BoulezP. (1986). Technology and the Composer, in EmmersonS.The Language of Electroacoustic Music.London: The Macmillan Press.
2.
BrownA. (1992). Musical Performance and the Perceptions of the Performer: considerations for the control facilities of the instrument and the teaching of performance. Unpublished M.Ed. paper, The University of Melbourne.
3.
CarteretteE.C. (1989). Perception and Physiology in the Hearing of Computer Sound, in Nielzén, S, and Olsson, O. (ed.) Structure and Perception of Electroacoustic Sound and Music, pp. 83–99.
4.
FriendD., PearlmanA.R., and PiggottT.D. (1974). Learning Music With Synthesizers. [1st ed.] Milwaukee: Hal Leonard Pub. Corp.
5.
DeutschH.A. (1976). Synthesis.Sherman Oaks, CA: Alfred Publishing.
6.
GasséeJ.L. (1990). The Evolution of Thinking Tools in LauralB. (ed.), The Art of Human-Computer Interface Design.Massachusetts: Addison Wesley.
7.
JonesS. (1992). Rock Formation.California: Sage Publications.
8.
KempA. (1986). Microtechnology in music education: Possibilities and Implications for the curriculum, international journal of Music Education, 8, 39–42.
9.
MatthewsM.V. with AbbotC. (1980). The Sequential Drum, Computer Music Journal, 4 (4), pp 45–59.
10.
McLuhanM. (1964). Understanding Media: The Extensions of Man.London: Sphere Books.
11.
MooreF.R. (1990). Elements of Computer Music.New Jersey: Prentice Hall.
12.
MumfordL. (1934). Technics and Civilization.New York: Harcourt, Brace and World.
SemegenD. (1989). Electronic Music: Art Beyond Technology in HeifetyR.J., (ed.) 1989, On the Wires of Our Nerves: The Art of Electroacoustic Music.London: Associated University Press.