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<h2 id="history">History</h2> <h3>1800s–1940s</h3> <h4>Early electronic instruments</h4> <p>Early <a href="/facts/Electronic_instruments/dQSuuYtF">electronic instruments</a> intended for live performance, such as <a href="/facts/Thaddeus_Cahill/7P7yxml4">Thaddeus Cahill</a>'s <a href="/facts/Telharmonium/Y8uhEqRy">Telharmonium</a> (1897) and instruments developed between the two world wars, such as the <a href="/facts/Theremin/qygjqB7S">Theremin</a> (1919), <a href="/facts/Spharophon/UT2yYPy3">Spharophon</a> (1924), <a href="/facts/Ondes_Martenot/aSXEPTGY">ondes Martenot</a> (1928), and the <a href="/facts/Trautonium/mDg0Mtwm">Trautonium</a> (1929), may be cited as antecedents,<a class="footnote-ref" id="fnref:2" href="#fn:2"><sup>2</sup></a> but were intended simply as new means of sound production, and did nothing to change the nature of musical composition or performance.<a class="footnote-ref" id="fnref:3" href="#fn:3"><sup>3</sup></a> </p><p>Many early compositions included these electronic instruments, though the instruments were typically used as substitutes for standard classical instruments. An example includes composer <a href="/facts/Joseph_Schillinger/ros7UF4Q">Joseph Schillinger</a>, who in 1929 composed <i>First Airphonic Suite for Theremin and Orchestra</i>, which premièred with the <a href="/facts/Cleveland_Orchestra/c3gLwUAX">Cleveland Orchestra</a> with <a href="/facts/Leon_Theremin/hLrsbHh2">Leon Theremin</a> as soloist. <a href="/facts/Percy_Grainger/v1975KhA">Percy Grainger</a>, used ensembles of four or six <a href="/facts/Theremin/qygjqB7S">theremins</a> (in preference to a string quartet) for his two earliest experimental <i>Free Music</i> compositions (1935–37) because of the instrument's complete 'gliding' freedom of pitch.(<a class="footnote-ref" id="fnref:4" href="#fn:4"><sup>4</sup></a><a class="footnote-ref" id="fnref:5" href="#fn:5"><sup>5</sup></a> The ondes Martenot was also used as a featured instrument in the 1930s, and composer <a href="/facts/Olivier_Messiaen/0HG9SV46">Olivier Messiaen</a> used it in the <i><a href="/facts/F%25C3%25AAte_des_belles_eaux/0cSp7EFx">Fête des belles eaux</a></i> for six ondes, written for the 1937 <a href="/facts/Exposition_Internationale_des_Arts_et_Techniques_dans_la_Vie_Moderne/zCaBNbPX">International World's Fair</a> in Paris.<a class="footnote-ref" id="fnref:6" href="#fn:6"><sup>6</sup></a> </p><p>Cage's <i><a href="/facts/Imaginary_Landscape_No._1/BnGtF2Pm">Imaginary Landscape No. 1</a></i> (1939) was among the earliest compositions to include an innovative use of live electronic material; it featured two variable-speed phonograph turntables and sine-tone recordings.<a class="footnote-ref" id="fnref:7" href="#fn:7"><sup>7</sup></a> Cage's interest in live electronics continued through the 1940s and 1950s, providing inspiration for the formation of a number of live-electronic groups in America who came to regard themselves as the pioneers of a new art form.<a class="footnote-ref" id="fnref:8" href="#fn:8"><sup>8</sup></a> </p> <h3>1950s–1960s</h3> <p>In Europe, <a href="/facts/Pierre_Schaeffer/C0ya8Gu8">Pierre Schaeffer</a> had attempted live generation of the final stages of his works at the first public concert of <i>musique concrète</i> in 1951 with limited success. However, it was in Europe at the end of the 1950s and early 1960s that the most coherent transition from studio electronic techniques to live synthesis occurred. <a href="/facts/Mauricio_Kagel/aAuPSWjD">Mauricio Kagel</a>'s <i>Transición II</i> (1959) combined two tape recorders for live manipulation of the sounds of piano and percussion, and beginning in 1964 <a href="/facts/Karlheinz_Stockhausen/XCrTaejh">Karlheinz Stockhausen</a> entered on a period of intensive work with live electronics with three works, <i><a href="/facts/Mikrophonie_(Stockhausen)/1a12396g">Mikrophonie I</a></i> and <i><a href="/facts/Mixtur/8DaXPo9c">Mixtur</a></i> (both 1964), and <i><a href="/facts/Mikrophonie_(Stockhausen)/1a12396g">Mikrophonie II</a></i>.<a class="footnote-ref" id="fnref:9" href="#fn:9"><sup>9</sup></a> While earlier live-electronic compositions, such as Cage's <i>Cartridge Music</i> (1960), had mainly employed amplification, Stockhausen's innovation was to add electronic transformation through filtering, which erased the distinction between instrumental and electronic music.<a class="footnote-ref" id="fnref:10" href="#fn:10"><sup>10</sup></a> </p><p>During the 1960s, a number of composers believed studio-based composition, such as musique concrète, lacked elements that were central to the creation of <a href="/facts/Live_music/TaJqQquh">live music</a>, such as: spontaneity, dialogue, discovery and group interaction. Many composers viewed the development of live electronics as a reaction against "the largely technocratic and rationalistic ethos of studio processed tape music" which was devoid of the visual and theatrical component of live performance.<a class="footnote-ref" id="fnref:11" href="#fn:11"><sup>11</sup></a> By the 1970s, live electronics had become the primary area of innovation in electronic music.<a class="footnote-ref" id="fnref:12" href="#fn:12"><sup>12</sup></a> </p> <h3>1970s–1980s</h3> <p>The 1970s and 1980s were notable for contributions by electronic musician <a href="/facts/Jean-Michel_Jarre/krg5JHT6">Jean-Michel Jarre</a>. The success of <a href="/facts/Oxyg%25C3%25A8ne/Wl9sTDPk">Oxygene</a> and his large scale concerts which he performed attracted millions of people, breaking his own record for largest audience four times.<a class="footnote-ref" id="fnref:13" href="#fn:13"><sup>13</sup></a><a class="footnote-ref" id="fnref:14" href="#fn:14"><sup>14</sup></a><a class="footnote-ref" id="fnref:15" href="#fn:15"><sup>15</sup></a>) In fact Jarre continued to break his own records up to the end of the century, with 3.5 million people attending 1997's <a href="/facts/Oxygene_in_Moscow/2YrfSqCg">Oxygene in Moscow</a>.<a class="footnote-ref" id="fnref:16" href="#fn:16"><sup>16</sup></a> </p> <h3>1990s</h3> <h4>Laptronica</h4> <p class="note">See also: <a href="/facts/Laptop_battle/02oMbmHq">Laptop battle</a></p> <p>Laptronica is a form of live electronic music or computer music in which laptops are used as musical instruments. The term is a <a href="/facts/Portmanteau/d124JEbz">portmanteau</a> of "laptop computer" and <a href="/facts/Electronica/clnaT6vm">"electronica"</a>. The term gained a certain degree of currency in the 1990s and is of significance due to the use of highly powerful computation being made available to musicians in highly portable form, and therefore in <a href="/facts/Concert/TaJqQquh">live performance</a>. Many sophisticated forms of sound production, manipulation and organization (which had hitherto only been available in studios or academic institutions) became available to use in live performance, largely by younger musicians influenced by and interested in developing experimental popular music forms.[15] A combination of many laptops can be used to form a <a href="/facts/Laptop_orchestra/D15BG2gq">laptop orchestra</a>. </p> <h4>Live coding</h4> <p class="note">Main article: <a href="/facts/Live_coding/Vf9rTNDJ">Live coding</a></p> <p class="note">See also: <a href="/facts/Algorave/YUdHjpqT">Algorave</a></p> <p>Live coding[16] (sometimes referred to as 'on-the-fly programming',[17] 'just in time programming') is a programming practice centred upon the use of <a href="/facts/Improvisation/q5Sy56fd">improvised</a> <a href="/facts/Interactive_programming/cWx4aunC">interactive programming</a>. Live coding is often used to create sound and image based <a href="/facts/Digital_media/QLXzDrhL">digital media</a>, and is particularly prevalent in computer music, combining <a href="/facts/Algorithmic_composition/dGeVh6GP">algorithmic composition</a> with improvisation,[18] Typically, the process of writing is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research.[19] There are also approaches to human live coding in improvised <a href="/facts/Dance/s9SeYNR9">dance</a>.<a class="footnote-ref" id="fnref:17" href="#fn:17"><sup>17</sup></a> Live coding techniques are also employed outside of performance, such as in producing sound for film<a class="footnote-ref" id="fnref:18" href="#fn:18"><sup>18</sup></a> or audio/visual work for interactive art installations.<a class="footnote-ref" id="fnref:19" href="#fn:19"><sup>19</sup></a> </p><p>Live coding is also an increasingly popular technique in programming-related lectures and conference presentations, and has been described as a "best practice" for computer science lectures by <a href="/facts/Mark_Guzdial/QNkdHt06">Mark Guzdial</a>.<a class="footnote-ref" id="fnref:20" href="#fn:20"><sup>20</sup></a> </p> <h4>Electroacoustic improvisation</h4> <p>Electroacoustic improvisation (EAI) is a form of <a href="/facts/Free_improvisation/SIR0tXEd">free improvisation</a> that was originally referred to as live electronics. It has been part of the sound art world since the 1930s with the early works of John Cage.[24]<a class="footnote-ref" id="fnref:21" href="#fn:21"><sup>21</sup></a> <i><a href="/facts/Source%3a_Music_of_the_Avant_Garde/HF1VCJV7">Source</a></i> magazine published articles by a number of leading electronic and avant-garde composers in the 1960s.<a class="footnote-ref" id="fnref:22" href="#fn:22"><sup>22</sup></a> </p><p>It was further influenced by electronic and <a href="/facts/Electroacoustic_music/EUNo602A">electroacoustic music</a> and the music of American <a href="/facts/Experimental_music/JbfA3Tg7">experimental</a> composers such as <a href="/facts/John_Cage/L8UuNbIY">John Cage</a>, <a href="/facts/Morton_Feldman/J6rPmL6Y">Morton Feldman</a> and <a href="/facts/David_Tudor/QsHl0MXP">David Tudor</a>. British free improvisation group <a href="/facts/AMM_(group)/aSPGUYXR">AMM</a>, particularly their guitarist <a href="/facts/Keith_Rowe/v668tKyV">Keith Rowe</a>, have also played a contributing role in bringing attention to the practice.<a class="footnote-ref" id="fnref:23" href="#fn:23"><sup>23</sup></a> </p> <h2 id="notable-works-1930s1960s">Notable works 1930s–1960s</h2> <p class="note">See also: Category:Electronic musicians</p> <p>The following is an incomplete list, in chronological order, of early notable electronic compositions: </p> <ul><li><a href="/facts/John_Cage/L8UuNbIY">John Cage</a> – <i><a href="/facts/Imaginary_Landscape/WeCIMz4s">Imaginary Landscape</a></i> (1939–1952)</li> <li><a href="/facts/John_Cage/L8UuNbIY">John Cage</a> – <i>Cartridge Music</i> (1960)</li> <li><a href="/facts/Robert_Ashley/LIHGdjep">Robert Ashley</a> – <i>Wolfman</i> (1964), <i>Lecture Series</i> (1965), <i>Purposeful Lady Slow Afternoon</i> (1968)</li> <li><a href="/facts/Karlheinz_Stockhausen/XCrTaejh">Karlheinz Stockhausen</a> – <i><a href="/facts/Mikrophonie_(Stockhausen)/1a12396g">Mikrophonie I & II</a></i> (1964 and 1965); <i><a href="/facts/Mixtur/8DaXPo9c">Mixtur</a></i> (1964); <i><a href="/facts/Solo_(Stockhausen)/VgJSmk4J">Solo</a></i> (1966); <i><a href="/facts/Prozession/Me6Glvok">Prozession</a></i> (1967); <i><a href="/facts/Kurzwellen/5vtMMLrm">Kurzwellen</a></i> (1968); <i><a href="/facts/Spiral_(Stockhausen)/8g7keIVb">Spiral</a></i> (1968)</li> <li><a href="/facts/Alvin_Lucier/XJ7C57Tb">Alvin Lucier</a> – <i>Music for Solo Performer</i> (1965), <i>North American Time Capsule</i> (1967), <i>Vespers</i> (1968)</li> <li><a href="/facts/Johannes_Fritsch/gModEr9R">Johannes Fritsch</a> – <i>Partita</i> (1965–66) for viola, contact microphones, tape recorder, filters, and potentiometers (4 players); <i>Modulation 2</i> (1967), for 13 instruments and live electronics; <i>Akroasis</i> (1966–68) for large orchestra with jazz band, two singers, live electronics, hurdy-gurdy, music box, and newsreader</li> <li><a href="/facts/David_Behrman/fhNXWnRw">David Behrman</a> – <i>Wave Train</i> (1967)</li> <li><a href="/facts/Gordon_Mumma/wKh1eaaC">Gordon Mumma</a> – <i>Hornpipe</i> (1967)</li> <li><a href="/facts/Steve_Reich/D8zYTljV">Steve Reich</a> – <i><a href="/facts/Pendulum_Music/sbGCKsCh">Pendulum Music</a></i> (1968)</li> <li><a href="/facts/Max_Neuhaus/o2W94b2U">Max Neuhaus</a> – <i>Drive-in Music</i> (1968)</li> <li><a href="/facts/Larry_Austin/bQjsS4NQ">Larry Austin</a> – <i>Accidents</i> (1968)</li> <li><a href="/facts/Richard_Teitelbaum/t33P3LUN">Richard Teitelbaum</a> – <i>In Tune</i> (1968)</li> <li><a href="/facts/Louis_Andriessen/WlaQJpbw">Louis Andriessen</a>, <i>Hoe het is</i> (1969) for 52 strings and live electronics</li> <li>Louis Andriessen, <a href="/facts/Reinbert_de_Leeuw/T67fDRmj">Reinbert de Leeuw</a>, <a href="/facts/Misha_Mengelberg/YLFhPAAh">Misha Mengelberg</a>, <a href="/facts/Peter_Schat/2vLaUEev">Peter Schat</a>, Jan van Vlijmen – <i>Reconstructie</i> (1969), Morality opera for soloists, 3 mixed choirs, orchestra, and live electronics</li> <li>George Brown – <i>Splurge</i> (1969)</li> <li><a href="/facts/Takehisa_Kosugi/VcpeQcBv">Takehisa Kosugi</a> – <i>712-9374</i> (1969)</li> <li><a href="/facts/Roger_Smalley/xM4pfkdX">Roger Smalley</a> – <i>Transformation I</i> (1969)</li></ul> <h2 id="see-also">See also</h2> Wikimedia Commons has media related to Electronic music festivals. <ul><li><a href="/facts/List_of_electronic_music_festivals/7Rg5YA8A">List of electronic music festivals</a></li> <li><a href="/facts/New_Interfaces_for_Musical_Expression/zerI9on4">New Interfaces for Musical Expression</a></li> <li><a href="/facts/Operation_Re-Information/UIY8tfMq">Operation Re-Information</a></li> <li><a href="/facts/List_of_music_software/rFHHUh3w">List of music software</a></li></ul> <h3>Notes</h3> <h3>Sources</h3> <ul><li>Anon. (2009). <a href="http://news.bbc.co.uk/1/hi/technology/8221235.stm">"Tech Know: Programming, Meet Music"</a>. BBC News. 2009-08-28. Retrieved 2010-03-25.</li> <li>Anon. (n.d.(a)). "<a href="http://www.ubu.com/sound/source.html"><i>Source: Music of the Avant-Garde</i></a> (list of issues with Notes "from Deep Listening's website"). UbuWeb: Sound (Accessed 2 May 2013).</li> <li>Anon. (n.d.(b)). <a href="http://www.creativeapplications.net/scripts/communion-cinder-scripts-events-special/">"Communion by Universal Everything and Field.io: interview"</a>. 24 May 2011. Retrieved 5 February 2013.</li> <li>Anon. (n.d.(d)). "<a href="http://www.noiseaddicts.com/2009/08/concerts-with-record-attendance/">Concerts with Record Attendance</a>". Noise Addicts blog (accessed 2 March 2018).</li> <li>Anon. (n.d.(e)). "<a href="https://www.famouscomposers.net/jean-michel-jarre">Jean Michel Jarre</a>". Famouscomposers.net (accessed 7 March 2019).</li> <li>Cacciottolo, Mario (2008). "<a href="http://news.bbc.co.uk/2/hi/entertainment/7314713.stm">Jarre Breathes Again with Oxygene</a>". BBC News (accessed 6 October 2015).</li> <li>Cage, John (1960).<i>Imaginary Landscape No. 1: for Records of Constant and Variable Frequency, Large Chinese Cymbal and String Piano</i>. S.l.: Henmar Press; New York: Sole Selling Agents, C. F. Peters.</li> <li>Collins, Nick (2003) "<a href="https://web.archive.org/web/20140514102233/https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf">Generative Music and Laptop Performance</a>", <i>Contemporary Music Review</i> 22, no. 4:67–79.</li> <li>Collins, Nick (2007). "Live Electronic Music." In <i>The Cambridge Companion to Electronic Music</i>, edited by Nick Collins and Julio d’Escriván, pp. 38–54. <a href="/facts/Cambridge_Companions_to_Music/BvdN8yKW">Cambridge Companions to Music</a>. Cambridge: Cambridge University Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-521-68865-9; <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-521-86861-7.</li> <li>Collins, Nick, Alex McLean, Julian Rohrhuber, and Adrian Ward (2003), "<a href="https://web.archive.org/web/20180617115703/http://akustik.hfbk.net/publications/LiveCodingInLaptopPerformance.pdf">Live Coding in Laptop Performance</a>", <i>Organised Sound</i> 8, no. 3: 321–330. <a href="/facts/Doi_(identifier)/muM9Etpq">doi</a>:<a href="https://doi.org/10.1017%2FS135577180300030X">10.1017/S135577180300030X</a>. (Archive from 17 June 2018, accessed 14 April 2020)</li> <li>Emmerson, Simon (2007). <i>Living Electronic Music</i>. Aldershot, Hants.: Ashgate.</li> <li>Eyles, John (2006). "<a href="http://www.allaboutjazz.com/php/article.php?id=22196">Extended Analysis: 4g: <i>Cloud</i></a>". AllAboutJazz.com (21 June) (Accessed 2 May 2013).</li> <li>Everitt, Matt (2015). "<a href="https://www.bbc.co.uk/programmes/b06dwdx2">The First Time with … Jean Michel Jarre</a>". BBC Radio 6 (Sunday 4 October; accessed 2 March 2018).</li> <li>Gillies, Malcolm, and David Pear. (n.d.). "<a href="http://www.oxfordmusiconline.com/subscriber/article/grove/music/11596">Grainger, Percy</a>". In <i>Grove Music Online</i>. Oxford Music Online. Retrieved 2011-09-21.(subscription required).</li> <li>Guzdial, Mark (2011). <a href="http://computinged.wordpress.com/2011/08/01/what-students-get-wrong-when-building-computational-physics-models-in-python-cabellero-thesis-part-2/">"What Students Get Wrong When Building Computational Physics Models in Python: Cabellero Thesis Part 2"</a>. Retrieved 5 February 2013.</li> <li>Hill, Peter, and Nigel Simeone (2005). <i>Messiaen</i>. New Haven and London: Yale University Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-300-10907-8.</li> <li>Lewis, Thomas P. (1991). <i><a href="http://www.percygrainger.org/prognot4.htm">A Source Guide to the Music of Percy Grainger</a></i>. White Plains: Pro-Am Music Resources. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-912483-56-6. Retrieved 2011-09-21.</li> <li>McLean, Alex, Dave Griffiths, Nick Collins, and Geraint Wiggins (2010). "<a href="http://yaxu.org/visualisation-of-live-code/">Visualisation of Live Code</a>". In <i>Electronic Visualisation and the Arts London 2010</i>, edited by. <a href="http://yaxu.org/writing/visualisation-of-live-code.pdf">PDF version</a> (Accessed 8 May 2014).</li> <li>Manning, Peter (2013). <i>Electronic and Computer Music</i>, fourth edition. Oxford and New York: Oxford University Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-19-974639-2.</li> <li>Rohrhuber, Julian (2008). <a href="https://web.archive.org/web/20110811070536/http://akustik.hfbk.net/publications/rohrhuber_artificial_natural_historical.pdf"><i>Artificial, Natural, Historical in Transdisciplinary Digital Art. Sound, Vision and the New Screen</i></a> (PDF). Springer Berlin Heidelberg. Archived from <a href="http://akustik.hfbk.net/publications/rohrhuber_artificial_natural_historical.pdf">the original</a> (PDF) on 2011-08-11. Retrieved 2013-05-16.</li> <li>Schrader, Barry (1991). "Live/Electro-Acoustic Music: A Perspective from History and California," in <i>Live Electronics</i>, edited by Peter Nelson, Stephen Montague, and Gary Montague,. CRC Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 3-7186-5116-5.</li> <li>Siegel, Jeff (22 June 2006). <a href="https://web.archive.org/web/20120919112809/http://www.stylusmagazine.com/reviews/keith-rowe-and-toshimaru-nakamura/between.htm">"Review of <i>Keith Rowe and Toshimaru Nakamura: Between</i>"</a>. <i><a href="/facts/Stylus_Magazine/mR5VtcB0">Stylus Magazine</a></i>. Archived from <a href="http://www.stylusmagazine.com/reviews/keith-rowe-and-toshimaru-nakamura/between.htm">the original</a> on 2012-09-19.</li> <li>Simms, Brian R. (1986). <i>Music of the Twentieth Century: Style and Structure</i>. New York: Schirmer Books; London: Collier Macmillan Publishers. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-02-872580-8.</li> <li>Sutherland, Roger (1994). <i>New Perspectives in Music</i>. London: Sun Tavern Fields. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-9517012-6-6.</li> <li><a href="/facts/Toop%2c_Richard/lmtkIJse">Toop, Richard</a> (2002). "Karlheinz Stockhausen". In <i>Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook</i>, edited by <a href="/facts/Larry_Sitsky/KVptKW4B">Larry Sitsky</a>, 493–499. Westport, Connecticut: Greenwood Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-313-29689-8.</li> <li>Wang, Ge, and Perry R. Cook (June 2004) <a href="https://soundlab.cs.princeton.edu/publications/on-the-fly_nime2004.pdf">"On-the-fly Programming: Using Code as an Expressive Musical Instrument"</a>. In <i>Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME)</i>, pp. 138–143, Michael J. Lyons (ed), Yoichi Nagashima (chair), New York: NIME.</li></ul> <h2 id="further-reading">Further reading</h2> <ul><li>Altena, Arie (2006). "<a href="http://www.dnk-amsterdam.com/index.cgi?dept=2005AGENDA&article=213">Jeff Carey / Jozef van Wissem, Tetuzi Akiyama / Martin Siewert: Three Sets of Strings & Electronics in Different Combinations</a>". DNK Amsterdam: Concert Series for New Live Electronic and Acoustic Music in Amsterdam (press release, 27 November; Accessed 2 May 2013).</li> <li>Andraschke, Peter (2001). "Dichtung in Musik: Stockhausen, Trakl, Holliger." In <i>Stimme und Wort in der Musik des 20. Jahrhunderts,</i> edited by <a href="/facts/Hartmut_Krones/7jFmbWVa">Hartmut Krones</a>, 341–355. Vienna: Böhlau. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-3-205-99387-2.</li> <li>Anon. (n.d.(c)). "<a href="http://www.livepa.org/faq/#what_is_a_Live_P.A.">What Is a 'Live P.A.'?</a>" Livepa.org (accessed 5 March 2015).</li> <li>Bernal, Alberto, and João Miguel Pais (2008). "<a href="http://cec.sonus.ca/econtact/10_4/bernal_pais_endphase.html">Endphase: Origin and Analysis of an Ongoing Project</a>." <i>eContact! 10.4 – Temps réel, improvisation et interactivité en électroacoustique / Live-electronics – Improvisation – Interactivity in Electroacoustics</i> (October). Montréal: <a href="/facts/Canadian_Electroacoustic_Community/Cbk7zQ4R">CEC</a>.</li> <li>Burns, Christopher (2002). "Realizing Lucier and Stockhausen: Case Studies in the Performance Practice of Electronic Music." <i>Journal of New Music Research</i> 31, no. 1 (March): 59–68.</li> <li>Cox, Christoph (2002). "The Jerrybuilt Future: The Sonic Arts Union, Once Group and MEV’s Live Electronics." In <i>Undercurrents: The Hidden Wiring of Modern Music</i>, edited by Rob Young, pp. 35–44. London: Continuum. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-8264-6450-7.</li> <li>Davies, Hugh (2001). "Gentle Fire: An Early Approach to Live Electronic Music." <i>Leonardo Music Journal</i> 11 ("Not Necessarily ‘English Music’: Britain's Second Golden Age"): 53–60.</li> <li>Giomi, Francesco, Damiano Meacci, and Kilian Schwoon (2003). 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