Updated October 2023:

• Abbate, Carolyn. “Music—Drastic or Gnostic?” in Critical Inquiry 30: 505-536.2004
• AMSynths, 2022. “Elaine Radique Arp 2515” [sic] AMSynths High quality analog synthesizer modules. Accessed Online May 28, 2023: https://amsynths.co.uk/home/my-synths/2500-rack/elaine-radique-arp-2515/
• Auslander, Philip.
  • 2016. “Reactivation: Performance, Mediatization and the Present Moment” In Interfaces of Performance. Chatzichristodoulou, Maria, and Janis Jefferies, eds. Routledge
  • 2022. Liveness: Performance in a mediatized culture. Taylor & Francis
• Barad, Karen. 2003. “Posthumanist performativity: Toward an understanding of how matter comes to matter.” In Signs 28(3): 801–831.
• Barrett, Douglas G.
  • 2011. “The Silent Network—the Music of Wandelweiser.” Contemporary Music Review 30 (6): 449–70.
  • 2016. After Sound: Toward a Critical Music. New York: Bloomsbury, 1-15. 
  • 2021. “Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art.” Twentieth-Century Music, 18(2): 223-248.
  • 2021, “‘How We Were Never Posthuman’: Technologies of the Embodied Voice in Pamela Z’s Voci.” Twentieth-Century Music 19(1): 3-27, Cambridge University Press. 
• Bennett, Jane. 2001. Vibrant Matter: A Political Ecology of Things. Durham:Duke University Press.
• Born, Georgina.
  • 1995. Rationalizing culture: IRCAM, Boulez, and the institutionalization of the musical avant-garde. Berkeley: University of California Press.
  • 2005. “On Musical Mediation: Ontology, Technology and Creativity” twentieth-century music 2(1): 7-36
  • 2020. “Reinventing Audiences: Imagining Radical Musical Democracies.” In Finding Democracy in Music, edited by Robert Adlington and Esteban Buch, 181–203. New York: Routledge
  • 2022. “Introduction: Music, Digitization and Mediation: For a Planetary Anthropology” and “The Dynamics of Pluralism in Contemporary Digital Art Music.” In Music and Digital Media: A Planetary Anthropology, edited by Georgina Born, 305–77. London: UCL Press
• Caux, Daniel. 2006. L’île re-sonante [CD liner notes]. shiiin
• Charton, Anke. 2021 “Voicing Challenge: Trans* Singers and thre Performance of Vocal Gender” Under Construction: Performing Critical Identity. Edited by Marie-Anne Kohl. Basel: MDPI, pp. 107-126
• Citton, Yves. 2016. “Politics as Hypergestural Improvisation in the Age of Mediocracy” The Oxford Handbook of Critical Improvisation Studies, ed. George Lewis and Benjamin Piekut. 
• Cole, Ross. 2021. “Stravinsky, Modernism, and Mass Culture.” Stravinsky in Context. Griffiths, G. (ed). Cambridge University Press. 230-237
• Crawley, Ashon. 2018. “Introduction to the Academy and What Can Be Done?” Critical Ethnic Studies 4(1):  pp. 4-19
• Currie, James. 2009. “Music After All” in Journal of the American Musicological Society 62(1): 145-204
• Curtis, Charles. 2021. “Éliane Radigue and an ‘Unreal, Impalpable Music” The Oxford Handbook of Spectral Music. Amy Bauer, Liam Cagney, and William Mason (eds). Oxford University Press.
• Davachi, Sarah. 2012. Irreal Worlds: Constructions of Phenomenal “Space” in Experimental Music, 1962-1978. Mills College[Dissertation].
• de Assis, Paolo. 2018. “Virtual Works – Actual Things” Logic of Experimentation. Leuven: Leuven  University Press. 41-70
• Demers, Joanna. 2010, “Site in Ambient, Soundscape, and Field Recordings” Listening through the Noise: The Aesthetics of Experimental Electronic Music. Oxford University Press.
• Denning, Michael. 2016. “Decolonizing the Ear: The Transcolonial Reverberations of Vernacular Phonograph Music” Audible Empire: Music, Global Politics, Critique, ed. Ronald Radano & Tejumola Olaniyan. Duke University Press. pp. 25-44
• D’Errico, Lucia. 2021.  “Sound Beyond Representation: Experimental Performance Practices in Music” The Bloomsbury Handbook of Sonic Methodologies ed. Michael Bull and Marcel Cobussen. New York & London, Bloomsbury, pp. 357-368
• de Souza, Jonathan. 2017. Music at Hand: Instruments, Bodies, Cognition. Oxford University Press
• Döbereiner, Luc 2019. “The Research Catalogue Exposition as a Digital Object: Challenges and Future” In Artistic Research: Charting a Field in Expansion. ed, Paulo de Assis and Lucia D’Errico. London & New York, Rowman & Littlefield
• Dougherty, William. 2021. Imagining Together: Éliane Radigue’s Collaborative Creative Process Columbia University ProQuest Dissertations Publishing.
• Dowd, Rebecca & Geoffrey-Schwinden, 2018. “Digital Approaches to Historical Acoustemologies: Replication and Reenactment” In Digital Sound Studies. pp. 231-250
• Echard, William. 2006. “Sensible Virtual Selves: Bodies, Instuments and the Becoming-concrete of Music” Contemporary Music Review 25(1/2): 7-16
• Eco, Umberto. 1989 [1962]. The Open Work. tr. Anna Cancogni. Massachusetts: Harvard University Press
• Eidsheim, Nina. 2015. “Music as a Vibrational Practice.” In Sensing Sound: Singing and Listening as Vibrational Practice, pp. 154-85. Durham: Duke University Press
• Feld, Steven. 1996. “Waterfalls of Song: An Acoustemology of Place Resounding in Bosavi, Papua New Guinea”  Senses of Place, ed. Steven Feld and Keith. Basso. School of American Research Press. 
• Fernando, Iazzetta. 2019. “Sounds From Elsewhere: Episodes for a History of Brazilian Sound Art.” In Making it Heard: A History of Brazilian Sound Art, edited by Rui Chaves and Fernando Iazzetta, 11–42. New York: Bloomsbury. PDF
• Galloway, Alexander. 2012. The Interface Effect, Cambridge: Polity Press
• Gilmurray, 2021, “Ecological Sound Art” The Bloomsbury Handbook of Sonic Methodologies ed. Michael Bull and Marcel Cobussen. New York & London, Bloomsbury  , pp. 449-458
• Gitelman, Lisa. 2006. “New Media Bodies” Always Already New: Media, History, and the Data of Culture. London & Cambridge: The MIT Press. pp. 89-122
• Gluck, Bob. 2010. “An Interview with Eliane Radigue.” array 2009/2010
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  • 2015. “Explosive Experiments and the Fragility of the Experimental” Expeimental Affinities. Leuwen: Leuwen University Press.
• Goh, Annie. 2017. “Sounding Situated Knowledges: Echo in Archaeoacoustics.” Parallax 23 (3): 283–304.
• Grimshaw, Mark. 2018. “Presence Through Sound” In Body, Sound and Space in Music and Beyond: Multimodal Explorations, pp. 279-298. Edited by Clemens Wöllner. London & New York: Routledge.
• Hamdan, Lawrence Abu. 2014. “Aural Contract: Forensic Listening and the Reorganization of the Speaking Subject” Edited by Cesura//Acceso.
• Halberstam, Jack. 2011. “The Queer Art of Failure” The Queer Art of Failure. Duke University Press. pp. 87-122
• Hall, Stuart. 1996. “Introduction: Who needs ‘identity’?” In Questions of Cultural Identity. Sage Publications.
• Haworth, Christopher & Georgina Born. 2022. “Music and intermediality after the internet: aesthetics, materialities and social forms” Music and Digital Media: A Planetary Anthropology. Edited by Georgina Born.
• Horn, 2007. “There Are No Media.” In Grey Room, 29: 6-13.
• Ihde, Don. 2007 “Embodiment, Technologies, and Musics” Listening and Voice: Phenomenologies of Sound. 2nd Ed. New York: State University of New York Press.
• Iyer, Vijay. 2016. “Improvisation, Action Understanding, and Music Cognition with and without Bodies” The Oxford Handbook of Critical Improvisation Studies. Edited by George Lewis and Benjamin Piekut. Oxford: Oxford University Press.
• James, Robin. 2019. The Sonic Episteme: Acoustic Resonance, Neoliberalism, and Biopolitics. Duke University Press.
• Jameson, Fredric. 2009 [1985]. “Foreword” in Noise: The Political Economy of Music. Jacque Attali. [1977] trans, Brian Massumi. University of Minnesota Press.
• Jasen, Paul C. 2016. “Introduction: Elements of a Myth-Science” Low End Theory: Bass, Bodies, and the Materiality of Sonic Experience. Bloomsbury. pp. 1-20
• Kramer, Jonathan D. 1978. “Moment Form in Twentieth Century Music.” In The Music Quarterly 64(2): 177-194
• Kittler, Friedrich. 1986. Gramophone, Film, Typewriter. trans. Geoffrey Winthrop-Young and Michael Wutz. Stanford: Stanford University Press.
• Kromhout, Melle Jan. 2021. The Logic of Filtering: How Noise Shapes the Sound of Recorded Music. Oxford University Press
• LaBelle, Brandon.
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  • 2015. “Seeking Ursound: Hildegard Westerkamp, Steve Peters, and the Soundscape,” In Background Noise: Perspectives on Sound Art. 2nd Ed. Bloomsbury (pp. 199-215)
• Langlois, 2022, “Textile, The Uneasy Medium” Re-Understanding Media: Feminist Extensions of Marshall McLuhan. ed. Sharma, S. and Singh, R. Duke University Press.
• Latour, Bruno. 2009. “Spheres and Networks: Two Ways to Reinterpret Globalization” Harvard Design Magazine 30. 
• Lewis, George E.
  • 1996. “Improvised Music after 1950: Afrological and Eurological Perspectives.” Black Music Research Journal 16(1): 91-122
  • 2007/ “Mobilitas Animi: Improising Technololgies, Intending Chance” Parallax 13(4); 108-122
  • 2008. A Power Strong Than Itself: The AACM and American Experimental Music. Chicago: The University of Chicago Press
• Madsen, P.A., 1993. “Toward A Feminine Form In Music: Pauline Oliveros’s ‘Rose Moon’” Contemporary Music Forum 5-6
• Magnusson, Thor. 2019. Sonic writing: technologies of material, symbolic, and signal inscriptions. Bloomsbury Publishing.
• Majeau-Bettez, Emmanuelle. 2022. Through Time and Space: Éliane Radigue’s Relationship to Sound. McGill University [Dissertation].
• Maler, Anabel. 2015, “Musical Expression among Deaf and Hearing Song Signers” The Oxford Handbook of Music and Disability Studies. pp. 73-91
• Miles, Stephen. 2008 “Objectivity and Intersubjectivity in Pauline Oliveros’s Sonic Meditations” in Perspectives of New Music, 46(1):- pp.4-38
• Moseley, Roger.
  • 2016. Keys to Play: Music as a Ludic Medium from Apollo to Nintendo. Oakland, University of California Press.
  • 2017. “ Rehear(s)ing Media Archaeology” In “Discrete/Continuous: Music and Media Theory After Kittler” (Colloquy) In Journal of the American Musicological Society. 70(1): 221-256
• Moten, Fred. 2015. The Little Edges. Middletown, Connecticut: Wesleyan University Press.
• Mowitt, John. 2002. Percussion: Drumming, Beating, Striking. Durham:Duke University Press.
• Muñoz, José Estaban.1999.“Performing Disidentity: Disidentification as a Practice of Freedom” Disidentifications: Queers of Color and the Performance of Politics. Min- neapolis: University of Minnesota Press
• Nickel, Luke. 2015. “OCCAM Notions: Collaboration and the Performer’s Perspective in Èliane Radigue’s Occam Ocean.” Tempo 70(275): 22-35. Cambridge University Press.
• Ochoa Gautier, Ana M. 2019. “Afterword: The Audibility of Brazilian Sound Art.” In Making it Heard: A History of Brazilian Sound Art, edited by Rui Chaves and Fernando Iazzetta, 11–42. New York: Bloomsbury.
• Okiji, Fumi. 2018. Jazz as Critique: Adorno and Black Expression Revisited. Stanford: Stanford University Press
• Oliveros, Pauline.
  • 2010. Sounding the Margins: Collected Writings 1992-2009. Kingston, NY: Deep Listening Publications.
  • 2016. “Improvising Composition: How to Listen in the Time Between” in Negotiated Moments: Improvisation, Sound, and Subjectivity. Siddal, Gillian & Waterman, Ellen (eds). Durham & London: Duke University Press: 75-90 
• Ouzounian, Gascia.
  • 2013, “Sound Installation Art: From Spatial Poetics to Politics, Aesthetics to Ethics.” Music, Sound and Space: Transformations of Public and Private Experience
  • 2021. “The Sonic Undercommons: Sound Art in Radical Black Arts Traditions.” Oxford Handbook of Sound Art. Grant, J., Matthias, J. and Prior, D. (eds.) Oxford: Oxford University Press.
• paperson, la. 2017. A Third University is Possible. Minneapolis: University of Minnesota Press
• Patteson, Thomas. 2016. “Listening to Instruments” Instruments for New Music: Sound, Technology, and Modernism.  University of California Press, pp. 1-17
• Peraino, Judith. 2003. “Listening to the Sirens: Music as Queer Ethical Practice.” GLQ: A Journal of Lesbian and Gay Studies 9(4): 433-470
• Peters, John Durham. 2015, The Marvelous CLouds: Toward a Philosophy of Elemental Media. Chicago & London: University of Chicago Press. 
• Piekut, Benjamin.
  • 2012. “Sound’s Modest Witness: Notes on Cage and Modernism,” Contemporary Music Review, 31(1): 3-18,
  • 2014. Actor-Networks in Music History: Clarifications and Critiques. Twentieth Century Music 11(2): 191-215
  • 2018. “Another Version of Ourselves: The Enigmas of Improvised Subjectivity” Liminalities: A Journal of Performance Studies 14(1): 72-89
• Rabinow, Paul. 2003. “Object” in Anthropos Today: Reflections on Modern Equipment. New Jersey:Princeton University Press.
• Radigue, Eliane. 2009. “The Mysterious Power of the Infinitesimal” tr. Anne Fernandez & Jacqueline Rose. Leonardo Music Journal 19: pp. 47-49. MIT Press
• Radigue, Eliane & Julia Eckhardt,. 2019. Intermediary Spaces. umland
• Rancière, Jacques. 2011 [2008]. The Emancipated Spectator. tr. Gregory Elliott. London: Verso.
• Robinson, Dylan. 2020. Hungry Listening: Resonant Theory for Indigenous Studies. Minneapolis: University of Minnesota Press
• Rogers, Tara and Radigue, Éliane. (2010). “Éliane Radigue” in Pink Noises: Women on Electronic Music and Sound. Durham & London, Duke University Press
• Rosen, Steve. M. 2006. Topologies of the Flesh: A Multidimensional Exploration of the Lifeworld. Athens, Ohio: Ohio University Press.
• Salter, Chris. 2016. “Environments, Interactions and Beings: The Ecology of Performativity and Technics” In Interfaces of Performance. Chatzichristodoulou, Maria, and Janis Jefferies (eds.) Routledge.
• Scherzinger, Martin. “Event or Ephemeron? Music’s Sound, Performance, and Media A Critical Reflection on the Thought of Carolyn Abbate” In Sound Stage Screen 1(1): 2021. pp.145-192
• Schoenberg, Arnold. 1975. Style and Idea: Selected Writings of Arnold Schoenberg. Leonard Stein (ed), Leo Black (tr). New York: St. Martins Press; London: Faber & Faber.
• Schwab, Michael.
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• Siegert, Berhard. 2015. in Cultural Techniques: Grids, Filters, Doors, and Other Articulations of the Real. translated by Geoffrey Winthrop-Young. New York: Fordham University Press.
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• Stanyek, Jason & Benjamin Piekut. 2010. “Deadness: Technologies of the Intermundane,” The Drama Review 54 (1): 14-38.
• Steingo, Gavin.
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  • 2019, “Another Resonance: Africa and the Study of Sound” Remapping Sound Studies ed. Gavin Steingo & Jim Sykes. Durham & London: Duke University Press, pp. 39-60
• Steinmetz, Julia L.
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  • 2019. “In Recognition of Their Desperation: Sonic Relationality and the Work of Deep Listening” Studies in Gender and Sexuality 20(2): 119-132
• Sterne, Jonathan.
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• Sterne, Jonathan & Elena Razlogova. 2021. “Tuning sound for infrastructures: artificial intelligence, automation, and the cultural politics of audio mastering” Cultural Studies pp. 1-21
• Sterne, Jonathan & Mara Mills, 2017, “Afterword II – Dismediation: Three proposals, six tactics” Disability Media Studies, ed. Elizabeth Ellcessor & Bill Kirkpatrick. NYU Press.
• Stirling, Christabel. 2021, “Sonic Methodologies in Urban Studies” The Bloomsbury Handbook of Sonic Methodologies ed. Michael Bull and Marcel Cobussen. New York & London, Bloomsbury, pp. 115-140  
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