Bibliography
Sounds Provocative: Experimental Music Performance in Canada
With this bibliography we aim to build a comprehensive resource for people studying experimental music performance, with special emphasis on music reception in general, and Canadian experimental music in particular. The bibliography will evolve and grow over the life of the project. Because of the interdisciplinary nature of Sounds Provocative, the following bibliography necessarily includes works from many locations: Canadian music, critical theory, ethnomusicology, experimental music, feminist theory, identity, musical performance, music and cultural theory, musicology, performance theory, queer theory, and reception theory.
Click on the links below to see a particular section:
1. General Sources
Adorno, Theodor W. "On the Social Situation of Music." Adorno: Essays on Music. Ed. Richard Leppert. Berkeley: University of California Press, 2002.
_____. "New Music, Interpretation, Audience." Sound Figures. Trans. Rodney Livingston. Stanford: Stanford University Press, 1999.
Auslander, Philip. Liveness: Performance in a Mediatized Culture. New York: Routledge, 1999.
_____. Presence and Resistance: Postmodernism and Cultural Politics in Contemporary
American Performance. Ann Arbor: Univ. of Michigan Press, 1992.
Austin, J. L. How to do Things with Words. Cambridge: Harvard University Press, 1975.
Bailey, Derek. Improvisation: Its Nature and Practice in Music. New York: Da Capo Press, 1992.
Bazzana, Kevin. Glenn Gould The Performer in the Work: A Study in Performance Practice. Oxford: Clarendon Press, 1997.
Beaucage, Réjean. "Empreintes Digitales, une étiquette qui laisse des traces." Circuit 12(3) 2002: 63-69.
Bell, Vikki, ed. Performativity and Belonging. London: Sage, 1999.
Béhague, Gerard, ed. Performance Practice: Ethnomusicological Perspectives. Westport, Connecticut: Greenwood Press, 1984.
Berland, Jody. "Locating Listening: Technological Space, Popular Music, and Canadian Mediations." The Place of Music. Ed. Andrew Leyshon, David Matless, and George Revill. London: The Guildford Press, 1998. 129-150.
Berland, Jody and Shelley Hornstein, eds. Capital Culture: A Reader on Modernist Legacies, State Institutions, and the Value(s) of Art. Montreal: McGill-Queen's University Press, 2000.
Berland, Jody, Will Straw and David Tomas. Theory Rules: Art as Theory, Theory and Art. Toronto: University of Toronto Press, 1996.
Berliner, Paul. "Give and Take: The Collective Conversation of Jazz Performance." Creativity in Performance. Ed. R. Keith Sawyer. Greenwich, CT: Ablex Publishing Corp., 1997. 9 - 42.
Blau, Herbert. To all Appearances: Ideology and Performance. New York: Routledge, 1992.
Bohlman, Philip V. "Ontologies of Music." Rethinking Music. Nicholas Cook and Mark Everist, eds. Oxford: Oxford University Press, 1999. 239-261.
Borgo, David. Sync or Swarm: Improvising Music in a Complex Age. New York, Continuum, 2005.
Born, Georgina. Rationalizing Culture: IRCAM, Boulez and the Institutionalization of the Musical Avant-Garde. Berkeley: University of California Press, 1995.
Born, Georgina and David Hesmondhalgh, eds. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California Press, 2000.
Bowen, José A. "Performance Practice versus Performance Analysis: Why Should Performers Study Performance?" Performance Practice Review9(1) 1996:16-38.
Braidotti, Rosi. Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory. New York: Columbia University Press, 1994.
Brooks, Ann. Postfeminisms: Feminism, Cultural Theory, and Cultural Forms. New York: Routledge, 1997.
Butler, Judith. Bodies That Matter: On the Discursive Limits of "Sex."New York: Routledge, 1993.
_____. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1990.
_____. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal40.4 (1988): 519-31.
Butt, John. Playing with History. Cambridge: Cambridge University Press, 2002.
Campbell, Patrick., ed. Analysing Performance: A Critical Reader. Manchester: Manchester University Press, 1996.
Carlson, Marvin. Performance: A Critical Introduction. New York: Routledge, 1996.
Carr, C. On Edge: Performance at the End of the Twentieth Century. London: University of New England Press, 1993.
Clarke, Eric and Jane Davidson. "The Body in Performance." Composition-Performance-Reception: Studies in the Creative Process in Music. Ed. Wyndham Thomas. Aldershot, UK: Ashgate, 1998. 74-92.
Cook, Nicholas, and Mark Everist. Rethinking Music. Oxford: Oxford University Press, 2001.
Cook, Nicholas, Peter Johnson and Hans Zender. Theory into Practice: Composition, Performance and the Listening Experience. Collected Writings of the Orpheus Institute. Leuven: Leuven University Press, 1999.
Cope, David. New Directions in Music. 7th Edition. Prospect Heights, Ill.: Waveland Press, 2001.
Cusick, Suzanne G. "Gender and the Cultural Work of a Classical Music Performance." Repercussions 3(1) 1994: 77-92.
_____. Performing/Composing/Woman: Francesca Caccini meets Judith Butler." Musics and Feminisms. Ed. Sally Macarthur and Cate Poynton. Sydney: Australian Music Centre, 1999. 87 - 98.
Dahlhaus, Carl. The Idea of Absolute Music. Trans. Roger Lustig. Chicago: University of Chicago Press, 1989.
_____. Esthetics of Music. Trans. William Austin. Cambridge: Cambridge University Press, 1982.
Davies, Stephen. Musical Works and Performances: A Philosophical Exploration. Oxford: Clarendon Press, 2001.
Derrida, Jacques. Writing and Difference. Tr. Alan Bass. Chicago: University of Chicago Press, 1978.
Deutsch, Diana, ed. The Psychology of Music. 2nd Edition. San Diego: Academic Press, 1999.
Diamond, Beverley. "What's the Difference? Reflections on Discourses of Morality, Modernism, and Mosaics in the Study of Music in Canada." Canadian University Music Review21(1) 2000: 54-75.
Diamond, Beverley and Robert Witmer. Canadian Music: Issues of Hegemony and Identity. Toronto: Canadian Scholars' Press Inc., 1994.
Diamond, Elin, ed. Performance and Cultural Politics. New York: Routledge, 1996.
Du Gay, Paul, Jessica Evans and Peter Redman. Identity: A Reader. London: Sage, 2000.
Dunsby, Jonathan. Performing Music: Shared Concerns. Oxford: Clarendon Press, 1995.
Duffy, Michelle. "Lines of Drift: Festival Participation and Performing a Sense of Place." Popular Music19(1) 2000: 51-64.
Dupéré, Jean and Christine McLean, eds. Canadian Electronic Music Directory 2003-2004.
Montréal: Association for Electronic Music, 2004.
Dusman, Linda. "Unheard-of: Music as Performance and the Reception of the New." Perspectives of New Music32(2) 1994: 130-147.
Eatock, Colin. "Arraymusic: the first fifteen years." Three Studies. CanMus Documents 4. Toronto: Institute for Canadian Music, 1989: 147-93.
Fischlin, Daniel and Ajay Heble. The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. Middletown, Connecticut: Wesleyan University Press, 2004.
Ford, Clifford. Canada's Music: An Historical Survey. Agincourt: GLC Publishers, 1982.
Frith, Simon. Performing Rites. Cambridge, Mass.: Harvard University Press, 1996.
FrontMagazine. Published five times a year by The Western Front Society, since 1990.
Gerstin, Julian. "Reputation in a Musical Scene: The Everyday Context of Connections between Music, Identity, and Politics." Ethnomusicology 42(3) 1998: 385-414.
Ginsberg, Murray. They Loved to Play: Memories of the Golden Age in Canadian Music. Toronto: Eastend Books, 1998.
Godlovitch, Stan. Musical Performance: A Philosophical Study. New York: Routledge, 1998.
Goehr, Lydia. The Quest for Voice: Music, Politics, and the Limits of Philosophy. Berkeley: University of California Press, 1998.
_____. The Imaginary Museum of Musical Works. Oxford: Clarendon Press, 1992.
Goldberg, RosaLee. Performance Art: From Futurism to the Present. London: Thames and Hudson, 1988.
Hall, Stuart and Paul du Gay, eds. Questions of Cultural Identity. London: Sage, 1996.
Heble, Ajay. Landing on the Wrong Note: Jazz, Dissonance, and Critical Practice. New York: Routledge, 2000.
Holledge, Julie and Joanne Tompkins. Women's Intercultural Performance. New York: Routledge, 2000.
Hutcheon, Linda. A Poetics of Postmodernism. New York: Routledge, 1988.
Huxley, Michael and Noel Witts, eds. The Twentieth-Century Performance Reader. New York: Routledge, 1996.
Jameson, Frederick. Postmodernism, Or, The Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991.
Jones, Andrew. Plunderphonics, Pataphysics, and Pop Mechanics: An Introduction to Musique Actuelle. Wembly, UK: SAF Publishing Ltd., 1995.
Kaufman Shelemay. "Toward an Ethnomusicology of the Early Music Movement: Thoughts on Bridging Disciplines and Musical Worlds." Ethnomusicology45(1) 2001: 1-29.
Keil, Charles. "The Theory of Participatory Discrepancies: a Progress Report." Ethnomusicology 39(1) 1995: 1-19
Keil, Charles and Steven Feld. Music Grooves. Chicago: University of Chicago Press, 1994.
Keil, Charles, Michelle Kisliuk and Deborah Wong. "Call and Response: Applied Sociomusicology and Performance Studies." Ethnomusicology42(2) 1998: 303-321.
Kemal, Salim and Ivan Gaskell, eds. Performance and Authenticity in the Arts. Cambridge: Cambridge University Press, 1999.
Kingsbury, Henry. Music, Talent, and Performance: A Conservatory Cultural System. Philadelphia: Temple University Press, 1988.
Kisliuk, Michelle. Seize the Dance! BaAke Musical Life and the Ethnography of Performance. New York: Oxford University Press, 1998.
_____. "(Un)Doing Fieldwork: Sharing Songs, Sharing Lives." Shadows in the Field: New Perspectives On Fieldwork and Ethnomusicology. Ed. Gregory F. Barz and Timothy Cooley. New York: Oxford University Press, 1996.
Kivi, Linda K. Canadian Women Making Music. Toronto: Green Dragon Press, 1992.
Kivy, Peter. Authenticities: Philosophical Reflections on Musical Performance. Ithaca, N.Y.: Cornell University Press, 1995.
Knowles, Ric. Reading the Material Theatre. Cambridge: Cambridge University Press, 2004.
Kramer, Lawrence. "Musicology and Meaning." The Musical Times. 144(summer) 2003: 6-21.
Leyshon, Andrew, David Matless and George Revill. The Place of Music. London: The Guildford Press, 1998.
Lewis, George E. "Gittin' to Know Y'all: Improvised Music, Interculturalism and the Racial Imagination." Critical Studies in Improvisation/ Études critiques en improvisation[Online]. 3 Sep 2004 Available: http://repository.lib.uoguelph.ca/ojs/rst/viewarticle.php?id=28.
_____. A Power Stronger Than Itself: The AACM and Experimental Music. Chicago: University of Chicago Press, 2008.
_____. "Afterword to >Improvised Music after 1950': The Changing Same." The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. Ed. Daniel Fischlin and Ajay Heble. Middletown, Connecticut: Wesleyan University Press, 2004. 163-172.
_____. "Improvised Music After 1950: Afrological and Eurological Perspectives." The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. Ed. Daniel Fischlin and Ajay Heble. Middletown, Connecticut: Wesleyan University Press, 2004. 131-162.
_____. "Teaching Improvised Music: An Ethnographic Memoir." Arcana: Musicians
on Music. Ed. John Zorn. New York: Granary Books, 2000. 78-109.
Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge. Minneapolis: University of Minnesota Press, 1984.
Martin, Carol, ed. A Sourcebook of Feminist Theatre and Performance: On and Beyond the Stage. New York: Routledge, 1996.
McClatchie, Stephen. "Theory's Children; Or, the New Relevance of Musicology." Canadian University Music Review21(1) 2000: 14-27.
McClary, Susan. Conventional Wisdom: The Content of Musical Form. Berkeley: University of California Press, 2000.
_____. Feminine Endings: Music, Gender, and Sexuality. Minnesota: University of Minnesota Press, 1991.
McGee, Timothy J. The Music of Canada. New York: Norton, 1985.
Miller, Mark. The Miller Companion to Jazz in Canada and Canadians in Jazz. Toronto: Mercury, 2001.
Moisala, Pirkko and Beverley Diamond, eds. Music and Gender. Urbana: University of Illinois Press, 2000.
Monson, Ingrid. Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press, 1996.
Morgan, Robert P. Twentieth-century Music. New York: W.W. Norton & Co., 1991.
Musicworks: Explorations in Sound. Published three times a year since 1978; recording included with each issue since 1983.
Nyman, Michael. Experimental music: Cage and Beyond. New York: Schirmer Books, 1974.
O'Dea, Jane. Virtue or Virtuosity? Explorations in the Ethics of Musical Performance. Westport, Connecticut: Greenwood Press, 2000.
Parker, Andrew and Eve Kosofsky Sedgwick, eds. Performativity and Performance. New York: Routledge, 1995.
Pavis, Patrice, ed. The Intercultural Performance Reader. New York: Routledge, 1996.
Partington, John T. Making Music. Ottawa: Carleton University Press, 1995.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993.
Powers, Harold. "A Canonical Museum of Imaginary Music." Current Musicology60 1996: 5-25.
Price, Janet and Margrit Shildrick. Feminist Theory and the Body. New York: Routledge, 1999.
Proctor, George. Canadian Music of the Twentieth Century. Toronto: University of Toronto Press, 1980.
Qureshi, Regula Burckhardt. "Music Anthropologies and Music Histories: A Preface and an Agenda." Journal of the American Musicological Society. 48(3) 1995: 331- 342.
_____. "Musical Sound and Contextual Input: A Performance Model for Music Analysis." Ethnomusicology31(1) 1987: 56-87.
Reason, Dana. "Navigable Structures and Transforming Mirrors: Improvisation and Interactivity." The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. Ed. Daniel Fischlin and Ajay Heble. Middletown, Connecticut: Wesleyan University Press, 2004.
Reinelt, Janelle G. and Joseph R. Roach, eds. Critical Theory and Performance. Ann Arbor: The University of Michigan Press, 1995.
Rink, John. "The Practice of Performance: Studies in Musical Interpretation." Cambridge: Cambridge University Press, 1995.
Rosen, Charles. "Freedom of Interpretation in Twentieth-century Music." Composition-Performance-Reception: Studies in the Creative Process in Music. Ed. Wyndham Thomas. Aldershot, UK: Ashgate, 1998. 66-73.
Said, Edward. Musical Elaborations. The Wellek Library Lectures at UC Irvine. New York: Columbia U Press, 1991.
Salzman, Eric. Twentieth-century Music: An Introduction. 4th Edition. Upper Saddle River, New Jersey: Prentice-Hall, 2002.
Sawyer, Keith R., ed. Creativity in Performance. Greenwich, Connecticut: Ablex Publishing Corporation. 1997.
Sayre, Henry M. "Performance." Critical Terms for Literary Study. Edited by Frank Lentricchia and Thomas McLaughlin. Chicago: University of Chicago Press, 1990.
_____. The Object of Performance: The American Avant-Garde Since 1970. Chicago: University of Chicago Press, 1989.
Schechner, Richard. Performance Studies: An Introduction. New York: Routledge, 2002.
_____. The Future of Ritual: Writings on Culture and Performance. New York: Routledge, 1993.
_____. Performance Theory. New York: Routledge, 1988.
Schechner, Richard and Willa Appel, eds. By Means of Performance: Intercultural Studies of Theatre and Ritual. Cambridge, MA: Cambridge University Press, 1990.
Searle, John. Speech Acts: An Essay in the Philosophy of Language. Cambridge: Cambridge University Press, 1969.
Slobin, Mark. Subcultural Sounds: Micromusics of the West. Hanover, N.H.: Wesleyan University Press, 1993.
Sloboda, John A., ed. Generative Processes in Music: the Psychology of Performance, Improvisation, and Composition. Oxford: Clarendon Press, 1988.
Shepherd, John. "Introduction: Music Studies in the New Millennium: Perspectives from Canada." Canadian University Music Review21(1) 2000: 7-13.
_____. "Music and Male Hegemony." Music and Society: The Politics of Composition, Performance, and Reception. Cambridge: Cambridge University Press, 1987.
Small, Christopher. Musicking: The Meanings of Performing and Listening. Hanover, N.H.: Wesleyan University Press, 1998.
_____. Music, Society, Education. 3rd Edition. Hanover, N.H.: Wesleyan University Press, 1996.
_____. Music of the Common Tongue. London: J. Calder, 1987.
Smith, Julie. Diva Dogs: Sounding Women Improvising. Ph.D. Dissertation. Faculty of Graduate Studies (Individual Interdisciplinary Studies Graduate Program), University of British Columbia, 2001.
Stewart, Jesse. Toronto's Music Gallery: History, Community, Identity. M.A. Thesis. Department of Music, York University, 2000.
Straw, Will. "Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music." Cultural Studies5(3) 1991: 368-88.
Subotnick, Rose Rosengard. Deconstructive Variations: Music and Reason in Western Society. Minneapolis: University of Minnesota Press, 1996.
_____. Developing Variations: Style and Ideology in Western Music. Minneapolis: University of Minnesota Press, 1991.
Taruskin, Richard. Text and Act: Essays on Music and Performance. Oxford: Oxford University Press, 1995.
Taylor, Timothy. Strange Sounds: Music, Technology, and Culture. New York: Routledge, 2001.
Threadgold, Terry. "Performativity, Voice, Corporeality, Habitus, Becoming, Assemblage: Some Reflections on Theory and Performing Metaphors." Musics and Feminisms. Ed. Sally Macarthur and Cate Poynton. Sydney: Australian Music Centre, 1999. 63 - 77.
Turner, Victor. The Anthropology of Performance. New York: Performing Arts Journal Publications, 1986.
Wallace, Keith, ed. Whispered History: Twenty Years at the Western Front. Vancouver: Arsenal Pulp Press, 1993.
Waterman, Ellen, ed. Sonic Geography Imagined and Remembered. Manotick, Ontario: Penumbra Press, 2002.
_____. "Patria at the Millennium." Topia: A Canadian Journal of Cultural Studies 6(2001): 21-44.
_____. "Cassandra's Dream Song: A Literary Feminist Perspective." Perspectives of New Music. 32(2) 1994: 154-173.
Woodward, Kathryn, ed. Identity and Difference. London: Sage, 1997.
Ugwu, Catherine, ed. Let's Get it On: the Politics of Black Performance. Seattle: Bay Press, 1995.
Zorn, John, ed. Arcana: Musicians on Music. New York: Granary Books, 2000.
2. Reception of Music
Barkin, Elaine. "Balinese New Music Concert Audiences." E: An Anthology--Music Texts & Graphics (1975-1995). New York: Open Space, 1997. 139-142.
Barrett, Margaret S. "Perception, Description, and Reflection: Young Children's Aesthetic Decision-Making as Critics of their Own and Adult Compositions." The Eighteenth ISME International Research Seminar 147 (2001): 22-29.
Baumann, Max Peter, ed. "The World of Music: Journal of the Department of Ethnomusicology, Otto-Friedrich University of Bamberg. XXXIX/2 (1997): Cultural Concepts of Hearing and Listening." The World of Music: Journal of the Department of Ethnomusicology, Otto-Friedrich University of Bamberg 39.2 (1997): 159.
Beaumont, Adrian. "Expectation and Interpretation in the Reception of New Music: A Case Study." Composition--Performance--Reception: Studies in the Creative Process. London: Ashgate, 1998. 93-104.
Becker, Howard S. "The Professional Dance Musician and His Audience." Keeping Time: Readings in Jazz History. Ed. Robert Walser. Oxford: Oxford UP, 1999. 179-192.
Bek, Mikul. "Audiences of Music Theatre in the Czech Republic: The Musical, the Twenty-First Century Opera?" Glasbeno Gledalisce: Veceraj, Danes, Jutri--100- Letnica Rojstva Skladatelja Danila Svare (conference proceedings). Ljubjana, 2001.
Biancorosso, Giorgio. "Beginning Credits and Beyond: Music and the Cinematic Imagination." Echo: A music-centered journal 3.1 (2001)
Bohlman, Philip V. "On the Unremarkable in Music." Nineteenth-Century Music 16.2 (1992): 203-16.
Booth, Gregory D. "Popular Artists and their Audiences." The Garland Encyclopedia of World Music. V: South Asia--the Indian Subcontinent. Ed. Alison Arnold. New York: Garland, 2000. 418-430.
Buckley, John. "Country Music and American Values." All that Glitters: Country Music in America. Ed. George H. Lewis. Bowling Green KY: Bowling Green State UP, 1993. 198-207.
Carr, Revell. "Deadhead Tales of the Supernatural: A Folkloristic Analysis." Perspectives on the Grateful Dead: Critical Writings. Ed. Robert G. Weiner. Westport, Conn: Greenwood Press, 1999. 203-212.
Cascone, Kim. "Grain, Sequence, System: Three Levels of Reception in the Performance of Laptop Music." Contemporary Music Review 22.4 (2003): 101-4.
Cavalieri Franca, Cecilia, and Keith Swanwick. "Composing, Performing and Audience- Listening as Indicators of Musical Understanding." British Journal of Music Education 16.1 (1999): 5-19.
Cavicchi, Daniel R. Tramps Like Us: Music and Meaning among Springsteen Fans. New York : Oxford University Press, 1998.
Cecil, Malcolm. "Local Jazz and the Exigencies of Global Tourism: A Critical View of Le Festival International De Jazz De Montreal." Quebec Studies 26 (1999): 99- 115.
Childs-Helton, Sally Carr. "Markers and Audience Behavior: Relationships Surrounding the Musical Event." Discourse in ethnomusicology II: a tribute to Alan P. Merriam. Bloomington, Indiana: Ethnomusicology Publications Group, 1981. 99-130.
Ching, Barbara. Wrong's what I do Best: Hard Country Music and Contemporary Culture. New York: Oxford University Press, 2001.
Conover, Willis, ed. "The Interaction of Vernacular and Formal Music: Light Music, Serious Music, and the Future Audience." Music and Communication (conference proceedings). New York: UNESCO, 1968.
Cox, Trevor J., and Bridget M. Shield. "Audience Questionnaire Survey of the Acoustics of the Royal Festival Hall, London, England." Acta acustica united with Acustica 85.4 (1999): 547-59.
Davidson, Jane W. "The Role of the Body in the Production and Perception of Solo Vocal Performance: A Case Study of Annie Lennox." Musicae scientiae: The Journal of the European Society for the Cognitive Sciences of Music (2001): 235- 256.
---. "The Social in Musical Performance." The Social Psychology of Music. Oxford: Oxford UP, 1997. 209-228.
DeBellis, Mark. "Musical Analysis as Articulation." The Journal of Aesthetics and Art Criticism 60.2 (2002): 119-35.
DeVeaux, Scott. "Who Listens to Jazz?" Keeping Time: Readings in Jazz History. Ed. Robert Walser. New York: Oxford UP, 1999. 389-395.
Dimaggio, Paul, Michael Useem, and Paula Brown. Audience Studies of the Performing Arts and Museums: A Critical Review. Washington: National Endowment for the Arts, 1978.
Dorow, Laura G. "The Effect of Teacher approval/disapproval Ratios on Student Music Selection and Concert Attentiveness." Music Education Research : an Anthology from the Journal of Research in Music Education. Reston, VA : Music Educators National Conference, 1998.. 529-537.
Drozdov, A., and S. W. Pring. "Emotion and the Sense of Form in Musical Reception." Musical Quarterly 10.3 (1924): 346-60.
Duffett, Mark. "Transcending Audience Generalizations: Consumerism Reconsidered in the Case of Elvis Presley Fans." Popular Music and Society 24.2 (2000): 75-91.
Dusman, Linda. "Unheard-of: Music as Performance and the Reception of the New." Perspectives of New Music 32.2 (1994): 130-46.
Ebisawa, Bin. "The Vienna Philharmonic Orchestra in Japan: Specialities and Characteristics from the Point of View of the Japanese Audience." Klang Und Komponist: Ein Symposion Der Wiener Philharmoniker. Germany: Schneider, 1992. 135-40.
Eger, Joseph. "The Audience Revolution--a Profession of Faith." Cultures 1.1 (1973): 83- 100.
Epstein, Jonathon S., Ed. Adolescents and their Music: If it's Too Loud, You're Too Old. New York: Garland, 1994.
Fisher, Jennifer Joyce. The Annual "Nutcracker": A Participant-Oriented, Contextualized Study of "the Nutcracker" Ballet as it has Evolved into a Christmas Ritual in the United States and Canada. PhD diss., U of California, Riverside, 1998.
Fitzgerald, William. "The Questionability of Music." Representations 46 (1994): 121-47.
Foucault, Michel, and Pierre Boulez. "On Music and its Reception." Trans. John Rahn. Music, Culture, and Society: A Reader. Ed. Derek B. Scott. Oxford: Oxford UP, 2000. 164-167.
Fox, Aaron A. "Split Subjectivity in Country Music and Honky-Tonk Discourse." All that Glitters: Country Music in America. Ed. George H. Lewis. Bowling Green, KY: Bowling Green State UP, 1993. 131-139.
Friedl, Reinhold. "Some Sadomasochistic Aspects of Musical Pleasure." Leonardo Music Journal: Journal of the International Society for the Arts, Sciences and Technology 12 (2002): 29-30.
Grazian, David. Blue Chicago: The Search for Authenticity in Urban Blues Clubs. Chicago: U of Chicago P, 2003.
Greenhill, Pauline. "Backyard world/Canadian Culture: Looking at Festival Agendas." Canadian University Music Review [Revue de Musique des Universites Canadiennes] 19.2 (1999): 37-46.
Grimley, Daniel M. "’Tonality, Clarity, Strength’: Gesture, Form, and Nordic Identity in Carl Nielsen's Piano Music." Music & Letters 86.2 (2005): 202-33.
Grossberg, Lawrence. "Rock and Roll in Search of an Audience." Popular Music and Communication. Ed. James Lull. Newbury Park, CA: Sage, 1992. 152-175.
Gurewitsch, Matthew. "Are Unschooled Audiences Changing the Face of Opera?" Opera News 67.6 (2002): 40-3.
Hamm, Charles. Putting Popular Music in its Place. Vol. 18. Cambridge: Cambridge UP, 1995.
Hammontree, Patsy G. "Audience Amplitude: The Cultural Phenomenon of Elvis Presley." Elvis: Images and Fancies. Ed. Jac L. Tharpe. Jackson, MS: UP of Mississippi, 1999. 52-60.
Hesmondhalgh, David. "Popular Music Audiences and Everyday Life." Popular Music Studies (2002): 117-30.
Hoopen, Christiane Ten. "Issues in Timbre and Perception." Timbre Composition in Electroacoustic Music 10.2 (1994): 61-71.
Howard, Luke. "’Laying the Foundation’: The Reception of Gorecki's Third Symphony, 1977-1992." Polish Music Journal 6.2 (2003).
---. "Production Vs. Reception in Postmodernism: The Gorecki Case." Postmodern music / Postmodern Thought. Ed. Judith Lochhead and Joseph Auner. New York: Routledge, 2002. 195-206.
James, Deborah. "Music of Origin: Class, Social Category and the Performers and Audience of Kiba, a South African Migrant Genre." Africa 67.3 (1997): 454-75.
Jang, Yeonok. "Audience Response to p'Ansori and its Impact on Contemporary p'Ansori Performance." Asian musicology 2 (2002): 131-53.
---. "P'Ansori Performance Style: Audience Responses and Singers' Perspectives." British Journal of Ethnomusicology 10.2 (2001): 99-121.
Jensen, Joli. "Honky-Tonking: Mass Mediated Culture made Personal." All that Glitters: Country Music in America. Ed. George H. Lewis. Bowling Green, KY: Bowling Green State UP, 1993. 118-130.
Judkins, Jennifer. "The Aesthetics of Silence in Live Musical Performance." The Journal of Aesthetic Education 31.3 (1997): 39-53.
Juluri, Vamsee. "Music Television and the Invention of Youth Culture in India." Television and new media 3.4 (2002): 367-86.
Kennedy, J. Scott. "The Ghanaian Audience Response and Behavior to a Theatrical Experience of Poetry and Music." Research review 4.3 (1968): 81-2.
Kloet, Jeroen de. "Audiences in Wonderland: The Reception of Rock Music in China." Changing Sounds: New Directions and Configurations in Popular Music. Ed. T. Mitchell and P. Doyle. Sydney: U of Technology P, 2000. 130-144.
Kolb, Benita M. "The Decline of the Subscriber Base: A Study of the Philharmonia Orchestra Audience." International journal of arts management 3.2 (2001): 51-9.
Kramer, Michael J. "The Multitrack Model: Cultural History and the Interdisciplinary Study of Popular Music." Music and History: Bridging the Disciplines. Jackson: UP of Mississippi, 2005. 220-255.
Kurth, Christina. "Jugendliche Im Umgang Mit Klassischer Musik: Vorbildung Und Anspruche (Young People Connecting with Classical Music: Preparation and Demands)." Das Orchester 45.9 (1997): 10-4.
Lam, Wing Cheong. "Not Merely Audience: Interlocking Relationship between Audiences and Performers of Cantonese Operatic Singing at Temple Street in Hong Kong." Yinyue Wenhua 2 (2001): 89-137.
Langlois, Tony. "Can You Feel it? DJs and House Music Culture in the U.K." Popular Music 11.2 (1992): 229-38.
Lewis, Lisa A., ed. The Adoring Audience: Fan Culture and Popular Media. New York: Routledge, 1992.
Lindstrom, Erik, et al. "Affect, Attitude and Evaluation of Multisensory Performances." Journal of New Music Research 34.1 (2005): 69-86.
Lockwood, John Schuyler. Survey of Symphony Ticket Holders' Determinants and Relative Educational Applications. PhD diss., U of Colorado at Boulder, 1985.
Lowe, Melanie. "Colliding Feminisms: Britney Spears, ‘Tweens,’ and the Politics of Reception." Popular Music and Society 26.2 (2003): 123-40.
Loza, Susana. "Techno Music and Sonic Communities: When Modern Markets and Postmodern Pleasures Collide." Journal of popular music studies 8 (1996): 27-41.
Lynxwiler, John, and Stephen B. Groce. "The Silent Performance: Audience Perceptions of Musicians' Nonverbal Behavior." Popular Music and Society 18.1 (1994): 105-21.
Mackinnon, Niall L. Social Identity and the Nature of the Musical Event: A Sociological Consideration of the British Folk Scene. PhD diss, U of Aberdeen, 1988.
Maniates, Maria Rika. "The Reception of New Music Today: A Response." New Literary History (1986): 381-90.
McCune, Jeffrey Q. Jr. "Transformance: Reading the Gospel in Drag." Journal of homosexuality 46.3/4 (2004): 151-67.
McDonald, Christopher James. Grand Designs: A Musical, Social and Ethnographic Study of Rush. PhD diss.,York U (Canada), 2003.
Micznik, Vera. "The Absolute Limitations of Programme Music: The Case of Liszt's 'Die Ideale'." Music and Letters 80.2 (1999): 207-40.
Mutsaers, Lutgard. "Audience and Performer Roles during Dance Crazes." Music on show: Issues of Performance (conference proceedings). Ed. H. Jerviluoma and T. Hautameki. Tampere, Finland: Dept of Folk Tradition, 1999. 230-232.
Obeyesekere, Ranjini. "The Significance of Performance for its Audience: An Analysis of Three Sri Lankan Rituals." By Means of Performance: Intercultural Studies of Theatre and Ritual. Ed. Richard Schechner and Willa Appel. Cambridge: Cambridge UP, 1990. 118-130.
Ockelford, Adam. "Relating Musical Structure and Content to Aesthetic Response: A Model and Analysis of Beethoven's Piano Sonata Op. 110." Journal of the Royal Musical Association 130.1 (2005): 74-118.
Ogasawara, Yasushi. "Mr. Big in Japan: Perception of Rock Music by Japanese Rock Fans." Popular Music: Intercultural Interpretations. Ed. T. Mitsui. Kanazawa: International Association for the Study of Popular Music/Kanazawa UP, 1998. 182-4.
O'Keefe, Ciaran, and Sarah Angliss. "The Subjective Effects of Infrasound in a Live Concert Setting." CIM04: Conference on Interdisciplinary Musicology. Graz, Germany: Graz UP, 2004. 132-3.
Olsen, C. "Theatre Audience Surveys: Towards a Semiotic Approach." New Theatre Quarterly 18.3 (2002): 261-275.
Painter, Karen. "The Aesthetics of Mass Culture: Mahler's Eighth Symphony and its Legacy." Mahler and His World. Princeton, NJ: Princeton UP, 2002. 127-156.
Parenti, Susan, Mark Enslin, and Herbert Brun. "Recontextualizing the Production of ‘New Music’." Sounding Off: Music as subversion / resistance / revolution. Ed. Ron Sakosky and Fred Wei-Han Ho. New York: Autonomedia, 1995. 227-233.
Pattacini, Melissa McCray. "Deadheads Yesterday and Today: An Audience Study." Popular Music and Society 24.1 (2000): 1-14.
Pegg, Carole. "Factors Affecting the Musical Choices of Audiences in East Suffolk, England." Popular Music 4. “Performers and Audiences” (1984): 51-73.
Penel, Amandine, and Carolyn Drake. "Rhythm in Music Performance and Perceived Structure." Rhythm Perception and Production. Ed. P Desain and L. Windsor. Lisse, Netherlands: Swets and Zeitlinger, 2000. 225-232.
Pennycook, Bruce W. "Composers and Audiences: New Relationships in the Technological Age." Companion to Contemporary Musical Thought, vol. I. New York: Routledge, 1992. 555-564.
Perna, Vincenzo. "Latin Lovers: Salsa Musicians and their Audience in London--A Small Dance Boom, Or in Defence of the Trivial." European music symposium (1996).
Peterson, Richard A., and Paul DiMaggio. "From Region to Class, the Changing Locus of Country Music: A Test of the Massification Hypothesis." Social Forces 53.3 (1975): 497-506.
Pitts, Stephanie. "’Everybody Wants to be a Pavarotti’: The Experience of Music for Performers and Audience at Gilbert and Sullivan Festival." Journal of the Royal Musical Association 129.1 (2004): 143-60.
---. "What Makes an Audience? Investigating the Roles and Experiences of Listeners at a Chamber Music Festival." Music & Letters 86.2 (2005): 257-69.
Radocy, Rudolf E. "The Importance of Music to People." America's Musical Pulse Popular Music in Twentieth-Century Society. Westport CT: Greenwood, 1992. xi-xviii.
Resula, Jed. "The Jazz Audience." The Cambridge Companion to Jazz. Ed. Mervyn Cooke and David Horn. Cambridge: Cambridge UP, 2002. 55-68.
Richardson, Kenneth. "Tangled Webs." Opera 57.2 (2006): 158, 160-162.
Ricks, Robert. "Are our Audiences ‘Skeered to Clap’? A Brief Survey of Applause Practices." Journal of the Conductors' Guild 16.2 (1995): 66-75.
Rosenthal, Rob. "Serving the Movement: The Role(s) of Music." Popular Music and Society 25.3/4 (2001): 11-24.
Rosing, Helmut. "Listening Behaviour and Musical Preference in the Age of 'Transmitted Music'." Popular Music 4. “Performers and Audiences” (1984): 119-49.
Rothenberg, David. "Sudden Music: Improvising Across the Electronic Abyss." Contemporary Music Review 13.2 (1996): 23-46.
Sahl, Michael. "Thoughts on the State of Classical Music in the United States." Musical Quarterly 72.4 (1986): 523-8.
Sauter, Willmar. “Who Reacts when, how, and upon what: From Audience Surveys to the Theatrical Event.” Contemporary Theatre Review 12 (2002): 115.
Savage, Ann M. “They'Re Playing our Song: An Interpretive Audience Study of Female Artists' Music.” PhD diss., Boston U, 1999.
Schedel, Margaret. "Alternative Venues for Computer Music: SoundGallery_LivingRoom_ ARTSHIP." Organised Sound: An International Journal of Music Technology 9.3 (2004): 301-3.
Schloss, W. Andrew. "Using Contemporary Technology in Live Performance: The Dilemma of the Performer." Journal of New Music Research 32.3 9 (2003): 239-242.
Schulze, Laurie, Anne Barton White, and Jane D. Brown. “’A Sacred Monster in Her Prime’: Audience Construction of Madonna as Low-Other.” The Madonna Connection: Representational Politics, Subcultural Identities, and Cultural Theory. Ed. Cathy Schwichtenberg. Boulder, CO: Westview Press, 1993. 15-37.
Scruton, Roger. "Musical Understanding and Musical Culture." What is Music? An Introduction to the Philosophy of Music. Ed. Philip Alperson. University Park PA: Pennsylvania State UP, 1994. 349-358.
Seymour, Craig A. “’Searching’ for Luther Vandross: The Politics and Performance of Studying an African-American Icon.” PhD diss. U of Maryland, College Park, 2005.
Smith, Eliot King. “The Romance of Crossover: The Cultural Production of Fandom in America.” PhD diss. SUNY Buffalo, 1999.
Smith, J. David, and Jordan M. Witt. "Spun Steel and Stardust: The Rejection of Contemporary Compositions." Music Perception: An interdisciplinary journal 7.2 (1989): 169-86.
Stack, Steven, and James Gundlach. "Country Music and Suicide - Individual, Indirect, and Interaction Effects: A Reply to Snipes and Maguire." Social Forces 74.1 (1995): 331-5.
Stuart, Caleb. "The Object of Performance: Aural Performativity in Contemporary Laptop Music." Contemporary Music Review 22.4 (2003): 59-65.
Takasugi, Fumiko. "The Development of Underground Musicians in a Honolulu Scene: 1995-1997." Popular Music and Society 26.1 (2003): 73-94.
Theberge, Paul. "What's that Sound? Listening to Popular Music, Revisited." Popular Music: Style and Identity. Ed. Roy Shuker. Montreal: Centre for Research on Canadian Cultural Industries and Institutions, McGill U, 1995. 275-83.
Thedens, Hans-Hinrich. "’How Funny--I Am at a Folk Music Event and I Don't Know a Soul here!’: Musicians and Audiences at the International Folk Music Festivals in Norway." The World of Music: Journal of the Department of Ethnomusicology, Otto-Friedrich University of Bamberg 43.2/3 (2001): 171-181.
Thomas, Dwight W. "Lou Harrison's ‘Double Concerto for Gamelan, Violin and Cello’: Juxtaposition of Individual and Cultural Expectations." Asian Music 15.1 (1983): 90-101.
Thompson, Ben. Ways of Hearing: A User's Guide to the Pop Psyche, from Elvis to Eminem. London: Orion, 2001.
Thompson, Daniel N. "Aesthetics, Authenticities, and Appeals to Authority: The Auditor as Author." Current Musicology 64 (1998): 7-25.
Tobias, James. "Cinema, Scored: Toward a Comparative Methodology for Music in Media." Film Quarterly 57.2 (2003): 26-36.
Waksman, Steve. Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience. Cambridge, Mass: Harvard UP, 1999.
Weiss, Sarah. "Kothong Nanging Kebak, Empty Yet Full: Some Thoughts on Embodiment and Aesthetics in Javanese Performance." Asian Music 34.2 (2003): 21-49.
Wellington, Susan Gaeddert. “Music, Language and Power: Reading and Writing School Texts and Music Video with some Inner City High School Students.” PhD diss., New York U, 1997.
Wells, Alan, and Ernest A. Hakanen. "Adolescent Music Marginals: Who Likes Metal, Jazz, Country, and Classical." Popular Music and Society 14.4 (1990): 57-66.
Wheeler, Britta B. The Institutionalization of the Avant-Garde: Performance Art, 1970--2000. PhD diss., U of California, Santa Barbara, 2000.
Wilsmore, Robert. "Techno, Trance and the Modern Chamber Choir: Intellectual Game Or Music to Groove to?" Leonardo Music Journal: Journal of the International Society for the Arts, Sciences and Technology 12 (2002): 61-3.
Wolf, Stacy Ellen. “Theatre as Social Practice: Local Ethnographies of Audience Reception.” PhD diss., U of Wisconsin - Madison, 1994.
Wolfe, Arnold S., and Margaret Haefner. "Taste Cultures, Culture Classes, Affective Alliances, and Popular Music Reception: Theory, Methodology, and an Application to a Beatles Song." Popular Music and Society 20.4 (1996): 127-55.
Wollman, Elizabeth L. "Much Too Loud and Not Loud enough: Issues Involving the Reception of Staged Rock Musicals." Bad Music: The Music we Love to Hate. Ed. Christopher J. Washburn and Maiken Derno. New York: Routledge, 2004. 311-330.
Wong, Deborah. "Finding an Asian American Audience: The Problem of Listening." American Music: A quarterly journal devoted to all aspects of American music and music in America 19.4 (2001): 365-84.
Yang, Mina. "’Fur Elise,’ Circa 2000: Postmodern Readings of Beethoven in Popular Contexts." Popular Music and Society 29.1 (2006): 1-15.
3. Canadian Experimental Music
Click on the following links to go to a particular section.
Vancouver Artist/Group Profiles, Interviews, and Special Events
Toronto Artist/Group Profiles, Interviews, and Special Events
Montreal Artist/Group Profiles, Interviews, and Special Events
Artist/Group Profiles and Interviews from Elsewhere in Canada
Canadian Creative Music Record Labels
Canadian Music Festivals
Vancouver Artist/Group Profiles, Interviews, and Special Events:
“Coat Cooke Quintet.” Looking Ahead (Jan/Feb 93): 3.
“Eddie Prévost & Paul Plimley.” Looking Ahead (Jan/Feb 96): 4.
“Francois Houle Trio.” Looking Ahead (Jan/Feb 96); 3.
“Ron Samworth audiocentricities: music for improvisers.” Looking Ahead (Winter 04/05): 7.
Broomer, Stuart and Laurence Svirchev. “Jazz Em Agosto.” Coda 318 (Nov/Dec 04): 6-9.
Chenard, Marc. “Big Bands Then and NOW.” Coda 323 (Sept/Oct 05): 14.
Hammett-Vaughn, Kate. “First We Take Chicago, Then We Take Berlin… The NOW Orchestra and George Lewis on the road.” Coda 308 (Mar/Apr 03): 9-11.
---. “Peggy Lee: Just the Beginning.” Coda 276 (Nov/Dec 97): 26-27.
Lewis, Scott. “New Orchestra Workshop Festival (Nov 87).” Coda 218 (Feb/Mar 88): 25-6.
---. “Paul Plimley: Out Into the World.” Coda 231 (Apr/May 90): 10-11.
---. “Vancouver Update: Pleasure.” Coda 231 (Apr/May 90): 4-5.
Livingston, Barry. “Paul Cram: Beyond Benghazi.” Coda 217 (Dec 87/jan 88): 14-15.
Morgan, Jon. “Dylan van der Schyff: Pieces of Time.” Coda 294 (Nov/Dec 00): 14-17.
---. “Francois Houle.” Coda 287 (Sept/Oct 99): 26-29.
---. “Time Flies: Vancouver Improvised Music Meeting, November 4th-7th, 1998 at Western Front.” Coda 284 (Mar/Apr 99): 16-17.
---. “12th Annual Time Flies: Vancouver Improvised Music Meeting, Western Front, November 3rd-6th, 1999.” Coda 290 (Mar/Apr 00): 2-3.
Ochej, Josephine and Laurence Svirchev. “Guitars West.” Coda 291 (May/June 00): 2-8.
Raine-Rusch, Randy. “New music on world instruments.” Musicworks 66 (Fall 96): 23.
Revoczi, Tamas. “VI3(G)P3U - industrial strength acoustic/artistic exploration/experimentation.” Musicworks 65 (summer 96): 30-32.
Smith, Bill. “The Clusone Trio Live in Canada.” Coda 244 (July/Aug 92): 19.
Sobol, John. “The further evolution of Coat Cooke.” Words & Music 2.9 (Oct 95): 6.
Svirchev, Laurence. “Francois Houle.” Coda 246 (Nov/Dec 92): 24-26.
---. “Kaleidoscopes: The Music of Paul Plimley and Lisle Ellis.” Coda 255 (May/June 94): 4-7.
---. “Lisle Ellis: Ninja of the Bass.” Coda 233 (Aug/Sept 90): 17-19.
---. “Say No To Beige: Kate Hammett-Vaughn.” Coda 252 (Nov/Dec 93): 30-33.
Svirchev, Laurence and Kate Hammett-Vaughn. “Canadian Notes.” Coda 230 (Feb/Mar 90): 4-6.
Svirchev, Laurence and Bill Smith. “Hear it NOW: A Profile of the New Orchestra Workshop.” Coda 256 (July/Aug 94): 32-34.
Sykes, Claire. “Playing with Fire.” Musicworks 79 (Spring 01): 32-35.
---. “Sounding the world: The technical and musical diversity of Randy Raine-Rusch.” Musicworks 71 (Summer 98): 4-10.
Varty, Alexandra. “Paul Plimley: Blurring the line between improve and structure.” Words & Music 3.8 (Sept 96): 10.
Vickery, Steve. “Hear it NOW: Coat Cooke Interviewed.” Coda 278 (Mar/Apr 98): 26- 28.
---. “A V.I.E.W. from the Front.” Coda 274 (July/Aug 97): 12-13.
---. “Time Flies Out.” Coda 236 (Mar/Apr 91): 4-6.
Toronto Artist/Group Profiles, Interviews, and Special Events:
“A different standard: Christine Duncan, the coast's voice in jazz.” Playboard 31.13 (June 97): 16-17.
“European Tour for CCMC takes music to five countries.” The Canadian Composer 153 (Sept 80): 44-45.
“Lee Pui Ming.” Looking Ahead (Apr/May 93): 4.
“Marilyn Lerner Sextet featuring Jane Bunnett.” Looking Ahead (Fall 97): 3.
“Meme, a collaboration with b.p. Nichols [sic].” Musicworks 44 (Autumn 89): 15.
Broomer, Stuart. “Lisle Ellis, Raphe Malik, Glenn Spearman: The Art gallery of Ontario, Toronto, March 6, 1991.” Coda 238 (July/Aug 91): 10.
---. “Paul Haines: Now can you tell me.” Coda 261 (May/June 95): 20-26.
Chénard, Marc. “David Mott: Whale Spirit Rising.” Coda 303 (May/June 02): 9-11.
---. “Michael Snow: Beyond Blue.” Coda 296 (Mar/Apr 01): 24-25.
Cohen, Aaron. “Review of the Collected Writings of Michael Snow and Recent Michael Snow Discs.” Coda 264 (Nov/Dec 95): 12-13.
Dutton, Paul. “Beyond doo-wop.” Musicworks 54 (Fall 92): 8-19.
Ehrensaft, Philip. “The renaissance of a renaissance man: Glen Hall.” Planet Jazz 5 (Fall/Winter 01): 36-38.
Heavisides, Martin. “Breaking language barriers with the speed of sound.” Performing Arts in Canada (Fall 79): 51-52.
Hicks, Robert. “Lee Pui Ming.” Coda 264 (Nov/Dec 95): 38-39
Ladouceur, Liisa. “The Ambient Ping.” Words & Music. 11.3 (fall 04) 26-27.
McIlroy, Randal. “Lori Freedman & Marilyn Lerner: Queen Mab.” Coda 277 (Jan/Feb 98): 20-21.
Raine-Rusch, Randy. “Into the past, finding the future.” Musicworks 70 (Spring 98): 11- 14.
Snow, Michael [Editor]. Music/sound, 1948-1993: The Performed and Recorded music/sound of Michael Snow, Solo and with various Ensembles, His Sound-Films and Sound Installations--Improvisation/composition from 1948 to 1993. Canada: Knopf Canada, 1994.
Smith, Bill. “The Avant Garde in Toronto.” Coda 219 (Apr May 88): 12-13.
Waxman, Ken. “Jazzman chooses music over language for self-expression.” The Music Scene 319 (May/June 81): 7, 18.
Wilson, Carl. “Mavericks Unite.” The Globe and Mail (7 Jan. 2005): R24.
Young, Gayle [Editor]. "Musicworks: Explorations in Sound. 68 (Summer 1997): Tearing Down Borders." Musicworks: Explorations in Sound.68 (1997): 36.
---. "Musicworks: Explorations in Sound. 75 (Fall 1999): On the Brink of a New Millenium." Musicworks: Explorations in Sound.75 (1999): 64.
John Oswald:
“Announcements” Musicworks 57 (Winter 94): 67.
“Plunderphonics.” Musicworks 47 (Summer 90): 4-9.
“Plunderphonics.” Musicworks 48 (Autumn 90): 16-21.
“Recipes for plunderphonics - an interview with project directory John Oswald.” Musicworks 47 (Summer 90): 4-11.
“Sound, Art, Culture in Canada.” Vox 89 (July 91): 14-15.
Cutler, Chris. “Plunderphonia.” Musicworks 60 (fall 94): 6-16.
Flohil, Richard. “Grateful Dead gets legitimately plundered.” The Record 14.10 (10 Oct. 94): 11.
Holm-Hudson, Kevin. "John Oswald's Rubaiyat (Elektrax) and the Politics of Recombinant do-Re-Mi." Popular Music and Society 20.3 (1996): 19-36.
---. "Quotation and Context: Sampling and John Oswald's Plunderphonics." Leonardo Music Journal: Journal of the International Society for the Arts, Sciences and Technology 7 (1997): 17-25.
Igma, Norm. "Plunderstanding Ecophonomics: Strategies for the Transformation of Existing Music--an Interview by Norm Igma with John Oswald." Arcana: Musicians on Music. United States: Granary Books, 2000. 9-17.
Oswald, John. "Bettered by the Borrower: The Ethics of Musical Debt." Audio Culture: Readings in Modern Music. United States: , 2004. 131-137.
Steenhuisen, Paul. “Composer 2 Composer: interview with John Oswald.” Wholenote 8.9 (June 03): 18-20.
Szendy, Peter. "CSchonberg." Dissonance 59 (1999): 18-25.
Vickery, Stephen. “Bobby Wiseman/John Oswald - Evan Parker.” Coda 223 (Dec 88/Jan 89): 10-11.
Wiseman, Bobby. “John Oswald: the Mystery Tapes.” Coda 211 (Dec 86): 34.
Gordon Monahan:
Barthelmes, Barbara. "Musikklitterung, Electronics Und Klangaquarien: Klangbasteleien in Der Zeitgenossischen Musik; Chirps, Electronics, and Sound Aquaria: Sound-Tinkering in Contemporary Music." Positionen: Beitrage zur Neuen Musik.25 (1995): 11-6.
Lander, Dan and Micah Lexier, eds. Sound by Artists. Vol. 7. Canada: Banff Center, 1990.
Monahan, Gordon. "Der Klang Von 10.000 kg; the Sound of 10,000 kg." Positionen: Beitrage zur Neuen Musik 10 (1992): 39-41.
---. "Kinetic Sound Environment as a Mutation of the Audio System." Musicworks: Explorations in Sound.63 (1995): 6-9.
---. "Kinetische Klangumgebungen; Kinetic Soundscapes." Neue Zeitschrift fur Musik 156.2 (1995): 40-3.
---. "Speaker Swinging." Sound by Artists.Banff Center, 1990. 140-145.
Udo Kasemets:
Kasemets, Udo. "(Re)Reading John Cage." Musicworks: Explorations in Sound.75 (1999): 11-3.
Kasemets, Udo, Gordon Monahan, and Tina Pearson. "A Tradition of Experimentation: James Tenney in Conversation." Musicworks: Explorations in Sound.27 (1984): 2,9, 20.
Kasemets, Udo, et al. "Documentation of 20th-Century Music in Canada: 5 Projects." Musicworks: Explorations in Sound.51 (1991): 30-7.
Kasemets, Udo. "0'00"." Musicworks: Explorations in Sound.76 (2000): 25-8.
---. "Systems: I Ching in Music." Musicworks: Explorations in Sound.62 (1995): 6-21.
The Music Gallery:
“Music Gallery.” Musicworks 1.5 (Fall 78): 15.
“Network: The Music Gallery in Overview.” CEC Newsletter 6 (June 88): 17-22.
“Toronto composers at the Music Gallery.” The Canadian Composer 238 (Feb 89): 36.
Dutton, Paul. “Twenty Years of Freedom: Jazz & Free Improvisation at the Music Gallery in Toronto.” Coda 274 (July/Aug 97): 2-5.
Iacobucci. Marisa. “Guerilla Gallery: The Music Gallery in audio survival mode.” Musicworks 78 (Fall 00): 31-35.
Lockwood, Frank. “Seeking Perfect Sound #2: The Music Gallery - 20 years new.” Pulse 1.10 (July/Aug 96): 3.
Schulman, Michael. “The Music Gallery: a place for some music alternatives.” The Canadian Composer 158 (Feb 81): 10-16.
Montreal Artist/Group Profiles, Interviews, and Special Events:
Beckwith, John. "New Music and the Public: Serge Garant and Quebec's Ruptures Debate." Musicworks: Explorations in Sound 68 (1997): 36-40.
Brady, Tim. “Les confessions d'un autodidacte un peu trop scolarisé.” Circuit 10.1 (1999): 53-62.
---. "So You Want to be a New Music Composer: The Electric Guitar in New Music." Musicworks: Explorations in Sound.51 (1991): 38-46.
Chamberlain, Mike. “The Accidental Trombonist.” Coda 316 (July/Aug 05): 6-8.
Chénard, Marc. “Canadian Notes: Montreal: A Tale of Two Scenes.” Coda 233 (Aug/Sept 90): 4-5.
---. “Montrealities: Scenes and Sounds of a City.” Coda 278 (Mar/Apr 98): 13-14.
Dorward, Nate. “Thom Gossage and Other Voices.” Coda 321 (May/June 05): 18-19; 22.
Gilbert, Nicolas and Maxime McKinley. “Montréal/Nouvelles Musiques: Compte rendu.” Circuit 14.2 (2004): 35-47.
Granieri, Rosanna. “Normand Guilbeault du swing-pop au free-contemporain.” Paroles & musique 2.6 (Jan 95): 7.
Methot, Eve. “Tim Brady's Musical Revolutions.” Words and Music 3.7 (Sept 1996): 11.
“Musique Actuelle?” Circuit 6.2 (1995)
Rivest, Johanne. “Improviser ou interpréter Theatre Piece? Entrevue avec Malcolm Goldstein.” Circuit 8.2 (1997): 53-60.
Jean Derome:
“Matter-Manner.” Musicworks 49 (Winter 49): 40-51.
Baker, Paul. “Canadian Jazz on Record.” Coda 226 (June/July 89): 11.
Houle, Sylvaine. “Curriculum, Les nouveaux compositeurs agrees au CMC.” Alternance: bulletin du centre de musique canadienne au Quebec 5.1 (Summer 93): 6-7.
Landreville, Annie. “Jean Derome: Of Dangerous Men and Other Adventures.” Coda 261 (May/June 95): 14-15.
Laurier, Andrée. “Despite the obstacles Derome plays his way.” The Canadian Composer 229 (Apr 88): 14, 16, 32.
Oliver, Dominique. “Concert - Jean Derome et les Dangereux Zhoms.” Paroles & musique 3.3 (Mar 96): 8.
André Duchesne:
“Eclectic Festival in Quebec.” The Canadian Composer 245 (Nov 89): 16.
Brunet, Alain. “André Duchesne: le mot doe passe-limer lentement avec patience.” Chansons D'Aujourd'hui 8.1 (Jan/Feb 85): 15-17.
Doré, Jean Gagnon. “André Duchesne l'audace pour survivre.” Chansons 18.4 (July/Aug 95): 14-15.
Laurier, Andrée. “Quebec artist puts poetry to new music.” The Canadian Composer 208 (Feb 86): 4-6.
Lori Freedman:
“Performer profile: Lori Freedman.” Vancouver New Music Extra 2.2 (Spring 90): 2.
Dennekamp, Ina. “Member profiles.” Women in Music Newsletter 1.2 (Spring 91): 7.
Eatock, Colin. “Playing Canadian Music: an Interview.” Soundnotes 7 (Fall/Winter 94): 8-14.
René Lussier:
“La vie qui bat.” Chansons d'aujourd'hui 13.1 (Apr 90): 14-15.
“Quebec guitarist wins prestigious French radio prize.” The Canadian Composer 241 (May 89): 32-33.
“Rene Lussier: L'aventurier des achives perdues.” Le Milieu 1.4 (July 90): 7.
Chénard, Marc. “Rene Lussier: an imaginary folklore.” Coda 219 (Apr/May 88): 4-5.
Denis, Jean-Francois. “A guitarist who speaks a different language.” Musicworks 58 (Spring 94): 31-33.
Futrick, Gerard. “Canadian jazz on record: Paul Cram.” Coda 220 (June/July 88): 9.
Galaise, Sophie. “'Desormais, Nous Ecartelerons Son Visage...': Neuf Compositeurs Quebecois Reagissent Aux Propos De Pierre Boulez.” (“Now on, we Will Draw and Quarter Him...": Nine Quebec Composers React to the Statements of Pierre Boulez.”) Circuit: Revue nord-americaine de musique du XXe siecle 3.1 (1992): 23-54.
Laurier, Andrée. “Montreal's sampler of new sounds.” The Canadian Composer 193 (Sept 84): 14-16.
Norris, John and Bill Smith. “Canadian Notes.” Coda 273 (May/June 97): 4
Oliver, Dominique. “Rene Lussier fait the Tour due bloc avec le Now Orchestra de Vancouver.” Paroles & Musique 3.3 (Mar 96): 8.
Svirchev, Laurence. “Canadian Notes.” Coda 261 (May/June 95): 4-6.
Artist/Group Profiles and Interviews from Elsewhere in Canada:
Borshuk, Michael. “Transcending Categorial Boundaries: A Profile of violist Tanya Kalmanovitch.” Coda 314 (May/Apr. 04): 8-9; 38.
Gottschalk, Kurt. “Granelli & Son.” Coda 325 (Jan/Feb 06): 20-23.
Hicks, Robert. “D.D. Jackson.” Coda 267 (May/June): 14-15.
Livingstone, Barry. “Paul Cram: Beyond Benghazi.” Coda 217 (Dec/Jan 87/88): 14-15.
Oswald, John. “A Prentice of Strings: Violinist David Prentice.” Coda 275 (Sept/Oct 97): 12-15.
Smith, Bill. “David Prentice.” Coda 210 (Oct/Nov 86): 24-6.
Canadian Creative Music Record Labels:
Beaucage, Réjean. “Empreintes Digitales, une etiquette qui laisse des traces.” Circuit (date?): 62-9.
Buium, Greg. “Box… One… Spool… Eight (and Counting): Spool: Canada's Bright, New Record Label.” Coda 291 (May/June 00): 10-13.
Hale, James. “Ambiences Magnétiques.” Coda 285 (May/June 99): 34-35.
Waxman, Ken. “Label Spotlight: Songlines: Challenging Sounds from Canada's West Coast.” Coda 324 (Nov/Dec 05): 33.
Varty, Alexander. “Songlines label a boon to Canadian New Music.” Words and Music 3.7 (Sept 1996): 10.
Canadian Music Festivals:
FIMAV:
Broomer, Stuart. “FIMAV at 20.” Coda 311 (July/Aug 03): 15-16.
---. “FIMAV 19.” Coda 306 (Nov/Dec 02): 26-28.
---. “15th International Festival Musique Actuelle Victoriaville, May 14th to 18th, 1998.” Coda 281 (Sept/Oct 98): 4-6.
---. “May 18-22, 2000: Festival International Musique Actuelle Victoriaville.” Coda 293 (Sept/Oct 00): 2-3.
---. “14e Edition, Festival International de Musique Actuelle de Victoriaville, 15-19 Mai 1997.” Coda 275 (Sept/Oct 97): 8-11.
Chénard, Marc. “Festival de Musique Actuelle, Victoriaville, Québec, October 2-6, 1985.” Coda 205 (Dec 85/Jan 86): 39-40.
---. “Festival international de musique actuelle de Victoriaville, October 5-9. 1989.” Coda 230 (Feb/Mar 90): 12-14.
Futrick, Gerard. “FIMAV: Festival International Musique Actuelle Victoriaville, May 20-24/99.” Coda 287 (Sept/Oct 99): 2-4.
Gottschalk, Kurt. “FIMAV 2004.” Coda 317 (Sept/Oct 04): 18-20.
---. “FIMAV 2005 Attendance Bounces Back with More Bands.” Coda 322 (July/Aug 05): 8, 36.
Smith, Bill. “13th Victo: On the Road Again.” Coda 269 (Sept/Oct 96): 2-4.
---. “International Festival Musique Actuel.” Coda 211 (Dec 86/Jan 87): 28.
---. “Victoriaville International Festival Muique-Actuel” Coda 217 (Dec 87/Jan 88): 32- 4.
Taylor, Spike. “Festivals back east: Festival International Musique Actuelle Victoriaville, May 19th-23rd, 1994.” Coda 257 (Sept/Oct 94): 35-37.
Vickery, Steve. “Festival Musique Actuelle.” Coda 242 (Mar/Apr 92): 4-6.
Whitehead, Kevin. “Festival International Musique Actuelle Victoriaville, May 18th- 22nd, 1995.” Coda 262 (July/Aug 95): 8-10.
---. “Festival International de Musique Actuelle de Victoriaville, October 4-8 1990.” Coda 235 (Dec 90/Jan 91): 14-16.
---. “New Musique.” Coda 247 (Jan/Feb 93): 26-29.
Critical and Academic Articles on FIMAV:
Reason-Myers, Dana L. The Myth of Absence: Representation, Reception and the Music of Experimental Women Improvisors. PhD diss. U of California San Diego, 2002.
Rh‚aume, Martine. “Reflexions Sur Les Festivals, La Musique Contemporaine Et l'Identite Culturelle Quebecoise; Reflections on Festivals, Contemporary Music, and the Quebecoise Cultural Identity.” Circuit: Musiques contemporaines 15.2 (2005): 73-82.
Rivest, Johanne. "Art Brut--Art-Bruit: Quelques Remarques Sur l'Improvisation a l'Occasion Du FIMAV (Festival International De Musique Actuelle De Victoriaville) De 1997; Art Brut--Noise-Art: Remarks on Improvisation on the Occasion of the 1997 FIMAV (Festival International De Musique Actuelle De Victoriaville)." ESSE: Arts + Opinions.33 (1998): 69-75.
Guelph Jazz Festival:
Hale, James. “Guelph Jazz Festival, September 5-8, 2001.” Coda 300/3001 (Nov 01/Feb 02): 35-36.
---. “Guelph Jazz Festival, September 6th-10th, 2000.” Coda 295 (Jan/Feb 01): 2-4.
---. “Guelph Jazz Festival, September 9th-12th, 1999.” Coda 289 (Jan/Feb 00): 4-5.
---. “Guelph Jazz Festival, September 10th-13th, 1998.” Coda 283 (Jan/Feb 99): 36-37.
Sweetman, Ron. “Guelph Jazz Festival Presents Women in Jazz, September 4-7.” Coda 277 (Jan/Feb 98): 40.
Waxman, Ken. “Guelph Festival: Improv on the Move.” Coda 324 (Nov/Dec 05): 10.
Sound Symposium:
“Fleeting Glimpse captures look at NFLD Symposium.” RPM 53.17 (30 Mar 91): 2.
“Sound Symposium.” Musicworks 48 (Autumn 90): 47-50.
Dupuis, Georges. “Rock Island Songlines.” Musicworks 57 (Winter 94): 47-50.
Hammock, Janet. “Newfoundland's unique audio-visual lab.” Musicworks 45 (Winter 90): 29-36.
Kelley, Linda. “Intertwining the Arts.” The Canadian Composer 198 (Feb 85): 14-18.
Monahan, Gordon. “A half hour behind means they're slightly ahead.” Musicworks 36 (Fall 86): 10-12.
Perlin, J.C. “Eastern eclectics.” Music Magazine 13.3 (July 90): 8, 13-15.
Peters, Kelly. “Reviews and Announcements.” Musicworks 61 (Fall 96): 59-64.
Young, Gayle. “Newfoundland Sound Symposium 1992.” Contact 6.3 (Mar 93): 17-21.
Vancouver International Jazz Festival:
Dadoun, Nou. “The Vancouver Jazz Festival.” Coda 234 (Oct/Nov 90): 24-26.
Lee, David. “DuMaurier International Jazz Festival.” Coda 215 (Aug/Sept 87): 31-2.
Lewis, Scott. “DuMaurier International Jazz Festival Vancouver (1989)” Coda 228 (Oct/Nov 89): 35-7.
---. “Pacific Jazz and Blues Festival.” Coda 210 (Oct/Nov 86): 27.
Morgan, Jon. “du Maurier International Jazz Festival Vancouver, June 23rd-July 2nd, 2000.” Coda 293 (Sept/Oct 00): 16-18.
---. “14th Annual du Maurier International jazz Festival Vancouver, June 25th-July 4th.” Coda 288 (Nov/Dec 99).
---. “Vancouver du Maurier International Jazz Festival, Edition 13, June 19th-28th/1998.” Coda 282 (Nov/Dec 98): 5-7.
Smith, Bill. “19th Annual Vancouver International Jazz Festival.” Coda 318 (Nov/Dec 04): 11-13.
---. “17th Vancouver International Jazz Festival.” Coda 306 (Nov/Dec 02): 25-26.
---. “Festival Scenes: du Maurier International Jazz Festival Vancouver, June 21-30, 1996.” Coda 270 (Nov/Dec 96): 16-18.
---. “Vancouver Jazz Festival.” Coda 240 (Nov/Dec 91): 35-37.
---. “Writing in the Dark: Vancouver International Jazz Festival, June 22nd-July 1st, 2001.” Coda 299 (Sept/Oct 01): 20-21.
Vickery, Steve. “Festival Scenes: du Maurier International Jazz Festival Vancouver, June 20-29.” Coda 276 (Nov/Dec 97): 4-6.
Whitehead, Kevin. “Canadian Notes: du Maurier ltd. International Jazz Festival Vancouver.” Coda 252 (Nov/Dec 93): 35-37.
---. “du Maurier ltd. International Jazz Festival Vancouver, June 23rd - July 2nd.” Coda 264 (Nov/Dec 95): 2-4.
---. “1994 du Maurier ltd. International Jazz Festival Vancouver, June 24th -July 3rd.” Coda 258 (Nov/Dec 94): 33-36.
Critical and Scholarly Articles on Vancouver Jazz Festival:
Reason-Myers, Dana L. The Myth of Absence: Representation, Reception and the Music of Experimental Women Improvisors. PhD diss. U of California San Diego, 2002.
Varty, Alex. "Metamorphosis." New Music Across America. United States: California Institute of the Arts, 1992. 62-65.
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