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 Unpublished text read at a Seminar on Linguistics and Music organized by IRCAM in the Spring of 1975.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.