Baines, Francis et al. 2013. Hurdy-gurdy. Grove Music Online, Oxford Music Online. www.oxfordmusiconline. com/subscriber/article/grove/music/13583 (accessed 25 April 2017).
Battier, M. 2007. What the GRM Brought to Music: From Musique Concrete to Acousmatic Music. Organised Sound 12(3): 189-202.
Bordwell, D. and Thompson, K. 1995. Technological Change and Classical Film Style. In T. Balio (ed.) Grand Design: Hollywood as a Modern Business Enterprise 1930-1939. Berkeley: University of California Press.
Callahan, M. 2008. Interview by Thomas M. Welsh. In D. W. Bernstein (ed.) The San Francisco Tape Music Center. 1960's Counterculture and the Avant-Garde. Berkeley and London: University of California Press.
Cellophane Records Called Revolutionary Development 1944. Billboard, 8 January, 63.
Davies, H. 1968. Repertoire International Des Musiques Electroacoustiques/International Electronic Music Catalog. New York: MIT Press.
Davies, H. 1979. A History of Recorded Sound. In H. Chopin and J.-M. Place (ed.) Poesie Sonore Internationale. Paris: Trajectoires.
Davies, H. 1996. A History of Sampling. Organised Sound 1(1): 3-11.
Diderot, D. and d'Alembert, J. 1780. Lutherie: Contenant trente-quatre planches, dont une double. Paris.
Dulac, N. and Gaudreault, A. 2006. La circularite et la repetitivite au coeur de l'attraction: Les jouets optiques et l'emergence d'une nouvelle serie culturelle. 1895: Mille huit cent quatre-vingt-quinze 50. http://1895.revues.org/ 1282 (accessed 2 August 2016).
Emmerson, S. 2007. Living Electronic Music. Aldershot and Burlington: Ashgate.
Farmer, H. G. 1931. The Organ of the Ancients. From Eastern Sources (Hebrew, Syriac, and Arabic) .London: Reeves.
Feaster, P. 2011. 'A Compass of Extraordinary Range': The Forgotten Origins of Phonomanipulation. ARSC Journal 42(2): 163-203.
Fink, R. 2005. Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley: University of California Press.
Glinsky, A. 2000. Theremin: Ether Music and Espionage. Champaign: University of Illinois Press.
Hattaway and Bowers 1968. Catalog, 5 May. www.mmdigest. com/Smythe/Hathaway-and-Bowers-Catalog-5-May1968.pdf (accessed 25 April 2017).
Holmes, T. 2008. Electronic and Experimental Music. Technology, Music, and Culture. New York and London: Routledge.
Kahn, D. 1999. Noise, Water, Meat: A History of Sound in the Arts. Cambridge and London: MIT Press.
Kane, B. 2014. Sound Unseen: Acousmatic Sound in Theory and Practice. New York: Oxford University Press.
Koetsier, T. 2001. On the Prehistory of Programmable Machines: Musical Automata, Looms, Calculators. Mechanism and Machine Theory 36: 589-603.
Latour, B. 1987. Science in Action: How to Follow Scientists and Engineers through Society. Cambridge, MA: Harvard University Press.
Levin, T. Y. 2003. 'Tones from Out of Nowhere': Rudolph Pfenninger and the Archaeology of Synthetic Sound. Grey Sound 12:32-79.
Lustig, M. 1980. Music Editing for Motion Pictures. New York: Hastings House.
Mayer, A. M. 1874. Six Experimental Methods of Sonorous Analysis Described and Discussed. American Journal of Science 108: 170-82.
Morton, D. L. 2004. Sound Recording: The Life Story of a Technology. Baltimore, MA: Johns Hopkins University Press.
Ord-Hume, A. W. J. G. 1973. The Mechanics of Mechanical Music: The Arrangement of Music for Automatic Instruments. London: self-edited.
Ord-Hume, A. W. J. G. 1978. Barrel Organ: The Story of the Mechanical Organ and its Repair. South Brunswick: A. S. Barnes.
Ord-Hume, A. W. J. G. 1982. Joseph Haydn and the Mechanical Organ. Cardiff: University College Cardiff Press.
Osborne, R. 2012. Vinyl: A History of the Analogue Record. Farnham and Burlington: Ashgate.
Paige, E. 1972. A Trail-Blazer in Magnetic Recording. Billboard, 18 November, 60.
Piekut, B. 2014. Actor-Networks in Music History: Clarifications and Critiques. Twentieth-Century Music 11(2): 191-215.
Potter, K. 2000. Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Cambridge and New York: Cambridge University Press.
Schaeffer, P. 1952 (2012) In Search of a Concrete Music. Trans. Christine North and John Dack. Berkeley, Los Angeles and London: University of California Press.
Shapiro, P. 2000. Modulations: A History of Electronic Music: Throbbing Words on Sound. San Francisco: Caipirinha.
Stockhausen, K. 1992. Etude (1952): Musique Concrete. In Elektronische Musik 1952-1960. No 3. Kiirten: Stockhausen-Verlag.
Strickland, E. 1993. Minimalism: Origins. Bloomington: Indiana University Press.
Subotnick, M. 1992. Interview with Woody and Steina Vasulka and David Dunn, 25 February. www.vasulka. org/archive/Artists7/Subotnick, Morton/interview-WSV.pdf (accessed 2 August 2016).
Teruggi, D. 2007. Technology and Musique Concrete: The Technical Developments of the Groupe de Recherches Musicales and their Implication in Musical Composition. Organised Sound 12(3): 213-31.
Thiele, H. H. K. 1992. The Austrian Pfleumer Invented and Introduced Magnetic Tape. www.aes.org/aeshc/docs/ magnetic-recording/magnetophon/thiele-aes-preprint-3236.pdf. (accessed 2 August 2016).