Publications
by Gerald Bennett (Selection)
Science et musique à
l'I.R.C.A.M. Paper read at ”Sessions IRCAM“, 19-23 October
1974, Paris. Translation by Brigitte Marger. (The text to be downloaded is in French.)
Problems concerning the representation of formal structures in music.
Paris 1975. Unpublished text read at a Seminar on Linguistics and Music
organized by IRCAM in the Spring of 1975.
Musique et langage. In
Musique en Projet.
Paris 1975. Gallimard. (The text to be downloaded is in English.)
Recherche à l'IRCAM
en 1977. Rapports IRCAM. Paris 1978. Centre Georges
Pompidou.
Realtime digital instruments.
Rapports IRCAM. Paris 1978. Centre Georges Pompidou (with Max V.
Mathews).
Recherche à l'IRCAM
en 1978. Rapports IRCAM. Paris 1979. Centre Georges
Pompidou.
Synthèse de
la voix chantée par ordinateur. In Conférences des
Journées d'Etudes du Festival International du Son 1979.
Paris 1979 (with Xavier Rodet).
Journal of a
composition. In Informatique
et Sciences Humaines no. 45, pp. 51-76. Paris 1980.
Singing synthesis in electronic
music. In Research
Aspects on Singing. Royal Swedish Academy of Music.
Stockholm 1981. (Sound examples coming soon.)
Imaginäre
Räume. In Th. Bräm (Ed.). Musik und Raum.
Basel 1986. GS-Verlag.
Pierre Boulez: the
early works. In W. Glock (Ed.). Pierre
Boulez: A Symposium. London 1986. Eulenburg.
Simplicity and
complexity in electroacoustic music. In B. Rydberg (Ed.). Proceedings of the ICEM
Conference on Electro-Acoustic Music. Publications issued by the Royal Swedish Academy of Music, No. 57. Royal Swedish
Academy of Music. Stockholm 1988.
Synthesis of the
singing voice. In M. V. Mathews und J. Pierce (Ed.). Current Directions in Computer
Music Research. Cambridge, Mass. 1989. MIT Press (with
Xavier Rodet).
Repères
électro-acoustiques. In Musiques
Electroniques. Contrechamps No. 11. Geneva 1990.
The World of a single
sound: a study of the acoustics of the shakuhachi. In A. Marett (Ed.). Musica Asiatica 6.
Cambridge 1991. Cambridge University Press (with Andreas Gutzwiller).
Den Klang komponieren.
Notizen zur elektroakustischen Musik. Neue Zürcher Zeitung.
13./14. April 1991 Nr. 85.
The Sense of the
phrase. Compositional Grouping in Music. In J. Sundberg (Ed.). Gluing Tones: Perceptual
grouping in music. Royal Swedish Academy of Music.
Stockholm. 1993.
Musical composition and
music acoustics: —What have they to do with each other? In A. Friberg et al. (Ed.). Proceedings of the Stockholm
Music Acoustics Conference 1993. Publications issued by the Royal Swedish Academy of Music, No. 79. Royal Swedish
Academy of Music. 1994. (Sound examples coming soon.)
En réécoutant Boulez. Basler Zeitung. 25. März 1995. (The text to be downloaded is in German.)
Chaos, Self-Similarity, Musical Phrase and Form. 1995.
Thoughts on the Oral
Culture of Electroacoustic Music. In Aesthetics and Electroacoustic
Music. Proceedings of the International Academy of Electroacoustic
Music 1995. Paris 1996.
La musique depuis 1945
et la culture orale. In H. Dufourt & J.-M. Fauquet (Ed.). La musique depuis 1945.
Matériau, esthétique et perception.
Sprimont (Belge) 1997. (The text to be downloaded is in English.)
Some notes on the
composition of Rainstick. In G. Bennett & F.
Barrière (Ed.). Analysis
in Electroacoustic Music. Proceedings of the International Academy of
Electroacoustic Music 1996. Volume II. Bourges 1997.
Interview With Lars Petter Hagen. 1998.
A poor man's
techniques of sound diffusion. In G. Bennett & F.
Barrière (Ed). Composition
/ Diffusion in Electroacoustic Music. Proceedings of the International
Academy of Electroacoustic Music 1997. Volume III. Bourges 1998.
The Composer and the listener. In G. Bennett & F.
Barrière (Ed). Current
approaches in Electroacoustic Music / Relationships between the creator
and the listener in Electroacoustic Music. Proceedings of the
International
Academy of Electroacoustic Music 2002/2003. Volume VII. Bourges 2005.
A Marriage of the
Director Musices program and the Conductor program. In R. Bresin (Ed.).
Proceedings of SMAC 03
Stockholm Music Acoustics Conference 2003. Stockholm. 2003
(with M. Mathews, A. Friberg, C. Sapp, J. Sundberg).
Klangprojektion im
dreidimensionalen Raum. In Dissonanz,
no. 83. Zürich 2003 (with P. Färber, P. Kocher, J.
Schütt). (The text to be downloaded is in English.)
[Was heisst hier Musik?] – Zum Buch von Ulrich Mosch: Musikalisches
Hören serieller Musik. Untersuchungen am Beispiel von Pierre
Boulez’ „Marteau sans maître“. In Dissonanz, no. 89. Zürich 2005. (Der Titel stammt vom Herausgeber.)
The (Inadequate)
Visual Representation of Three-Dimensional Sound Projection. In F.
Barrière (Ed). Relationships between audition and vision in the creation of Electroacoustic Music.
Proceedings of the International Academy of Electroacoustic Music 2004/2005.
Volume VIII. Bourges. 2007.
Form and expression in three electroacoustic works
by Agostino di Scipio, Eduardo Kusnir and Lars-Gunnar Bodin. 2008.
Paper read at the International Academy of Electroacoustic Music,
Bourges, in June, 2008.