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!!Bibliographie & Références Urls * Adams, John D. S. & Donovan, Erin. ''Still Listening: Pauline Oliveros Reflects on the Life and Music of David Tudor''. Musicworks 70 (Spring 1998): 34–37. * Adams, John D. S. ''Giant Oscillations: The Birth of Toneburst''. Musicworks 69 (1997): 14–17. ^[online^] http://davidtudor.org/Articles/jdsa_giant.html * Barker-Mill, Adam. ''David Tudor's Sound Table''. Musicworks 73 (1999): 24–25. * Beal, Amy. ''Ambassador of the American Avant-Garde: David Tudor in West Germany, 1954-1972''. Presented at the Getty Research Institute Symposium, “The Art of David Tudor,” in 2001. http://www.getty.edu/research/exhibitions_events/events/david_tudor_symposium/pdf/beal.pdf * Beal, Amy. ''David Tudor in Darmstadt''. Contemporary Music Review 26, no. 1 (2007): 77–88. http://music.ucsc.edu/sites/default/files/TudorInDarmstadt.pdf * Beal, Amy. ''A Short Stop Along the Way : Each-Thingness and Music for Merce''. New World Records. "Music for Merce". 2010. http://music.ucsc.edu/sites/default/files/MCDC.pdf * Behrman, David. ''Private Person, Public Figure: David Tudor in the '60s and '70s''. Musicworks 71 (1998): 44–46. * Behrman, David. ''What Indeterminate Notation Determines''. In Perspectives on Notation and Performance. New York: W. W. Norton, 1976 ^[originally published 1965, in Perspectives of New Music, Vol. 3, No. 2 (Spring-Summer 1965), pp. 58-73^], 74–89. http://digitalmusics.dartmouth.edu:801/~larry/music%20104%20spring%202011/readings/Behrman.pdf * Burns, Christopher. ''Emergent Behavior from Idiosyncratic Feedback Networks''. Proceedings, International Computer Music Conference 2003. San Francisco: International Computer Music Association. http://sfsound.org/~cburns/writings/burns-icmc2003.pdf http://nagasm.org/ASL/icmc2003/closed/CR1089.PDF http://sfsound.org/~cburns/publications-research.html * Burns, Christopher & Burtner, Matthew. ''Recursive Audio Systems : Acoustic Feedback in Composition''. Leonardo Electronic Almanach, Vol. 12, issue 2 Feb. 2004. https://ccrma.stanford.edu/~mburtner/files/BurtnerBurns_LEA.pdf * Burns, Christopher. ''Designing for Emergent Behavior: a John Cage realization''. Ann Arbor, MI: MPublishing, University of Michigan Library. 2004. http://sfsound.org/~cburns/writings/burns-icmc2004.pdf * Cameron, Laura & Rogalsky, Matt. ''Conserving Rainforest 4 : aural geographies and ephemeralities''. In Social and Cultural Geography, Vol.7. No.6, December 2006. pp. 909-926. http://www.tandfonline.com/doi/abs/10.1080/14649360601055847#.UZeH_YXCM4A * Chadabe, Joel. ''Electric Sound: The Past and Promise of Electronic Music''. Upper Saddle River, New Jersey: Prentice Hall, 1997. http://www.arts.rpi.edu/~rolnick/classes/MSMusic/Chadabe%20The%20Great%20Opening%20Up.pdf * Clarkson, Austin. ''A Creative Collaboration: Stefan Wolpe's and David Tudor's Battle Piece''. Musicworks 73 (1999): 32–35. * Clarkson, Austin. ''Composing the Performer: David Tudor Remembers Stefan Wolpe''. Musicworks 73 (1999): 26–32. * Clarkson, Austin. ''Tudor's Apprenticeship: The Years with Irma and Stefan Wolpe''. Leonardo Music Journal, Vol. 14, pp. 5-10. 2004. http://rd.slavepianos.org/ut/rttcc.historical/text/Clarkson2004a.pdf * Collins, Nicolas. ''Composers of Electronics: Music after David Tudor''. Leonardo Music Journal, Volume 14, 2004. pp. IV, 1-3. http://www.jaimeoliver.pe/courses/ci/pdf/collins-2004.pdf * Composers Inside Electronics. ''Window on the Work: David Tudor's Rainforest IV''. Realized by Composers Inside Electronics. New York: Lincoln Center Institute, 1998. Published in conjunction with the Lincoln Center installation in July 1998. * Composers Inside Electronics. ''Music After David Tudor''. Leonardo Music Journal 14 (2004). http://www.leonardo.info/isast/journal/toclmj14.html * Craig, Jordan. ''A Sound Designer's Car Boot Sale - Composition and Performance Software for Plastic Toys''. Masters Thesis, Master of Science (Sound Design), Edinburgh College of Art, The University of Edinburgh. 2011. http://www.academia.edu/2181291/A_Sound_Designers_Car_Boot_Sale_Composition_And_Performance_Software_For_Plastic_Toys_Masters_Thesis_ * Cross, Lowell. ''Audio/Video/Laser''. Source 4, no. 2 (1970): 26–36. (Online edition, 2005). First published in SOURCE, music of the avant garde, issue no. 8 (1970), pp. 26–36. revised and updated version copyright © 2005 by Lowell Cross. http://www.lowellcross.com/articles/avl/ * Cross, Lowell. ''Musica Instrumentalis, Video II (B), Video II (C), Video II (L)''. First published in SOURCE, music of the avant garde, issue no. 9 (1971), pp. 3–10. revised and updated version copyright © 2005 by Lowell Cross. http://www.lowellcross.com/articles/musica/ * Crow, Thomas. ''Modern Art in the Common Culture''. New Haven, Connecticut: Yale University Press, 1996. * Crow, Thomas. ''The Rise of the Sixties: American and European Art in the Era of Dissent, 1955–1969''. London: George Weidenfeld & Nicolson, 1996. * Driscoll, John. ''Electronics & Cooking (In memoriam David Tudor)''. MusikTexte 69/70 (April 1997), 78–79. * Driscoll, John & Rogalsky, Matt. ''David Tudor’s Rainforest: An Evolving Exploration of Resonance''. Leonardo Music Journal 14 (2004), 25–30. And also : Presented at the Getty Research Institute Symposium, “The Art of David Tudor,” in 2001. http://www.getty.edu/research/exhibitions_events/events/david_tudor_symposium/pdf/driscollrogalsky.pdf * Duckworth, William. ''Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers''. New York: Da Capo Press, 1999. * Dunn, David. ''A History of Electronic Music Pioneers''. In "Eigenwelt der Apparatewelt: Pioneers of Electronic Art" catalog, Ars Electronica 1992, Linz, Austria. http://www.davidddunn.com/~david/writings/pioneers.pdf * Emmerson, Simon. ''Living Electronic Music''. Ashgate eBook. 2007. http://www.dmu.uem.br/aulas/laboratorio/Emmerson_LivingElectronicMusic.pdf * Experiments in Art and Technology, ''Pavilion''. ed. Billy Klüver, Julie Martin, and Barbara Rose. New York: E. P. Dutton, 1972. * Feisst, Sabine M. ''John Cage and Improvisation – An Unresolved Relationship''. Musical Improvisation: Art, Education and Society, ed. Gabriel Solis and Bruno Nettl (Chicago: University of Illinois Press, 2009), 38-51. http://artsites.ucsc.edu/faculty/abeal/4classes/FeisstCageImp.doc * Frank, Peter. ''New York Fluxus''. In Rene Block, New York, downtown Manhattan, SoHo: Ausstellungen, Theater, Musik, performance, video, film, 150–179. Berlin: Akademie der Künste der DDR, 1976. * Freund, David. ''David Tudor: Four Davis Concerts''. Source 1, no. 2 (1967): 70–75. * Gray, D’Arcy Philip. ''The Art of the Impossible''. Musicworks 69 (1997): 18–21. http://davidtudor.org/Articles/dpg_impos.html * Gray, D’Arcy Philip. ''David Tudor in the Late 1980s: Understanding a Secret Voice''. Leonardo Music Journal 14, 41–47. 2004. * Gresham-Lancaster, Scot. ''The Aesthetics and History of the Hub : The Effects of Changing Technology on Network Computer Music''. Leonardo Music Journal, Vol. 8, pp. 39-44. 1998. http://www.skolska28.cz/files/100505234237.pdf * Harris, Mary Emma. ''The Arts at Black Mountain College''. Cambridge, Massachusetts: MIT Press, 1987. * Harrison, July. ''Experiments in Art and Technology'' (Pepsi Pavilion). ISSA Review, Stevens Institute of Technology, 2004. http://www.julie-harrison.com/writing_+_press_files/JulieHarrison_Art%26Tech.pdf * Hilberg, Frank. ''David Tudors Konzept des Elektrifizierten Klaviers und sein Interpretation von John Cages Variations II (1961)''. In Stefan Fricke, ed., Fragmen: Beiträge, Meinungen und Analysen zur neuen Musik 13 (1996): 3–41. * Hilberg, Frank. ''Die Elektronische Poesie Des David Tudor'' (The Electronic Poetry of David Tudor). Neue Zeitschrift Für Musik 157, no. 6 (1996): 40–43. * Historisches Archiv der Köln. ''Intermedial, Kontrovers, Experimentell: Das Atelier Mary Bauermeister in Köln 1960-1962''. (Intermedial, Controversial, Experimental: Mary Bauermeister's Studio in Cologne, 1960–1962). Cologne: Emons, 1993. * Holzaepfel, John. ''Der Tudor Faktor/The Tudor Factor''. John Cage — Anarchic Harmony: Ein Festival Zum 80. Geburtstag, 43–56. Mainz, Germany: Schott, 1992. * Holzaepfel, John. ''David Tudor and the Performance of American Experimental Music, 1950–1959''. Ph.D. Dissertation. City University of New York, 1994. * Holzaepfel, John. ''Reminiscences of a Twentieth-Century Pianist: An Interview with David Tudor''. The Musical Quarterly, 1994, Vol. 78, No. 3. (1 March 1994), pp. 626-636. http://mq.oxfordjournals.org/content/78/3/626 * Holzaepfel, John. ''The Roles of David Tudor in the Early Repertory of the Merce Cunningham Dance Company''. Choreography and Dance—An International Journal 4, no. 3 (1997): 45–49. * Holzaepfel, John. ''David Tudor, John Cage, and Comparative Indeterminacy''. Presented at the Getty Research Institute Symposium "The Art of David Tudor", 2001. (Short version of "Cage and Tudor", 2002). https://www.getty.edu/research/exhibitions_events/events/david_tudor_symposium/pdf/holzaepfel.pdf * Holzaepfel, John. ''Cage and Tudor''. In David Nicholls, ed., The Cambridge Companion to John Cage. Cambridge: Cambridge University Press, 2002. pp. 169-185. * Hotte, Hans. ''David Tudor & John Cage - Rainforest II / Mureau''. New World Records. 2007. http://www.newworldrecords.org/linernotes/80540.pdf * Iddon, Martin. ''John Cage and David Tudor - Correspondence on Interpretation and Performance''. Cambridge ; New York : Cambridge University Press. 2013. ISBN-10: 1107014328 \| ISBN-13: 9781107014329. * Johnson, Steven. ''The New York Schools of Music and Visual Arts: John Cage, Morton Feldman, Edgard Varèse, Willem de Kooning, Jasper Johns, Robert Rauschenberg''. New York: Routledge, 2002. * Kahn, Douglas. ''The Latest: Fluxus and Music''. In Janet Jenkins, ed., In the Spirit of Fluxus: Published on the Occasion of the Exhibition "In the Spirit of Fluxus." Organized by Elizabeth Armstrong and Joan Rothfuss. Minneapolis: Walker Art Center, 1993. * Kahn, Douglas. ''Noise Water Meat: A History of Sound in the Arts''. Cambridge, Massachusetts: MIT Press, 1999. * Kahn, Douglas. ''David Tudor and the Sound of Anthroposophy''. Presented at the Getty Research Institute Symposium, “The Art of David Tudor,” in 2001. http://www.getty.edu/research/exhibitions_events/events/david_tudor_symposium/pdf/kahn.pdf * Kostelanetz, Richard, ed. ''Merce Cunningham: Dancing in Space and Time''. Chicago: A Capella Books, 1992. * Kotz, Liz. ''Disintegrated Circuits: Rethinking the Score in the Postwar ‘Aesthetics of Indeterminacy’ ''. Presented at the Getty Research Institute Symposium, “The Art of David Tudor,” in 2001. http://www.getty.edu/research/exhibitions_events/events/david_tudor_symposium/pdf/kotz.pdf * Kuivila, Ron & Behrman, David. ''Composing with Shifting Sand: A Conversation between Ron Kuivila and David Behrman on Electronic Music and the Ephemerality of Technology''. Leonardo Music Journal, Vol. 8, Ghosts and Monsters: Technology and Personality in Contemporary Music. (1998), pp. 13-16. http://soundartarchive.net/articles/Kuivila-1998-Composing%20with%20Shifting%20Sand.pdf * Kuivila, Ron. ''Open Sources Circuits: Words, Circuits, and the Notation/Realization Relation in the Music of David Tudor''. Presented at the Getty Research Institute Symposium "The Art of David Tudor", 2001. http://getty.art.museum/research/exhibitions_events/events/david_tudor_symposium/pdf/kuivila.pdf * Leonardo Music Journal 14 (2004). Special issue: ''Composers Inside Electronics: Music After David Tudor''. (Table of Contents) * Levitz, Tamara. ''David Tudor’s Corporeal Imagination''. Presented at the Getty Research Institute Symposium "The Art of David Tudor", 2001. http://www.getty.edu/research/exhibitions_events/events/david_tudor_symposium/pdf/levitz.pdf * Lochhead, Judy. ''Controlling Liberation: David Tudor and the “Experimental” Sound Ideal''. Presented at the Getty Research Institute Symposium "The Art of David Tudor", 2001. http://www.getty.edu/research/exhibitions_events/events/david_tudor_symposium/pdf/lochhead.pdf * Lorway, Norah. ''Stirring Up Pea Stew : A Networked Feedback Structure for Live Coding''. The International Conference on Live Interfaces (ICLI) 2012, ICSRiM Interdisciplinary Centre for Scientific Research in Music, School of Music, University of Leeds, UK. http://www.academia.edu/1951771/Stirring_Up_Pea_Stew_A_networked_feedback_structure_for_Live_Coding * Menezes, Flo. ''La voie du syncrétisme : sur la musique électroacoustique au Brésil''. Circuit : musiques contemporaines, vol. 17, n° 2, 2007, p. 55-64. http://id.erudit.org/iderudit/016839ar http://www.erudit.org/revue/circuit/2007/v17/n2/016839ar.pdf * Miller, Tyrus. ''Transduced Objects and Spiritual Automata: Dimensions of Experience in David Tudor’s Live Electronics''. Presented at the Getty Research Institute Symposium "The Art of David Tudor", 2001. http://www.getty.edu/research/exhibitions_events/events/david_tudor_symposium/pdf/miller.pdf * Miller, Tyrus. ''Singular Examples: Artistic Politics and the Neo-Avant-Garde''. Northwestern University Press. pp. 115-138. 2009. http://www.academia.edu/Documents/in/The_Art_of_David_Tudor * Mingei International Museum. ''Art that Soars: Kites and Tails by Jackie Matisse''. La Jolla, California: Mingei International, 2000. * Mumma, Gordon. ''Live-Electronic Music''. In Jon H. Appleton and Ronald C Pereara, ed., The Development and Practice of Electronic Music. Englewood Cliffs, New Jersey: Prentice-Hall, 1975. * Mumma, Gordon. ''Creative Aspects of Live Electronic Music Technology''. Audio Engineering Society, Papers of 33rd National Convention, NY 1967 Oct. http://brainwashed.com/mumma/creative.htm * Mumma, Gordon. ''Electronic Music for the Merce Cunningham Dance Company''. Choreography and Dance 4, no. 3 (1997): 51–58. * MusikTexte: Zeitschrift Für Neue Musik 69/70 (April 1997). Special focus on ''David Tudor'', with new and previously published texts by John Cage, Merce Cunningham, Ron Kuivila, Hans Otte, Daniel Charles, and others. * Neubert, David. ''Electronic Bowed String Works: Some Observations on Trends and Developments in the Instrumental/Electronic Medium''. Perspectives of New Music, Vol. 21, No. 1/2 (Autumn, 1982 - Summer, 1983), pp. 540-566. http://xa.yimg.com/kq/groups/25036133/1714796577/name/Electronic+Bowed+String+Works.pdf * Nyman, Michael. ''Experimental Music: Cage and Beyond''. Cambridge: Cambridge University Press, 1999. * O'Connell, Brendan Christopher. ''Electronic Friends: David Tudor and Live Electronic Music''. (2008). Honors Theses - All. Paper 124. Wesleyan University, Middletown, CT. http://wesscholar.wesleyan.edu/etd_hon_theses/124 * O'Connell, Brendan Christopher. ''Tudor Electronics''. (Thesis addendum). ^[online^]. 2008. https://sites.google.com/site/futureecircuits/david-tudor-electronics * Ouzounian, Garcia. ''An Interview with Paul DeMarinis''. Computer Music Journal, Volume 34 Issue 4, Winter 2010. pp. 10-21. http://pure.qub.ac.uk/portal/files/772764/Ouzounian%20Interview%20Paul%20DeMarinis.pdf * Oliveros, Pauline. ''Reverberations : Eight Decades''. Jefferson Journal of Science and Culture, Issue 2. July 2012. pp. 41-54. http://www.jeffersonjournal.org/index.php/journal/article/download/12/9 * Perloff, Nancy. ''The Eye and the Ear: New Directions in Twentieth-Century Musical Notation''. Exhibition brochure. Los Angeles: Getty Research Institute, 1995. * Perloff, Nancy. ''Hearing Spaces: David Tudor's Collaboration on Sea Tails''. Leonardo Music Journal 14 (2004): 31–39. And also : Presented at the Getty Research Institute Symposium "The Art of David Tudor", 2001. http://www.getty.edu/research/exhibitions_events/events/david_tudor_symposium/pdf/perloff.pdf * Pigott, John. ''Vibration, Volts and Sonic Art: A practice and theory of electromechanical sound''. Proceedings of the International Conference on New Interfaces for Musical Expression, 30 May - 1 June 2011, Oslo, Norway. http://www.nime.org/proceedings/2011/nime2011_084.pdf * Pritchett, James. ''From Choice to Chance: John Cage's Concerto for Prepared Piano''. Perspectives on New Music 26 (1988): 50–81. * Pritchett, James. ''The Music of John Cage''. Cambridge: Cambridge University Press, 1993. * Pritchett, James. ''David Tudor’s Realization of John Cage’s Variations II''. ^[online, 2000^]. Available from: http://www.rosewhitemusic.com/cage/texts/Var2.html . And also : Presented at the Getty Research Institute Symposium "The Art of David Tudor", 2001. http://www.getty.edu/research/exhibitions_events/events/david_tudor_symposium/pdf/pritchett.pdf * Pritchett, James .''David Tudor as Composer/Performer in Cage’s Variations II''. Leonardo Music Journal, 14 (2004), 11–16. * Richards, John. ''32kg: Performances Systems for a Post-Digital Age''. In Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France: 283-287. http://www.mti.dmu.ac.uk/~jrich/docs/post-dig.pdf * Rogalsky, Matthew R. ''Creation and Conservation of Live Electronic Music Practice in the Merce Cunningham Dance Company''. Ph.D. Dissertation, Wesleyan University, 1995. * Rogalsky, Matthew R. ''David Tudor's Virtual Focus''. Musicworks 73 (1999): 20–23. * Rogalsky, Matthew R. ''Idea and community : the growth of David Tudor's Rainforest, 1965-2006''. Thesis (Ph.D.) -- City University (London, England), 2006. * Rogalsky, Matthew R. ''Nature as an Organising Principle: Approaches to chance and the natural in the work of John Cage, David Tudor and Alvin Lucier''. Organised Sound 15 (2) (2010), 133–136. * Rogalsky, Matthew R. ''The Art of David Tudor 1963–1992''. New World Records the Recorded Anthology of American Music. 2013. http://www.newworldrecords.org/uploads/filenzqVz.pdf * Rønningsgrind, Guro. ''Meaning, Presence, Process - The Aesthetic Challenge of John Cage’s Musicircus''. Thesis Norwegian University of Science and Technology, Faculty of Humanities, Department of Music. 2012. http://ntnu.diva-portal.org/smash/get/diva2:517562/FULLTEXT01 * Sanfilippo, Dario & Valle, Andrea. ''Towards a Typology of Feedback Systems''. ICMC2012, "Non-Cochlear Sound, Ljubljana, 9-14 Sept. 2012. http://quod.lib.umich.edu/cgi/p/pod/dod-idx/towards-a-typology-of-feedback-systems.pdf?c=icmc;idno=bbp2372.2012.006 * Schonberg, Harold C. ''The Far-Out Pianist''. Harper's Magazine (1960): 49–54. * Snyder, Ellsworth. ''John Cage Discusses Fluxus'' (interview). Visible Language 26 (1992–1993): 59–68. * Stefanou, Danae & Antoniadis, Pavlos. ''Inter-Structures : Rethinking Continuity in Post-1945 Piano Repertoire''. Journal of Interdisciplinary Music Studies, Spring/Fall 2009, Vol.3, Issue 1&2, pp. 77-93. http://users.auth.gr/~dstefano/Stefanou_JIMS_0932105.pdf * Stiles, Kristin. ''David Tudor - Alive, Free, and Without Need of Culture''. Presented at the Getty Research Institute Symposium "The Art of David Tudor", 2001. http://www.getty.edu/research/exhibitions_events/events/david_tudor_symposium/pdf/stiles.pdf * David Tudor Symposium (2001), The Art of David Tudor: Indeterminacy and Performance in Postwar Culture, May 17–19, 2001. http://www.getty.edu/research/exhibitions_events/events/david_tudor_symposium/index.html * Svonar, Richard. ''A History Of Spatial Music - Historical Antecedents: from Renaissance Antiphony To Strings In The Wings''. In eContact 7.4 "Multichannel Diffusion". Concordia University Montreal, Canadian Electroacoustic Community. 2004. ^[online^]. http://cec.sonus.ca/econtact/7_4/zvonar_spatialmusic.html * Tomasulo, Andrew. ''Music for a Variety of Difficult Situations''. Thesis, Master of Arts in Electro-Acoustic Music, Dartmouth College, Hanover, New Hampshire. 2001. http://andrewtomasulo.com/art/mfvds/ref/mfvds.pdf * Tudor, David. ''Program notes for Bandoneon !''. In 9 Evenings of Theatre and Engineering program book. (New York: Experiments in Art and Technology, 1966). * Tudor, David. ''From Piano to Electronics''. Music and Musicians 20 (1972), 24–26. * Tudor, David. ''Notes for Forest Speech''. 1978 ^[online^]. Available from http://davidtudor.org/Works/forest_speech.html * Tudor, David. ''Interview with Billy Klüver''. in "Island Eye Island Ear proposal May 25, 1979 for Boulder Island (Saranac Lake, Adirondacks)". Los Angeles: Tudor Papers, Getty Research Institute, acquisition no. 980039, box 21 folder 9. * Tudor, David. ''Interview with John David Fulleman, Stockholm, May 31, 1984''. ^[online^]. Available from: http://davidtudor.org/Articles/fullemann.html * Tudor, David & Cage, John. ''Interview with Dick Witts at the Institute of Contemporary Arts, London''. (London: National Sound Archive, 1985). * Tudor, David. ''Interview with Bruce Duffie''. Chicago, April 7, 1986. Recording obtained from the interviewer, and transcribed by Matt Rogalsky. http://www.bruceduffie.com/tudor3.html * Tudor, David. ''I Smile When the Sound is Singing Through Space: An Interview With David Tudor by Teddy Hultberg in Dusseldorf May 17 & 18, 1988''. ^[online^]. Electronic Music Foundation. Available from: http://davidtudor.org/Articles/hultberg.html * Tudor, David. ''Interview with Larry Austin''. 3. April 3, 1989, Denton, Texas ^[online^]. Available from: http://davidtudor.org/Articles/austin.html * Tudor, David. ''David Tudor interviewed by Joel Chadabe, Tomkins Cove''. Sept. 8, 1993". ^[online^]. Available from http://davidtudor.org/Articles/chadabe.html * Viola, Bill. ''Reasons for Knocking at an Empty House: Writings 1973–1994''. London: Anthony d'Offay Gallery, 1995. * Viola, Bill. ''David Tudor: The Delicate Art of Falling''. Leonardo Music Journal, December 2004, Vol. 14. pp. 49-56 - MIT Press. * Weisert, Lee. ''IN/OUT/IN : Feedback Systems in Music''. Dissertation Doctor or Music, Field of Music Composition. Northwestern University Evanston. 2010. http://leeweisert.com/inoutin.pdf * Wolff, Christian. ''Christian Wolff: Writings and Conversations''. Köln: Edition MusikTexte, 1999. * Zaparinuk, Peter. ''David Tudor's Performance Composition''. Musicworks 71 (1998): 47–51. {br}{br} ----
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