1. An Unheard-of Organology
  2. Douglas Kahn
  3. pp. 1-3
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  1. Chromatic Notation of Music: Transforming Bach and Webern into Color and Light
  2. Brigitte Burgmer
  3. pp. 5-10
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  1. Orchestrating the Chimera: Musical Hybrids, Technology and the Development of a “Maximalist” Musical Style
  2. David A. Jaffe
  3. pp. 11-18
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  1. Acoustic and Virtual Space as a Dynamic Element of Music
  2. Pauline Oliveros
  3. pp. 19-22
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  1. More than Just Notes: Psychoacoustics and Composition
  2. Robert HP. Platz, Frances Wharton
  3. pp. 23-28
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  1. Reflections on Collaborative Process and Compositional Revolution
  2. Diane Thome
  3. pp. 29-32
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  1. Thresholds of Confidence: An Analysis of Statistical Methods for Composition: Part 1: Theory
  2. Charles Ames
  3. pp. 33-38
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  1. The History of Electroacoustic Music in the Czech and Slovak Republics
  2. Libor Zajicek
  3. pp. 39-48
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  1. A Hierarchical Theory of Aesthetic Perception: Scales in the Visual Arts
  2. Pavel B. Ivanov
  3. pp. 49-55
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  1. Inventing Images: Constructing and Contesting Gender in Thinking about Electroacoustic Music
  2. Andra McCartney
  3. pp. 57-66
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  1. Innovation in Contemporary Japanese Composition
  2. Marc Battier, Mamoru Fujieda, Hinoharu Matsumoto, Kazuo Uehara
  3. pp. 67-68
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  1. Cassette Culture, by Peter Manuel (review)
  2. Gerald Hartnett
  3. pp. 75-76
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  1. Elsewheres, by Hal Rammel (review)
  2. Curtis E. A. Karnow
  3. p. 76
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  1. Places, Times and People by David Borden (review)
  2. Curtis E. A. Karnow
  3. p. 76
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  1. Wreckin’ Ball, by The Hub (review)
  2. Curtis E. A. Karnow
  3. p. 76
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  1. 1995 Index: Leonardo Volume 28 and Leonardo Music Journal Volume 5
  2. pp. 78-81
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  1. Introduction
  2. Marc Battier
  3. pp. 69-70
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  1. Contributors’ Notes
  2. pp. 71-74
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  1. Materials Received
  2. p. 77
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