[1]
Baalman, M.A.J. 2010. Spatial Composition Techniques and Sound Spatialisation Technologies. Organised Sound. 15, 03 (Dec. 2010), 209–218. DOI:https://doi.org/10.1017/S1355771810000245.
[2]
Cook, Perry R. 1999. Music, cognition, and computerized sound: an introduction to psychoacoustics. MIT Press.
[3]
Cox, C. and Warner, D. eds. 2017. Audio culture: readings in modern music. Bloomsbury Academic.
[4]
Hugill, Andrew 2008. The digital musician. Routledge.
[5]
Hugill, Andrew and NetLibrary, Inc 2008. The digital musician: creating music with digital technology. Routledge.
[6]
Hugill, Andrew and NetLibrary, Inc 2008. The digital musician: creating music with digital technology. Routledge.
[7]
Minard, R. 1999. Silent music: between sound art and acoustic design. Silent music =: between sound art and acoustic design : zwischen Klangkunst und Akustik-Design. Kehrer. 72–81.
[8]
Murch, W. 1995. Sound Design: The Dancing Shadow. Projections 4: film-makers on film-making. Faber and Faber. 237–251.
[9]
Rumsey, Francis and McCormick, Tim 2002. Sound and recording: an introduction. Focal.
[10]
Schafer, R. Murray 1994. The soundscape: our sonic environment and the tuning of the world. Destiny Books.
[11]
Sonnenschein, David 2001. Sound design: the expressive power of music, voice, and sound effects in cinema. Michael Wiese Productions.