PUBLICATIONS

authored books

Acoustic Communication. Norwood, NJ: Ablex Publishing, 1984; 2nd edition, Greenwood Press, 2001 (includes Handbook for Acoustic Ecology, CD-ROM).

Handbook for Acoustic Ecology, No. 5, Music of the Environment Series, World Soundscape Project. Vancouver: ARC Publications, 1978. CD-ROM version, Cambridge Street Publishing, 1999.

Co-author with B. Davis and R.M. Schafer, Five Village Soundscapes, No. 4, Music of the Environment Series. Vancouver: ARC Publications, 1977; reprinted in Acoustic Environments in Change, Tampere, 2009 (available through Granum, with a new introduction by Barry Truax).


edited books

Routledge Companion to Sounding Art, M. Cobussen, V. Meelberg & B. Truaxs (eds), New York: Routledge, 2017.

Acoustic Environments in Change, H. Järviluoma, M. Kytö, B. Truax, H. Uimonen & N. Vikman (eds) Tampere: TAMK University of Applied Sciences, 2009. (includes a reprint of the World Soundscape Project’s Five Village Soundscapes, with a new introduction by Barry Truax)

Creative Tape Project (Electroacoustic Music Education), "Teacher's Guide and 3 Cassettes". Toronto: Canadian Music Centre, 1986.

Proceedings of the International Computer Music Conference, 1985, San Francisco: Computer Music Association, 1985.

Co-editor with M. Battier, Computer Music. Report, Canadian Commission for UNESCO, Ottawa, 1980. (The document also includes a short introduction, "A Personal Assessment", by the author.)


articles in refereed journals (note: most of these publications are available as pdf's on Academia.edu)

"Paradigm Shifts and Electroacoustic Music: Some Personal Reflections," Organised Sound, 20(1), 105-110, 2015.

"From Epistemology to Creativity: A Personal View," Journal of Sonic Studies, no. 4, 2013.

"Music, Soundscape and Acoustic Sustainability," Moebius online journal, Dec. 2012.

"Sound, Listening and Place: The Aesthetic Dilemma", Organised Sound, 17(3), 1-9, 2012.

(with Gary Barrett) "Preface: Soundscape in a Context of Acoustic and Landscape Ecology," Landscape Ecology, 26(9), 1201-07, 2011.

"Soundscape Composition as Global Music: Electroacoustic Music as Soundscape,"Organised Sound, 13(2), 103-109, 2008.

"Homoeroticism and Electroacoustic Music: Absence and Personal Voice," Organised Sound, 8(1), 117-124, 2003.

"Genres and techniques of soundscape composition as developed at Simon Fraser University," Organised Sound, 7(1), 5-14, 2002.

"The aesthetics of computer music: a questionable concept reconsidered," Organised Sound, 5(3), 119-126, 2000.

"Letter to a 25-year old Electroacoustic Composer," Organised Sound, 4(3), 147-150, 2000.

"Composition and diffusion: space in sound in space," Organised Sound, 3(2), 141-6, 1999.

"Computer Music as Commercial or Public Culture: A Personal View," Computer Music Journal, 20:4, 27-28, 1996.

"Soundscape, Acoustic Communication & Environmental Sound Composition," Contemporary Music Review, 15(1), 49-65, 1996.

"Sounds and Sources in Powers of Two: Towards a Contemporary Myth," Organised Sound, 1(1), 13-21, 1996.

"The Inner and Outer Complexity of Music," Perspectives of New Music, 32(1), 1994, 176-193. Italian translation in Musica/Realtà , No. 43, April 1994; Polish translation in Monochord, 14-15, 1997.

"Discovering Inner Complexity: Time-Shifting and Transposition with a Real-time Granulation Technique," Computer Music Journal, 18(2), 1994, 38-48 (sound sheet examples in 18(1)).

"Interview with Barry Truax," Computer Music Journal, 18(3), 1994, 17-24.

"Composing with Time-Shifted Environmental Sound," Leonardo Music Journal, 2(1), 1992, 37-40.

"Musical Creativity and Complexity at the Threshold of the 21st Century," Interface, 21(1), 1992, 29-42.

"Capturing Musical Knowledge in Software Systems," Interface, 20(3-4), 1991, 217-234.

"Composing with Real-Time Granular Sound," Perspectives of New Music, 28(2), 1990.

"Real-Time Granular Synthesis with a Digital Signal Processor," Computer Music Journal, 12(2), 1988, 14-26.

"Sequence of Earlier Heaven: The Record as a Medium for the Electroacoustic Composer," Leonardo, 20(1), 1988, 25-28.

"The Computer Music Facility at Simon Fraser University", Computers and the Humanities, 19(4), 1985. Italian translation in Musica/Realtà, No. 18, December 1985.

"The PODX System: Interactive Compositional Software for the DMX-1000", Computer Music Journal, 9(1), 1985.

"Timbral Construction in Arras as a Stochastic Process", Computer Music Journal, 6(3), 1982; originally published as "Timbral Construction as a Stochastic Process" (in Italian), in Musica e Elaboratore, A. Vidolin (ed.), Biennale di Venezia, 1980.

"The Inverse Relation between Generality and Strength in Computer Music Programs", Interface, 9(1), 1980.

"Organizational Techniques for C:M Ratios in Frequency Modulation", Computer Music Journal, 1(4), 1978, pp. 39-45; reprinted in Foundations of Computer Music, C. Roads and J. Strawn (eds.). MIT Press, 1985.

"Computer Music Composition: The Polyphonic POD System", IEEE Computer, 11(8), 1978.

"The Soundscape and Technology", Interface, 6, 1977, pp. 1-8.

"The POD System of Interactive Composition Programs", Computer Music Journal, 1(3), 1977, pp. 30-39.

"A Communicational Approach to Computer Sound Programs", Journal of Music Theory, 20(2), Fall 1976.

"Some Programs for Real-time Computer Synthesis and Composition", Interface, 2, 1973.


book chapters  (note: most of these publications are available as pdf's on Academia.edu)

"Acoustic Space, Community and Virtual Soundscape," in The Routledge Companion to Sounding Art, M. Cobussen, V. Meelberg & B. Truax (eds), New York: Routledge, 2017.

"Artist Presentation: Journeys of the Human Spirit," in The Art of Immersive Soundscapes: Social, Artistic, Environmental, P. Minevich and E. Waterman, eds., University of Regina Press, 2013.

"Voices in the Soundscape: From Cellphones to Soundscape Composition," in Electrified Voices: Medial, Socio-Historical and Cultural Aspects of Voice Transfer, D. Zakharine & N. Meise, eds., V & R Unipress, Gottingen, 2012, pp. 61-79.

A Voice for All Seasons,” in Playing with Words, C. Lane, ed., CRISAP/RGAP, 2008.

"Sonology: A Questionable Science Revisited," in Otto Laske: Navigating New Musical Horizons, J. Tabor, ed., Greenwood Press,1999.

"Computer Music and Acoustic Communication: Two Emerging Interdisciplines," in Outside the Lines: Issues in Interdisciplinary Research, Liora Salter & Alison Hearn, eds., McGill-Queen's University Press, 1996.

"La composition basée sur le timbre avec son granulaire," in Esthétique des Arts Médiatiques, volume 2, Louise Poissant, ed., Presses de l'Université du Québec, 1995.

"Electroacoustic Music and the Soundscape: The Inner and Outer World", in Companion to Contemporary Musical Thought, J. Paynter, R. Orton, P. Seymour and T. Howell, eds., London: Routledge, 1992.

"Computer Music Language Design and the Composing Process", in The Language of Electroacoustic Music, S. Emmerson, ed., London: Macmillan, 1986. Italian translation in Teoria e Prassi della Musica nell'Era dell'Informatica, A. Di Scipio, ed., Giuseppe Laterza Editore, 1995.


papers in refereed conference proceedings

“The Analysis of Electroacoustic Music as Soundscape,” Electroacoustic Music Studies 07, De Montfort University, Leicester, UK, June 2007.

“Acoustic Space,” invited keynote address, The Art of Immersive Soundscapes, University of Regina, June 2007; Electroacoustic Music Symposium, University of Toronto, August 2007.

“Where Sound, Technology and Environment Meet: Acoustic Communication and Soundscape Composition”, Sound, Environment and Connective Technology, University of California, Riverside, May 2006.

“Acoustic Space, Architecture and Acoustic Ecology,” Architecture Music Acoustics Conference, Ryerson University, Toronto, June 2006 (included on conference CD-ROM).

"Music and Science Meet at the Micro Level: Time-Frequency Methods and Granular Synthesis," invited paper, Acoustical Society of America conference, Vancouver, May 2005.

"Models and Strategies for Acoustic Design," in H. Karlsson, ed. Hör upp! Stockholm, Hey Listen! - Papers presented at the conference, Stockholm, Royal Academy of Music, 1998. Italian translation in Musica e suoni dell'ambiente, A. Mayr, ed. Cooperativa Libraria Universitaria Editrice, Bologna, 2001.

"Time-Stretching of Hyper-Resonated Sound Using a Real-Time Granulation Technique," Proceedings of the International Computer Music Conference, Hong Kong, Computer Music Association, 1996.

"Sound in Context: Soundscape Research and Composition at Simon Fraser University," Proceedings of the International Computer Music Conference, Banff, Computer Music Association, 1995.

"Time-Shifting and Transposition of Sampled Sound with a Real-Time Granulation Technique", Proceedings of the International Computer Music Conference, Tokyo, Computer Music Association, 1993.

"Composition with Time Shifted Environmental Sound Using a Real-Time Granulation Technique," in Proceedings of the International Computer Music Conference, Montreal, Computer Music Association, 1991.

"Time Shifting of Sampled Sound with a Real-Time Granulation Technique," in Proceedings of the International Computer Music Conference, Glasgow, Computer Music Association, 1990.

"Chaotic Non-Linear Systems and Digital Synthesis: An Exploratory Study", in Proceedings of the International Computer Music Conference, Glasgow, Computer Music Association, 1990.

(with Robert Laughlin & Brian Funt) "Synthesis of Acoustic Sounds with Principal Component Analysis," in Proceedings of the International Computer Music Conference, Glasgow, Computer Music Association, 1990.

"Time Shifting of Sampled Sound with a Real-Time Granulation Technique," in Convergence, Proceedings of the Canadian Electroacoustic Community Conference, Banff, Nov. 1989.

"Composition with Real-Time Granulation of Sampled Sound, in Diffusion, Proceedings of the Canadian Electroacoustic Community Conference, Toronto, September 1988.

"Real-Time Granulation of Sampled Sound with the DMX-1000," Proceedings of the International Computer Music Conference, J. Beauchamp, ed. Computer Music Association, 1987.

"Real-Time Granular Synthesis with the DMX-1000", in P. Berg (ed.), Proceedings of the International Computer Music Conference, The Hague, Computer Music Association, 1986.

"The Digital Signal Processor as an Alternative to MIDI: The Case of Real-Time Granular Synthesis," in 2001-14, Proceedings of the Conference of the Canadian Electroacoustic Community, Montreal, May 1987.

"A Case Study of Computer Music Composition: Spatial Timbre Control in Solar Ellipse", Proceedings of the Wired Society. Toronto: The Music Gallery, 1986.

"Models of Interactive Composition with the DMX-1000 Digital Signal Processor", Proceedings of the International Computer Music Conference, Paris, Computer Music Association, 1984.

"The Compositional Organization of Timbre in a Binaural Space", Proceedings of the International Computer Music Conference, 1983, San Francisco: Computer Music Association, 1984.

"Timbral Construction as a Stochastic Process", Proceedings of the International Music and Technology Conference, Melbourne, Australia, August 1981.

"The Polyphonic POD System and its Use in Timbral Construction", in Computer Music, M. Battier and B. Truax (eds.). Report, Canadian Commission for UNESCO, Ottawa, 1980.

"Polyphonic Timbral Construction in Androgyny ", Proceedings of the International Computer Music Conference, Evanston, Computer Music Association, 1978.

(with J. Barenholtz) "Models of Interactive Computer Composition", Computing in the Humanities, Proceedings of the Third International Conference on Computing in the Humanities. University of Waterloo Press, 1977.


other (note: some of these publications are available as pdf's on Academia.edu)

Book Review, "Karin Bijsterveld, Mechanical Sound: Technology, Culture and Public Problems with Noise in the Twentieth Century," in Soundscape, The Journal of Acoustic Ecology, 9(1), 2009, p. 35-6.

Book Review, "Barry Blesser & Linda-Ruth Salter, Spaces Speak, Are you Listening? Experiencing Aural Architecture", in Organised Sound, 12(2), 185-6, 2007

Introduction, CD PAISAJES SONOROS MADRID, by José Luis Carles, Contemporary Art Museum, Madrid, 2006.
   
Foreword, Songs of Place, by Steve Heimbecker, Oboro Press, Montreal, 2005, pp. 12-19.

Book Review, "Michael Bull & Les Back, eds., The Auditory Culture Reader," in Soundscape, The Journal of Acoustic Ecology, 6(1), 2005, p. 29.

Book Review, "Emily Thompson: The Soundscape of Modernity," Array, summer 2004 (http://www.notam02.no/icma/ArraySummer04.pdf); Soundscape, The Journal of Acoustic Ecology, 5(2), 2004, pp. 47-48.

"Electroacoustic Music and the Digital Future," Circuit, 13(1), Les Presses de l'Université de Montréal, 2002, pp. 21-26.

"Acoustic Communication Studies at Simon Fraser University," Soundscape, The Journal of Acoustic Ecology, 2(2),. December 2001, pp. 11-15.

"The 1994 International Computer Music Conference," Contact!, 8.2, 1995.

"The Silicon Valley ICMC 1992 (or why high tech doesn't result in high art)", Contact!, 6.2, 1993.

"Electro-Environment", Ear Magazine, 15(7), 1990, pp. 28-29.

"From Composer to Audience: The Production of 'Serious' Music in Canada", Canadian University Music Review, 9(2), 1989, 130-134.

"A Response to Gottfried Michael Koenig", in R. Blaser and R. Dunham (eds.), Art and Reality. Vancouver: Talonbooks, 1986.

"The Listener", Musicworks, No. 35, Summer 1986, Italian translation in Musica/Realtà, No. 22, 1987.

"Electroacoustic Music" and "World Soundscape Project", in The Canadian Encyclopedia, Hurtig Publishers, 1985.

"Pietro Grossi: 24 Capricci by Niccolo Pagannini", Computer Music Journal, 8(1), 1984, pp. 59-60.

"Music and Technology in 1984", Canadian Music Educator, 25(2), 1984, pp. 41-43.

"Computer Music in Canada (1975)", Numus West, No. 8, Spring 1975.

"Soundscape Studies, an Introduction to the World Soundscape Project", Numus West, No. 5, Spring 1974.

"General Techniques of Computer Composition Programming", Numus West, No. 4, Fall 1973.

"The Computer Composition -- Sound Synthesis Programs POD4, POD5 and POD6", Sonological Reports, No. 2, Utrecht State University, Institute of Sonology, 1973.


recent conference papers and colloquia:

"Electroacoustic Music and the Visual," International Academy of Electroacoustic Music, Bourges, France, June 2005.

"Music and Science Meet at the Micro Level: Time-Frequency Methods and Granular Synthesis," invited paper, Acoustical Society of America conference, Vancouver, May 2005.

"From Granular Synthesis to Soundscape Composition: A Compositional Odyssey," Sonorities Festival, Queen's University, Belfast, April 30, 2004.

"Soundscape Composition," The Art of Immersive Soundscapes, University of Regina, July, 2004.

"Soundscape", Art, Culture & Education Institute, Faculty of Education, SFU, July 21, 2004.

"Aural Culture: The Sound of Place," Dept of Geography, University of British Columbia, Nov. 2004.

"Music and Science Meet at the Micro Level: Time-Frequency Methods and Granular Synthesis," Musica Viva conference, Invited speaker, Coimbra, Portugal, September, 2003

"Soundscape and Soundscape Composition," London College of Printing, London, UK, May 6, 2003.

"The Aesthetics of Electroacoustic Music and its Frontiers", International Academy of Electroacoustic Music, Bourges, France, June 2001

"Soundscape Composition as Global Music," Sound Escape conference, Trent University, June 2000.


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