References
BAILLET, Jérôme, “Flèche du temps et processus dans les musiques après 1965”, in Fabien LÉVY, (ed.), Les écritures du temps, Paris, IRCAM/L’Harmattan, 2001, pp. 155-215.
CESTINO, Giovanni, “Experiencing Notational Artifacts in Music-Making. Towards a Theoretical Framework”, Sound Stage Screen, 1/1 (2021), pp. 77-117.
CESTINO, Giovanni, “‘I have it in my score privately’. I direttori d’orchestra e le loro partiture: alcune considerazioni per un approccio teorico e un metodo analitico”, in Gabriele MANCA and Claudio TOSCANI, (eds.), Antonino Votto. Il direttore d’orchestra, il didatta, Pisa, ETS, 2021, pp. 53-64.
COOK, Nicholas, “Between Process and Product: Music and/as Performance”, Music Theory Online, 7 (2001).
COOK, Nicholas, Beyond the Score: Music as Performance, Oxford and New York, Oxford University Press, 2013.
FÉRON, François-Xavier, “Spectra as Theoretical and Practical Models in Gérard Grisey’s Creative Process”, in Amy BAUER, Liam CAGNEY and William MASON, (eds.), Oxford Handbook of Spectral Music, Oxford, Oxford University Press, 2021, https://doi.org/10.1093/oxfordhb/9780190633547.013.19 (02/04/2023).
GRISEY, Gérard, “Devenir du son”, in Écrits ou l’invention de la musique spectrale, Paris, MF, 2008, pp. 31-37.
GRISEY, Gérard, “Structuration des timbres dans la musique instrumentale”, in Jean-Baptiste BARRIÈRE, (ed.), Le timbre, métaphore pour la composition, s.l., IRCAM/Christian Bourgeois, 1991, pp. 325-385 (also in GRISEY, Gérard, Écrits ou l'invention de la musique spectrale, Paris, MF, 2008, pp. 95-126).
GRISEY, Gérard, “Tempus ex Machina: A Composer’s Reflections on Musical Time”, Contemporary Music Review, 2/1 (1987), pp. 239-275 (for French version see “Tempus ex machina: réflexions d’un compositeur sur le temps musical”, in Écrits ou l’invention de la musique spectrale, Paris, MF, 2008, pp. 57-88).
KAASTRA, Linda T., “Annotation and the Coordination of Cognitive Processes in Western Art Music Performance”, in Aaron WILLIAMON, Darryl EDWARDS and Lee BARTEL, (eds.), Proceedings of the International Symposium on Performance Science, Utrecht, AEC, 2011, pp. 675-680.
MEIER, Gustav, The Score, the Orchestra, and the Conductor, Oxford and New York, Oxford University Press, 2009.
MORABITO, Fabio, “The Score in the Performer’s Hands: Reading Traces of the Act of Performance as a Form of Analysis?”, Music Theory Online, 22/2 (2016).
PAYNE, Emily, and Floris SCHUILING, “The Textility of Marking: Performers’ Annotations as Indicators of the Creative Process in Performance”, Music and Letters, 98/3 (2017), pp. 438-464.
PRAUSNITZ, Frederik, Score and Podium: A Complete Guide to Conducting, New York, W.W. Norton, 1983.
PUSTIJANAC, Ingrid, “Time’s Arrow in Spectral Music”, Nuove musiche, 1 (2016), pp. 145-160.
PUSTIJANAC, Ingrid, “Eine Reflexion über die formale Funktion der inharmonischen Spektren in Beziehung zur Zeit und Form in Les Espaces Acoustiques”, Musik-Konzepte, 176/177 (Sonderdruck Gérard Grisey), Munich, edition text+ kritik, 2017, pp. 102-114.
PUSTIJANAC, Ingrid, “Noise in Spectral Music”, in Mark DELAERE, (ed.), Noise as a Constructive Element in Music Theoretical and Music-Analytical Perspectives, London and New York, Routledge, 2023, pp. 125-136.
WINGET, Megan A., “Annotations on Musical Scores by Performing Musicians: Collaborative Models, Interactive Methods, and Music Digital Library Tool Development”, Journal of the American Society for Information Science and Technology, 59/12 (2008), pp. 1878-1897.