Thesis Bibliography

Abstract Machine Bibliography reduced size——————————-> and…  and… and… you arrive here on a line of flight…

Adams, F. and K. Aizawa, 2001. “The bounds of cognition”. Philosophical Psychology, Vol. 14 (1), pp. 43-64

Adorno, T.W., 2007. Philosophy of Modern Music. 3rd ed. London: Continuum

Agrell, J., 2010. “The Creative Hornist Off the Beaten Path: Tales of Creative Hornists, Part I. Horn Call: Journal of the International Horn Society, 10, vol. 41, no. 1, pp. 54-57

Alstott, J., P. Panzarasa, M. Rubinov and E.T. Bullmore, 2014. “A Unifying Framework for Measuring Weighted Rich Clubs”.  Nature, Scientific Reports volume 4, Article number: 7258. Published online 1 December 2014. Accessed online 4 March 2018:

Arbo, A., 2009. “Some Remarks on “Hearing-as” and its Role in the Aesthetics of Music.” Topoi, 09, vol. 28, no. 2, pp. 97-101

Aspers, P., 2011. Markets. Cambridge: Polity

Attali, J., 1985. Noise: The Political Economy of Music. Minneapolis: University of Minnesota Press

Avanessian, A. ans S. Malik, 2016. “The Specuative Time Complex”. DIS. Accessed online 4 March 2018:

Ayer, A.J.,1982. Philosophy in the Twentieth Century. London: Phoenix

Badiou, A., 2011. Wittgenstein’s Antiphilosophy. Trans. B. Bosteels. London; New York: Verso

Baig, E.C., 2017. “Joshua Bell: VR could popularize classical music”. USA Today. Accessed online 4 March 2018: 

Baker, J., 2017. “How Spotify — And its Playlists — Are Evolving”. PIAS. Accessed online 4 March 2018:

Ball, P., 2010. The Music Instinct: How Music Works and Why We Can’t Do Without It. London: Bodley Head

Barber, A., 2010. Language and Thought. Milton Keynes: The Open University

Bargainnier, E.F., 1978. “W. S. Gilbert and American Musical Theatre.” Journal of Popular Culture, vol. 12, no. 3, pp. 446-458

Barrett, G.D., 2016.  After Sound: Toward a Critical Music. New York; London: Bloomsbury

Barthes, R., 1977. Image, Music, Text. S. Heath ed., London: Fontana

————— 1984. Camera Lucida: Reflections on Photography. London: Flamingo

Baum, E.B., 2004. What is Thought? Cambridge, Mass; London: MIT Press

BEARD, D. and K. GLOAG eds., 2005. Musicology: The Key Concepts. London: Routledge

BECKERMAN, M., 1989. “The Sword on the Wall: Japanese Elements and Their Significance in “The Mikado”.” The Musical Quarterly, vol. 73, no. 3, pp. 303-319

BEETHOVEN, L.v. 1930. Symphony no. 5, C minor. Op. 67. M. UNGER and W. ALTMANN eds., London: Eulenburg

BEHAN, D.P., 1979. “Locke on PERSONS and Personal Identity.” Canadian Journal of Philosophy, Mar 1, 1979, vol. 9, no. 1, pp. 53-67 Periodicals Archive Online

BELSEY, C., 2002. Poststructuralism: A Very Short Introduction. Oxford: Oxford University Press

BERGERON, K. and P.V. BOHLMAN, 1992. Disciplining Music: Musicology and its Canons. Chicago: University of Chicago Press

Blake, T., 2017. “Concepts out of the Shadows Notes on Deleuze and Guattari’s “What is Philosophy?” (2)”. Agent Swarm Blog. Accessed online 4 March 2018:

Bluemink, M., 2015. “The Web as Rhizome in Deleuze and Guattari”. Blue Labyrinths Blog. Accessed online 4 March 2018:

Bonnet, R.M., 2016. “Archipelagic Listening” Podcast, Urbanomic. Accessed online 4 March 2018:

Borges, J.L. 2018. Wikiquote. Accessed online 4 March 2018:

BORN, G. ed., 2013. Music, Sound and Space: Transformations of Public and Private Experience. Cambridge; New York: Cambridge University Press

Boudry, P. and R. Lorenz, 2016. “Silent” Film art installation. Accessed online 4 March 2018:

Bourriaud, N., 2009. Relational Aesthetics. Trans. S. Pleasance and F. Woods with M. Copeland. ?: Les presses du réel

BOWMAN, W.D., 1998. Philosophical Perspectives on Music. New York: Oxford University Press

Bown, O., 2015. “Attributing Creative Agency: Are we doing it right?”. Proceedings of the Sixth International Conference on Computational Creativity June 2015, pp. 17-22

Brassier, R., 2013. “Unfree Improvisation/Compulsive Freedom”. Mattin. Accessed online 6 March 2018:

Bretan, M. and G. Weinberg, 2016. “A Survey of Robotic Musicianship”. Communications of the ACM, Vol. 59 No. 5, pp. 100-109

Brits, B., P. Gibson and A. Ireland, eds., 2016. Aesthetics After Finitude. Melbourne:

Brodsky, R., 2015. “Music Apps That Don’t Exist Yet (But Should)”. Spin. Accessed online 3 March 2018:

BRONOWSKI, J. and British Broadcasting Corporation., 1973. The Ascent of Man. London: British Broadcasting Corporation

BROOKS, K. ed., 2006. Chambers Dictionary of Music.  Edinburgh: Chambers

BROWN, C., 1991. “Historical Performance, Metronome Marks and Tempi in Beethoven’s Symphonies.” Early Music, May, vol. 19, no. 2, pp. 247-250

BROWN, J., 2010. “Buzz and Rumble: Global Pop Music and Utopian Impulse”. Social Text, Spring 2010, vol. 28, no. 1, pp. 125-146

Bruntrup, G. and L. Jaskolla, eds., 2016. Panpsychism: Contemporary Perspectives. Oxford: Oxford Scholarship Online

Bryant, L.R., 2011. “Freedom Evolves: Deleuze’s Transcendental Aesthetics”. Larvalsubjects Blog. Accessed online 4 March 2018:

BUCHANAN, I. and M. SWIBODA eds., 2004. Deleuze and Music. Edinburgh: Edinburgh University Press

Bull, M., 2007. Sound Moves: iPod Culture and Urban Experience. London; New York: Routledge

Burland, K. and A. McLean, 2016. “Understanding Live Coding Events”. International Journal of Performance Arts and Digital Media. Volume 12, 2016, issue 2: Live Coding, pp. 139-151

BURROWS, D., 2005. Handel and the English Chapel Royal. Oxford: Oxford University Press.

BUZAN, T., 2010. The Mind Map Book: Unlock Your Creativity, Boost Your Memory, Change Your Life. B. BUZAN ed., New ed. Harlow: Pearson/BBC Active

Byrne, N., 2016. “How Music Works: How to compose music with multimedia in mind”. The Irish Times. ccessed online 3 March 2018:

Cage, J., 1978. Silence: Lectures and Writings. London: Boyars

CAIRNEY, J.W.G. and R.M. BURKE, 1996. “Physiological Heterogeneity Within Fungal Mycelia: An Important Concept for a Functional Understanding of the Ectomycorrhizal Symbiosis”. New Phytologist, Dec., vol. 134, no. 4, pp. 685-695

Campbell, S., 2006. “The Conception of a Person as a Series of Mental Events”. Philosophy and Phenomenological Research, Sep., vol. 73, no. 2, pp. 339-358

Carr, E.H., 2001. What is History? R.J. Evans ed., 40th Anniversary ed. Basingstoke: Palgrave

Cavicchi, D., 1998. Tramps Like Us: Music & Meaning Among Springsteen Fans. New York; Oxford: Oxford University Press

Chayka, K., 2011. “WTF is… Relational Aesthetics?” Hyperallergic. Accessed online 4 March 2018:

Chalmers, D., 2018. “The Mind Bleeds Into the World” Video conversation with Edge. Accessed online 4 March 2018:

Chanan, M., 1995. Repeated Takes: A Short History of Recording and its Effects on Music. London: Verso

Chandler, D., 2007. Semiotics: The Basics. 2nd ed. London: Routledge

Christl, W. and S. Spiekermann, 2016. “Networks of Control: A Report on Corporate Surveillance, Digital Tracking, Big Data & Privacy”. Cracked Labs. Accessed online 4 March 2018:

Chua, D.K.L., 2014. The Galitzin Quartets of Beethoven: Opp. 127, 132, 130. Princeton NJ: Princeton University Press

Chuter, J., 2017. “Interview: Belisha Beacon”. Attn:Magazine. Accessed online 3 March 2018:

Clark, A., 1997. Being There: Putting Brain, Body, and World Together Again. Cambridge Mass.: MIT Press

—————. Natural-born Cyborgs: Why Minds and Technologies Are Made To Merge. New York: Oxford University Press

—————. 2015. “What ‘Extended Me’ knows”. Synthese 192 (11) pp. 3757-3775

—————. 2016. “Andy Clark on Prediction, Action, and the Embodied Mind”. Podcast (BSP 126), Brain Science. Accessed online 4 March 2018:

Clarke, A.C., 2018. Wikipedia page. Accessed online 5 March 2018:

Clarke, E.F., 2005. Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. New York; Oxford: Oxford University Press

—————, 2010. Music and Mind in Everyday Life. N. Diben and S. Pitts eds., Oxford: Oxford University Press

Clayton, M. ed.,  2008. Music, Words and Voice : A Reader. Manchester: Manchester University Press published in association with The Open University

Clayton, M., T. Herbert and R. Middleton, eds., 2002. The Cultural Study of Music: A Critical Introduction. New York; London: Routledge

CLENDINNING, E., 2010. “The Cambridge Companion to the Beatles by Kenneth Womack”. Journal of American Culture, 12, vol. 33, no. 4, pp. 353-354

Clynes, M.E. and N.S. Kline, 1960. “Cyborgs and Space”. Astronautics, September 1960. Accessed online 4 March 2018:

Cohen, S., 1993. “Ethnography and Popular Music Studies”. Popular Music, vol. 12, no. 2, pp. 123-138

Coleman, R. and J. Ringrose, eds., 2013. Deleuze and Research Methodologies. Edinburgh: Edinburgh University Press

Collins, S. and S. Young, 2014. Beyond 2.0: The Future of Music. Bristol, CT: Equinox Publishing

Commeyras, M., M.F. Orellan, B.C. Bruce and L. Nielsen, 1996. “What do feminist theories have to offer to literacy, education, and research?”. Reading Research Quarterly, vol. 31. no. 4, pp. 458–468

Conrad, F.G. and J. Blair, 2009. “Sources of Error in Cognitive Interviews”. Public Opinion Quarterly, March 20, vol. 73, no. 1, pp. 32-55

Cook, A., 2017. “The Power of Playlisting”. Music Business Journal. Accessed online 4 March 2018:

Cook, N., 2000. Music: A Very Short Introduction. Oxford: Oxford University Press

Cook, N. and M. Everist, 1999. Rethinking Music. Oxford; New York: Oxford University Press

Cooke, D., 1959. The Language of Music. Oxford: OUP

Coplan, A. and P. Goldie eds., 2011. Empathy: Philosophical and Psychological Perspectives. Oxford: Oxford University Press

Coursera, 2015. Questionnaire Design for Social Surveys. Online course by University of Michigan. F. Conrad and F. Kreuter, presenters. Details accessed online 4 March 2018:

Cox, C. and D. Warner eds., 2004. Audio Culture: Readings in Modern Music. New York; London: Continuum

Crabtree, P. and Foster, D.H., 2005. Sourcebook for Research in Music. 2nd ed. Bloomington: Indiana University Press

Crawford, S., 2010. Aspects of Mind. Milton Keynes: The Open University

Crickmore, L., 1966. “Neo-Thomism as a Basis for the Teaching of Music”. British Journal of Educational Studies, Nov., vol. 14, no. 3, pp. 36-44

Crimp, D., 2002. Melancholia and Moralism: Essays on AIDS and Queer Politics. Cambridge, Mass.: MIT Pres.

Cross, I., 1998. “Music Analysis and Music Perception”. Music Analysis, Mar., vol. 17, no. 1, pp. 3-20.

————— 2009. “The Evolutionary Nature of Musical Meaning”. Musicae Scientiae, September 21, vol. 13, no. 2 suppl, pp. 179-200

CROWTHER, P., 2007. Defining Art, Creating the Canon: Artistic Value in an Era of Doubt. Oxford: Clarendon

—————. 2012. The Phenomenology of Modern Art: Exploding Deleuze, Illuminating Style. London: Continuum

Cryer, P., 2011. The Research Student’s Guide to Success. Maidenhead: The Open University Press

Cull Ó Maoilearca, L., 2016. “On immanence”. Paper delivered at The Concept of Immanence in Philosophy & the Arts Conference, Vienna 5-7 May 2016. Accessed online 4 March 2018:

Cumming, N., 2000. The Sonic Self: Musical Subjectivity and Signification. Bloomington: Indiana University Press

Dalhaus, C., 1989. The Idea of Absolute Music. Trans. R. Lustig. Chicago: University of Chicago Press

Daly, I., and A.B. Haney, 2014. 53 Interesting Ways to Communicate Your Research. London: The Professional and Higher Partnership Imprint

Danaher, J., 2015a. “The Extended Mind and the Coupling-Constitution Fallacy”. Philosophical Disquisitions Blog. Accessed online 4 March 2018:

—————. 2015b. “Neuroenhancement and the Extended Mind Hypothesis”. Philosophical Disquisitions Blog. Accessed online 4 March 2018:

—————. 2017. “Extended Cognition and the Possibility of Extended Personal Assault”. Philosophical Disquisitions Blog. Accessed online 4 March 2018:

Davies, B., 2000. A body of writing, 1990 – 1999, Walnut Creek CA: Alta Mira Press

Davies, H., 1968. The Beatles: The Authorised Biography. London: Heinemann

Davies, S., 1987. “Authenticity in Musical Performance”. The British Journal of Aesthetics, December 21, vol. 27, no. 1, pp. 39-50

—————. 1994. Musical Meaning and Expression. Ithaca, NY; London: Cornell University Press

—————. 2007. Philosophical Perspectives on Art. Oxford: Oxford University Press

—————. 2014. “Anglo-American philosophy of music, 1960–2000”. Grove Dictionary of Music (online). Accessed online 4 March 2018: 

Dawkins, R., 1976. The Selfish Gene. Oxford: Oxford University Press

—————. 1999. The Extended Phenotype: The Long Reach of the Gene. Oxford: Oxford University Press

De Certeau, M., 1984. The Practice of Everyday Life. Trans. S.F. Rendall. Berkeley CA; London: University of California Press

Defraene, P., 2016. “Exploring Post-Internet Music”. Humanhuman. Accessed online 3 March 2018:

DeLanda, M., 2006. A New Philosophy of Society: Assemblage Theory and Social Complexity. London: Continuum

—————. 2012. “Assemblage Theory, Society, and Deleuze” European Graduate School Video Lectures. YouTube Video. Acessed online 4 March 2018:

—————. 2016. Assemblage Theory. Edinburgh: Edinburgh University Press

Deleuze, G., 1988a. Bergsonism. New York: Zone Books

—————. 1988b. Foucault. Minneapolis: University of Minnesota Press

—————. 1990. Logic of Sense. New York: Columbia University Press

—————. 1991. Empiricism and Subjectivity. New York: Columbia University Press

—————. 1994. Difference and Repetition. New York: Columbia University Press

—————. 1995. Negotiations:1972-1990. Trans. M. Joughin. New York: Columbia University Press

Deleuze, G. and F. Guattari, 1983. Anti-Oedipus. Minneapolis: University of Minnesota Press

—————. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. London: Continuum

—————. 1994. What is Philosophy? New York: Columbia University Press

Deleuze, G and C. Parnet, 2002. Dialogues II. New York: Columbia University Press

Demers, J.T., 2010. Listening Through the Noise: The Aesthetics of Experimental Electronic Music. Oxford: Oxford University Press

Dennett, D.C., 2017. From Bacteria to Bach and Back: The Evolution of Minds. New York; London: Norton

DeNora, T., 2000. Music in Everyday Life. Cambridge: Cambridge University Press

Derrida, J. 1979. “The Parergon”. Trans. C. Owens. October, Summer, vol. 9, pp. 3-41

—————. 1995. The Gift of Death. Chicago; London: University of Chicago Press

—————. 1997. Of Grammatology. Corrected ed. Baltimore; London: Johns Hopkins University Press

Deutsch, D., 1997. The Fabric of Reality. London: Penguin

—————. 2012. The Beginning of Infinity: Explanations that Transform the World. London: Pelican

Dipert, R.R., 1980. “The Composer’s Intentions: An Examination of Their Relevance for Performance”. The Musical Quarterly, Apr., vol. 66, no. 2, pp. 205-218

Dobson, M.C., 2010. “New Audiences for Classical Music: The Experiences of Non-attenders at Live Orchestral Concerts”. Journal of New Music Research, 06, vol. 39, no. 2, pp. 111-124

Dobson, M.C. and S.E. Pitts, 2011. “Classical Cult or Learning Community? Exploring New Audience Members’ Social and Musical Responses to First-time Concert Attendance”. Ethnomusicology Forum, 12, vol. 20, no. 3, pp. 353-368

Dodd, J., 2007. Works of Music: An Essay in Ontology. Oxford: Oxford University Press

—————. 2013. “Adventures in the metaontology of art: local descriptivism, artefacts and dreamcatchers”. Philos Stud (2013) 165, pp. 1047-1068

Dosse, F., 2010. Gilles Deleuze & Felix Guattari: Intersecting Lives. New York; Chichester: Columbia University Press

Doubleday, V., 2008. “Sounds of power: An overview of musical instruments and gender”. Ethnomusicology Forum, 06/01; June, 2008, vol. 17, no. 1, pp. 3-32

Douglas-Jones, R. and S. Sariola, 2009. “Rhizome Yourself: Experiencing Deleuze and Guattari from Theory to Practice”. Rhizomes Issue 19. Accessed online 4 March 2018:

Drake, N., 2018. “Universe’s First Stars Detected? Get the Facts”. National Geographic. Accessed online 6 March 2018:

Dredge, S., 2016a. “AI could be the music industry’s next Napster moment – but much bigger”. Musically. Accessed online 3 March 2018:

—————. 2016b. “Imagine a music industry with 950m mobile listeners by 2022”. Musically. Accessed online 3 March 2018:

Dreyfus, L., 1983. “Early Music Defended against Its Devotees: A Theory of Historical Performance in the Twentieth Century”. The Musical Quarterly, Summer, vol. 69, no. 3, pp. 297-322

Driver, R.D., 2010. “You Never Give Me Your Money: The Beatles After the Breakup by Peter Doggett”. Journal of Popular Culture, 12, vol. 43, no. 6, pp. 1305-1307

Eden, D. and M. Saremba eds., 2009. The Cambridge companion to Gilbert and Sullivan.  Cambridge: Cambridge University Press

Eisenberg, E., 2005. The Recording Angel: Music, Records and Culture from Aristotle to Zappa. 2nd ed. New Haven, Conn; London: Yale University Press

Eno, B., 2016. “Culture Now: Brian Eno”. ICA. Accessed online 3 March 2018:

Ericsson, S., 2011. “The Recorded Music Industry and the Emergence of Online Music Distribution: Innovation in the Absence of Copyright (Reform)”. George Washington Law Review, 09, vol. 79, no. 6, pp. 1783-1798

Evans, R.J., 2001. In Defence of History. New ed. London: Granta

Fager, C.E., 1969. “The Apple Corps four”. Christian Century, 03/19, vol. 86, no. 12, pp. 386-388

Feinberg, W., 2006. “Philosophical Ethnography: or, How Philosophy and Ethnography Can Live Together in the World of Educational Research” Educational Studies in Japan: International Yearbook No.1, December, 2006, pp.5-14

Finnegan, R., 1989. The Hidden Musician: Music-making in an English Town. Cambridge: Cambridge University Press.

Fleming, A. 2006. “Post-processual landscape archaeology: a critique”. Cambridge Archaeological Journal 16, 267-80

Fodor, J.A., 1987. Psychosemantics: The Problem of Meaning in the Philosophy of Mind. Cambridge, Mass.: MIT Press

—————. 2010. LOT 2: The Language of Thought Revisited. Oxford: Oxford University Press.

Foucault, M., 1969. L’Archéologie du Savoir. ?: Gallimard

—————., 1972. The Archaeology of Knowledge and Discourse on Language. Trans. A.M. Sheridan Smith. New York: Pantheon

—————. 1973. The Birth of the Clinic. An Archaeology of Medical Perception. Trans. A.M Sheridan. London: Routledge

Frabetti, F., 2015. Software Theory: A Cultural Philosophical Study. London: Rowman & Littlefield

Frankish, K., 2016. “The mind isn’t locked in the brain but extends far beyond it”. Interalia Magazine. Accessed online 4 March 2018:

—————. 2017. “Why panpsychism fails to solve the mystery of consciousness”. Aeon. Accessed onlinr 4 March 2018:

Gale, K., J. Speedy and J. Wyatt, 2010. “Gatecrashing the Oasis? A Joint Doctoral Dissertation Play”. Qualitative Inquiry, 16(1), pp. 21–28

Galloway, R.,  2014. “The Universe of Things — by Steven Shaviro”. Culture and Communication Blog. Accessed online 4 Mach 2018:

Glendinning, S., 2011. Derrida: A Very Short Introduction. Oxford: Oxford University Press

Goehr, L., 2007. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Rev. ed. New York; Oxford: Oxford University Press

—————. 2008. Elective Affinities:  Musical Essays on the History of Aesthetic Theory. New York; Chichester: Columbia University Press

Goodman, N., 1968. Languages of Art; An Approach to a Theory of Symbols. Indianapolis: Bobbs-Merrill

Gould, G., 1987. The Glenn Gould Reader. T. Page ed., London: Faber and Faber

Gourley, K.A., 1978. “Towards a Reassessment of the Ethnomusicologist’s Role in Research”. Ethnomusicology: Journal of the Society for Ethnomusicology, vol. 22, pp. 1-35

Gourvish, T. and K. Tennent, 2010. “Peterson and Berger revisited: Changing Market Dominance in the British Popular Music Industry, c.1950-80”. Business History, 04, vol. 52, no. 2, pp. 187-206

Gracyk, T., 1997. “Listening to Music: Performances and Recordings”. The Journal of Aesthetics and Art Criticism, Spring, vol. 55, no. 2, Perspectives on the Arts and Technology, pp. 139-150

—————. 2015. “Musical Concerns: Essays in Philosophy of Music — Jerrold Levinson. Review.” Notre Dame Philosophical Reviews. Accessed online 4 March 2018:

Grant, M.J., and I. Misch, eds., 2016. The Musical Legacy of Karlheinz Stockhausen: Looking Back and Forward. Hofheim: Wolke Verlag

Grasmayer, B., 2016a. “Projecting Trends: What These 4 Music Startups Reveal About the Future of Music”. Synchtank. Accessed online 3 March 2018:

—————. 2016b. “4 Products that Show the Future of Music”.  Music X Tech X Future.  Accessed online 3 March 2018:

—————. 2016c. “Music’s Role In A Transhumanist Future”. Synchblog (Hyperbot). Accessed online 5 March 2018:

—————. 2016d. “PROJECTING TRENDS: Moving Beyond the Static Music Experience”. Synchblog. Accessed online 5 March 2018:

—————. 2017a. “Streaming wars for superfans”. Getrevue. Accessed online 4 March 2018:

—————. 2017b. “Four of the Biggest Opportunities for the Future of Music Consumption”. Music Tech Future. Accessed online 4 March 2018:

—————. 2017c. “Online Music is About to Experience Another MySpace Moment”. Music Tech Future. Accessed online 4 March 2018:

Grey, T.S.  ed., 2008. The Cambridge Companion to Wagner. Cambridge: Cambridge University Press.

Grice, H.P., 1989. Studies In The Way of Words. Cambridge, Mass.: Harvard University Press.

Griffin, A., 2017. “Facebook’s Artificial Intelligence Robots Shut Down After They Start Talking to Each Other in Their Own Language”. Independent. Accessed online 5 March 2018:

Griffiths, N.K., 2011. “The Fabric of Performance: Values and Social Practices of Classical Music Expressed Through Concert Dress Choice”. Music Performance Research, 10, vol. 4, pp. 30-48

Grillmeier, A., 1975. Christ in Christian Tradition. Atlanta: John Knox Press

Gunkel, H., A. Hamed and S. O’Sullivan, eds.,2017. Futures and Fictions. London: Repeater Books

Guss, F. 2001. Drama performance in children’s play culture: The possibilities and significances of form. Report 6. Unpublished PhD dissertation, University of Trondheim.

Gutting, G., 2005. Foucault: A Very Short Introduction. Oxford; New York: Oxford University Press

Hacker P.M.S., 1997. Wittgenstein: On Human Nature. R. Monk and F. Raphael eds., London: Phoenix

Hachoen, R. and N. Wagner, 1997. “The Communicative Force of Wagner’s Leitmotifs: Complementary Relationships between Their Connotations and Denotations”. Music Perception, vol. 14, no. 4, pp. 445-475

Hacking, I., 1979. “Michel Foucault’s Immature Science”. Noûs, Mar., vol. 13, no. 1, pp. 39-51

—————. 2004. Historical Ontology. Cambridge, MA: Harvard University Press

Hall, S., 2014. “Song for a future generation: Music predictions for 2020”. Virgin. Accessed online 3 March 2018:

Hallam S., L. Rogers and A. Creech, 2008. “Gender Differences in Musical Instrument Choice”. International Journal of Music Education, 01/01, vol. 26, no. 1, pp. 7-19

Hamilton, A., 2000. “The Art of Improvisation and the Aesthetics of Imperfection”. British Journal of Aesthetics, 01, vol. 40, no. 1, pp. 168-182

—————. 2003. “The Art of Recording and the Aesthetics of Perfection”. The British Journal of Aesthetics, October 01, vol. 43, no. 4, pp. 345-362

Hanfling, O. 1987. The Quest for Meaning. Oxford: Basil Blackwell in association with the Open University

—————. ed., 1992. Philosophical Aesthetics: An Introduction. Blackwell in association with the Open University

Hanslick, E. 1854 (1891). Vom Musicalisch Schönen (On the Musically Beautiful) Trans. G. Payzant, 1986). Indianappolis IN: Hackett Publishing Company

Harman. G., 2005. Guerilla Metaphysics: Phenomenology and the Carpentry of Things. Chicago: Open Court

Harper, A., 2010. Infinite Music. Alresford, UK: Zero Books

————. 2016. “How Internet Music is Frying Your Brain”. Popular Music

(2017) Volume 36/1. pp. 86-97

Harper-Scott, J.P.E., 2012. The Quilting Points of Musical Modernism: Revolution, Reaction, and William Walton. Cambridge: Cambridge University Press

Harris, D., 2008. “Branching of fungal hyphae: regulation, mechanisms and comparison with other branching systems”. Mycologia, 100(6), pp. 823 – 832.

Harrison, C.  and P. Wood eds., 1992. Art in Theory, 1900-1990: An Anthology of Changing Ideas. Oxford: Blackwell

Hartmann, A., 2003. Claude Debussy As I Knew Him and Other Writings of Arthur Hartmann. S. Hsu, S. Grolnic and M.A. Peters eds., Rochester, NY; Woodbridge: University of Rochester Press; Boydell & Brewer

Hegarty, P., 2007. Noise. New York; London: Continuum.

—————. 2015. Rumour and Radiation: Sound in Video Art. London; New York: Bloomsbury

Heidegger, M., 1977. The Question Concerning Technology, and Other Essays. W. Lovitt ed., New York; London: Harper and Row

Heile, B. ed., 2009. The Modernist Legacy: Essays on New Music. Farnham: Ashgate.

Heim, M., 1993. The Metaphysics of Virtual Reality. New York: Oxford University Press

Hellier-Tinoco, R., 2003. “Experiencing People: Relationships, Responsibility and Reciprocity”. British Journal of Ethnomusicology, vol. 12, no. 1, pp. 19-34

Herbert, T. and Associated Board of the Royal Schools of Music (Great Britain)., 2001. Music in Words: A Guide to Researching and Writing About Music. London: Associated Board of the Royal Schools of Music

Hermand, J. and G. Richter eds., 2006. Sound Figures of Modernity: German Music and Philosophy.  Madison, Wis.; London: University of Wisconsin Press

Hess, P., 2017. “Researchers Enable People to Compose Music With Only Their Brain”. Accessed online 3 March 2018:

Hewitt, T.W., 2013. The Mycelium as a Metaphor for the Metaphysical Meaning Space of Music. MA(music) dissertation. The Open University

—————. 2015. “Report, 2nd Royal Musical Association, Music and Philosophy Study Group’s Workshop on The Philosophy of Human+Computer Music”. Philosophy of human+computer music. Accessed online 8 March 2018:

Hillis, D., 2016. “The Enlightenment is Dead, Long Live the Entanglement”. JoDS. Accessed online 4 March 2018:

Hodder, I., 2012. Entangled: An Archaeology of the Relationships Between Humans and Things. Malden, MA: Wiley-Blackwell

—————. 2014. “The Entanglements of Humans and Things: A Long-Term View”. New Literary History, Volume 45, Number 1, Winter 2014, pp. 19-36

Hofstadter, D.R., 2000. Gödel, Escher, Bach: An Eternal Golden Braid. 20th-anniversary ed. London: Penguin

Hofstadter, D.R. and D.C. Dennett, 1981. The Mind’s I: Fantasies and Reflections on Self and Soul. New York: Basic Books

Honan, E.M., 2001. (Im)plausibilities: A rhizo – textual analysis of the Queensland English Syllabus. PhD Thesis, James Cook University.

—————. 2004. “(Im)plausibilities: A rhizo-textual analysis of policy texts and teachers’ work”. Educational Philosophy and Theory,Vol. 36, No. 3, pp.267-281

—————. 2007. “Writing a rhizome: an (im)plausible methodology”. International Journal of Qualitative Studies in Education, Volume 20: 5, pp. 531-546

Honan, E. and D. Bright, 2016. “Writing a thesis differently”. International Journal of Qualitative Studies in Education, 29:5, pp. 731-743

Honderich, T and M. Burnyeat eds., 1979. Philosophy As It Is. Harmondsworth: Penguin

Høstaker, R., 2014. A Different Society Altogether: What Sociology Can Learn from Deleuze, Guattari, and Latour. Newcastle-upon-Tyne: Cambridge Scholars Publishing

Hoy, D.C., ed., 1986. Foucault: A Critical Reader. Oxford: Blackwell

Hu, C., 2017. “Should Spotify Try to Become the ‘Netflix Of Music’? Not So Fast”. Billboard. Accessed online 4 March 2018:

Hughes, R., 1990. Nothing If Not Critical: Selected Essays on Art and Artsits. London: Harvill

Hugill. A., 2012. The Digital Musician. Abingdon; New York: Routledge

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—————.1977. Remarks on Colour. G.E.M. Anscombe, L.L. McAlister and M. Schättle eds., Oxford: Blackwell

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Wittgenstein, L., G.E.M. Anscombe, and G.H. Von Wright, 1967. Zettel. Berkeley: University of California Press

—————. 1969. On Certainty. New York: Harper

Wittgenstein, L. and C. Barrett, 1966. Lectures & Conversations on Aesthetics, Psychology, and Religious Belief. Berkeley: University of California Press

Wittgenstein, L., R.G. Bosanquet, and C. Diamond, 1989. Wittgenstein’s Lectures on the Foundations of Mathematics, Cambridge, 1939: from the notes of R.G. Bosanquet, Norman Malcolm, Rush Rhees, and Yorick Smythies. University of Chicago Press ed. Chicago: University of Chicago Press

Wollheim, R., 1980. Art and its Objects: With Six Supplementary Essays. 2d ed. Cambridge ; New York: Cambridge University Press

Womack, K. ed., 2009. The Cambridge Companion to The Beatles.  Cambridge: Cambridge University Press

Wyatt, J., K. Gale, S. Gannon and B. Davies, 2011. Deleuze & Collaborative Writing: An Immanent Plane of Compositions. New York: Peter Lang

Youmans, C., ed., 2010. The Cambridge Companion to Richard Strauss. Cambridge: Cambridge University Press

Young, D. and G. Priest, 2017. “It is and it isn’t: Marcel Duchamp’s ‘Fountain’ is not just a radical kind of art. It’s a philosophical dialetheia: a contradiction that is true”. Aeon. Accessed online 4 March 2018:

Yu, P.K., 2011. “Digital Copyright and Confuzzling Rhetoric”. Vanderbilt Journal of Entertainment & Technology Law, Summer2011, vol. 13, no. 4, pp. 881

Zangwill, N., 2007. Aesthetic Creation. Oxford: Oxford University Press

Zdebik, J., 2012. Deleuze and the Diagram: Aesthetic Threads in Visual Organization. New York: Continuum

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Žižek, S., 2016. Disparities. New York; London: Bloomsbury

Vignettes’ Participants Bibliographic References

Matthew Whiteside

W1: Whiteside’s questionnaire response.

W2: 2015. “Interview with Matthew Whiteside”. M Magazine. Accessed online 8 March 2018:

W3: 2015. “Two Worlds Collide”. R-Space Gallery. Accessed online 8 March 2018:

W4: 2015. “When Two Worlds Collide Walk Around”. YouTube video. Accessed online 8 March 2018:

W5: 2018. Matthew Whiteside, Spotify collection. Accessed online 8 March 2018:

W6: 2016. “Matthew Whiteside; Biography”. British Music Collection: Accessed online 8 March 2018:

W7: Bruce, K., 2016. “Music review: Cappella Nova sing Echoes and Traces in Stirling Castle Chapel” The Herald. Accessed online 8 March 2018:

W8: 2014. “Culture Night 2014: Matthew Whiteside / Joanna Nicholson: An extract from the premiere of Matthew Whiteside’s ‘Three Pieces for Bass Clarinet and Electronics’, performed by Joanna Nicholson”. Vimeo video. Accessed online 8 March 2018:

W9: Rockson, G., 2015. “Classical CDs Weekly: Adams, Bliss, Matthew Whiteside: Great contemporary Americana, English piano music and electro-acoustic sounds from Glasgow”. The Arts Desk. Accessed online 8 March 2018:

W10: Dooley, S., 2016. “Alt Notes #9 | Matthew Whiteside”. Headstuff: Music. Accessed online 8 March 2018:

W11: Whiteside, M., 2016. “Why New Music? by Matthew Whiteside (composer)”. Sound Scotland. Accessed online 8 March 2018:

Mihailo Trandafilovski

T1: Tandafilovski’s questionnaire response

T2: 2018. Mihailo Trandafilovski: Personal website. Accessed online 8 March 2018:

T3: Kreuzer Quartet (Peter Sheppard Skaerved, Mihailo Trandafilovski, Neil Heyde, Eve Heyde ,with Roderick Chadwick) (Composer: Mihailo Trandafilovski) Five. CD recording. London: Innova (#914). Accessed online 8 March 2018:

T4: Mihailo Trandafilovski, Spotify Collection. Accessed onlone 8 March 2018:

T5: Heaton, R., 2013. “Magnets, lava, crystals: clarinet quintet by Mihailo Trandafilovski.”. Library audio catalogue. Bath Spa University Library. Accessed online 8 March 2018:

T6: The British Museum, 2016. “Performance Music from Alexander the Great’s empire”. Concert advertisement. Accessed online 8 March 2018:’s_empire_programme_140616.pdf

T7: 2012. Mihailo Trandafilovski: Chamber Music. (Perf. Odaline de la Martinez, Kreutzer Quartet) Presto Classical. Lorelt. LNT132. Accessed online 8 March 2018:–trandafilovski-chamber-music

T8: Trandafilovski, M., 2006. Introducing Elements of Contemporary Music in the Process of Violin Teaching. DMus thesis. Centre for Performance Scieence, Royal College of Music, London. Summary accessed online 8 March 2018:

Julian Broadhurst

B1: Broadhurst’s questionnaire response 1

B2: Broadhurst’s questionnaire response 2

B3: Broadhurst’s questionnaire response 3

B4: Broadhurst’s questionnaire response 4

B5: Julian Broadhurst: Drowning Circle. Website. Accessed online 8 March 2018:

B6: 2018. Julian Broadhurst: Bandcamp Collection. Bandcamp. Accessed online 8 March 2018:

B7: “The Measure of Autumn”. Music recording by Tetlow & Broadhurst. Bandcamp. Accessed online 8 March 2018:

B8: 2018. “British Library Upload Data: julian Broadhurst – Uploading Guide to order, with suggested cross references and Links, the volumes of  my DCM Edition.” Personal corespondence.

B9: 2018. “English Contemporary Composer and Percussionist – Director of Drowningcircle music – DCM” Biography. Encore Music. Accessed online 8 March 2018:

B10: 2018. David Dhonau. Website. Accessed onloine 8 March 2018:

B11: 2015. “Julain Broadhurst: Journey’s End”. Plainly Painting: David Manley. Blog. Accessed online 8 March 2018:

Alex McLean

M1: McLean’s questionnaire response

M2: TOPLAP website. Accessed online 8 March 2018:

M3: Algorave website. Accessed online 8 March 2018:

M4: McLean, A., 2017. “Algorave: algorithmic dance culture”. TEDX, Hull.

YouTube video. Accessed online 8 March 2018:

M5: 2018. Yaxu, Website. Accessed online 8 March 2018:

M6: 2018. Alex McLean: Making Music with Text[ure]. Website. Accessed online 8 March 2018:

M7: 2018. Algomech Festival. Website. Accessed online 8 March 2018:

M8: 2016. McLean, A. and H. Redler. “Data as Culture exhibition: Thinking Out Loud”. Open Data Institute. Accessed online 8 March 2018:

M9: Magnusson, T., 2017. “Special Issue: Live Coding”. Sonic Writing. Accessed online 8 March 2018:

M10: McLean, A., 2004. “Hacking Perl in Nightclubs”. Perl. Accessed online 8 March 2018:

M11: Sicchio, K. and A. McLean, 2017. “Sound Choreographer <> Body Code”. Contemporary Theatre Review. Accessed online 8 March 2018:

M12: Grosse, D., 2018. “Podcast 210: Alex McLean”. Art + Music + Technology. Podcast. Accessed online 8 March 2018:

M13: McLean, A., 2018. “Weaving TidalCycles patterns at a TC-1 loom”. Penelope. Accessed online 5 March 2018:

M14: McLean, A., 2018. “Hacking Sound in Context:. Generative. Accessed online 8 Marc 2018:

M15: McLean, A., 2017. “Live Coding”. Medium. Accessed online 8 March 2018:

M16: Searle, L., 2017. “Review: AlgoMech Festival 2017”. The State of the Arts. Accessed online 8 March 2018:

M17: Magnussin, T., 2016. “Arts Research Symposium at AlgoMech”. Sonic Writing. Accessed online 8 March 2018:

M18: 2016. “Algorave Festival”. The Wire. Accessed online 8 March 2018:

M18: Visnjic, F., 2016. “‘Spicule’ by Yaxu – Album as a live coding device on Pi Zero”. Creative Applications Network. Accessed online 8 March 2018:

M19: 2018. Alex McLean. Wikipedia. Accessed online 8 March 2018:

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