Time: Thinking with gen~, Book 1. San Francisco: Cycling '74.
  • Xenakis, I. (1971). Formalized Music: Thought and Mathematics in Composition. Bloomington: Indiana University Press.
  • Xenakis, I. (1992). Formalized Music. Rev. ed. Stuyvesant, NY: Pendragon Press.
  • Xenakis, I., and Varga, B. A. (1996). Conversations with Iannis Xenakis. London: Faber & Faber.