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Birkhoff, G. D. 1933. Aesthetic Measure. Cambridge: Harvard University Press. {amazon
Benjamin, W. 1936. "The Work of Art in the Age of Mechanical Reproduction." Zeitschrift für Sozialforschung 5(1).
Schillinger, J. 1941. The Schillinger System of Musical Composition. New York: Carl Fischer. {amazon
Thompson, D. W. 1942. On Growth and Form. Cambridge: Cambridge University Press.
Polya, G. 1945. How to Solve It: A New Aspect of Mathematical Method. Princeton: Princeton University Press.
Gabor, D. 1947. "Acoustical quanta and the theory of hearing." Nature 159(1044): 591-594.
McHose, A. I. 1947. The Contrapuntal Harmonic Technique of the 18th Century. East Norwalk: Appleton Centiry Crofts. {amazon
Schillinger, J. 1948. The Mathematical Basis of the Arts. New York: Carl Fischer. {amazon
Shannon, C. E. 1948. "A Mathematical Theory of Communication." Bell Systems Technical Journal 27: 379-423, 623-656.
Wiener, N. 1948. Cybernetics. Cambridge: MIT Press. {amazon
Metropolis, N. and S. Ulam. 1949. "The Monte Carlo Method." Journal of the American Statistical Association 44: 335-341.
Shannon, C. E. and W. Weaver. 1949. A Mathematical Theory of Communication. Urbana: University of Illinois Press. {amazon
Pierce, J. R. 1950. "Science for Art's Sake." Astounding Science Fiction.
Turing, A. M. 1950. "Computing Machinery and Intelligence." Mind 59: 433-460.
Schönberg, A. 1951. Style and Idea. London: Williams and Norgate. {amazon
Ascher, F. 1952. "Das Zwölftonwunder." Inspiré 24.
Myhill, J. 1952. "Some Philosophical Implications of Mathematical Logic: Three Classes of Ideas." Review of Metaphysics 6(2): 165-198.
Olson, H. F. 1952. Musical Engineering. New York: McGraw-Hill.
Turing, A. M. 1952. "The Chemical Basis of Morphogenesis." Philosophical Transactions of the Royal Society of London. Series B, Biological Sciences 237(641): 37-72.
Canby, E. T. 1954. "The Composing Machine." Audio Engineering 38: 48.
Moog, R. 1954. "The Theremin." In Radio and Television News. January: 37-39. Internet: http://www.thereminworld.com/ Moog1954.asp
Bied, A. 1955. "Robots compositeurs de musique." Technica.
Lawrence, H. 1955. "The Composing Machine." Audio 39: 10.
Lyr, R. 1955. "Une merveille de mécanisme: le Componium de T. N. Winkel." In Histoire de la boîte à musique. A. Chapius, ed. Lausanne: Edition Scriptar.
McCracken, D. 1955. "Monte Carlo Method." Scientific American 192(5): 90-96.
Olson, H. F. and H. Belar. 1955. "Electronic Music Synthesizer." Journal of the Acoustical Society of America 27(3): 595-612.
Quastler, H. 1955. "Discussion, following Mathematical theory of word formation, by W. Fucks." In Information Theory: Third London Symposium. E. C. Cherry, ed. New York: Academic Press. 168.
Xenakis, I. 1955. "La crise de la musique sèrielle." Gravesaner Blätter 1.
Anonymous. 1956. "'Brain' Computes New Tune for TV." New York Times July 3: 51.
Anonymous. 1956. "Electronic Brain Composes at University of Illinois." Illinois Music Educator 16(1): 16.
Anonymous. 1956. "The first ballad to be composed by an electronic computer." International Musician 55: 21.
Anonymous. 1956. "Gulbransen Piano Used as Electronic Brain Writes 1,000 Popular Songs an Hour." Piano Review 115: 21.
Anonymous. 1956. "Syncopation by Automation." In Data from ElectroData. Pasadena: Burroughs Corporation (ElectroData Division). 2.
Ashby, R. 1956. An Introduction to Cybernetics. London: Chapman & Hall Ltd. Internet: http://pcp.vub.ac.be/ books/ IntroCyb.pdf
Brindle, R. S. 1956. "The lunatic fringe. III. Computational composition." The Musical Times 97(1361): 246.
Chomsky, N. 1956. "Three models for the description of language." IRE Transcripts on Information Theory 3: 113-124.
Cony, E. 1956. "Canny Computers: Machines Write Music, Play Checkers, Tackle New Tasks in Industry." Wall Street Journal 148(56): 1.
Hiller, L. 1956. "Abstracts: Some Structural Principles of Computer Music." Journal of the American Musicological Society 9(3): 247-248.
Oliver Garfield Company. 1956. "New! A Machine that Composes Music." Scientific American 195(3): 262.
Pierce, J. R. 1956. Electrons, Waves and Messages. Garden City, New York: Hanover House.
Pinkerton, R. C. 1956. "Information Theory and Melody." Scientific American 194(2): 77-86.
Wong, J. Y. 1956. "Write your own music with this new machine." The Financial Post (Toronto) 1(39): 52.
Anonymous. 1957. "Music Transcription by Computer." Computing News 5(17): 108-113.
Brooks, F. P. and A. L. Hopkins, P. Neumann, W. V. Wright. 1957. "An Experiment in Musical Composition." IRE Transcripts on Electronic Computers 6(3): 175-182.
Chomsky, N. 1957. Syntactic Structures. The Hague: Mouton. {amazon
Darreg, I. 1957. "The Electronic Computer Takes Up Music Lessons." Internet: http://sonic-arts.org/ darreg/ dar6.htm
Klein, M. L. 1957. "Uncommon Uses for Common Digital Computers." Instruments and Automation 30: 251.
Klein, M. L. 1957. "Syncopation in Automation." Radio-Electronics 36.
Moles, A. A. 1957. "Machines a musique." La Revue Musicale 236: 115.
Sowa, J. F. 1957. "A machine to compose music." In Geniac Manual. New York: Oliver Garfield Company. Internet: http://www.jfsowa.com/ misc/ compose.htm
Babbitt, M. 1958. "Who Cares if you Listen." High Fidelity 8(2): 38.
Higgins, P. 1958. "Three-Part Music with a Computer as One Part." Computers and Automation 7(3): 8.
Hiller, L. and L. Isaacson. 1958. "Musical Composition with a High-Speed Digital Computer." Journal of the Audio Engineering Society 6(3): 154-160.
MacDonald, N. 1958. "Music by Automatic Computers." Computers and Automation 7(3): 8-9.
Moles, A. A. 1958. Théorie d'Information et Perception Esthétique. Paris: Flammarion. {amazon
Moles, A. A. 1958. "Some basic aspects of an information theory of music." Journal of the Audio Engineering Society 6(3): 184-186.
Newell, A. and J. C. Shaw, H. A. Simon. 1958. The Process of Creative Thinking. Santa Monica: RAND Corporation.
Oliver Garfield Company. 1958. "Build 125 Computers at Home with GENIAC." Astounding Science Fiction. Internet: http://www.computercollector.com/ cgi-bin/ menu-st.cgi?directory= / archive/ geniac/ astound
Youngblood, J. E. 1958. "Style as Information." Journal of Music Theory 2(24): 24-35.
Barbaud, P. 1959. "Avènement de la musique cybernetique." Les Lettres Nouvelles 7(8): 28.
Hiller, L. 1959. "Computer Music." Scientific American 201(6): 109-120.
Hiller, L. and L. Isaacson. 1959. Experimental Music. New York: McGraw-Hill. {amazon
Kraehenbuehl, D. and E. Coons. 1959. "Information as a measure of the experience of music." Journal of Aesthetics & Art Criticism 17: 510.
McCarthy, J. 1959. "LISP: a programming system for symbolic manipulations ." In Preprints of papers presented at the 14th national meeting of the Association for Computing Machinery. New York: ACM Press. 1-4.
Anonymous. 1960. "Mechanized Music." Musical America LXXX: 22.
Anonymous. 1960. "Will a machine compose a new symphony?." The School Musician 31(5): 59.
Backus, J. 1960. "Re: Pseudo-science in music." Journal of Music Theory 55: 220-232.
Barbaud, P. 1960. "Musique Algorithmique." Esprit 28(280): 92-97.
McCarthy, J. 1960. "Recursive Functions of Symbolic Expressions and Their Computation by Machine." Communications of the ACM 3(4): 184-195.
Meyer, L. B. 1960. "Art by Accident." Horizon 3: 1.
Moles, A. A. 1960. Les Musiques Experimentales. Paris: Fondation Internationale.
Olson, H. F. and H. Belar, J. Timmens. 1960. "Electronic music synthesis: the Mark II R.C.A. Synthesizer." Journal of the Acoustical Society of America 32(3): 311-319.
Papworth, D. G. 1960. "Computers and change-ringing." The Computer Journal 3(1): 47-50.
Phillipot, M. 1960. "La Musique et les Machines." In Situation de la Recherche, Cahiers d'Études de Radio-Télévision. Paris: Flammarion. 27-28: 274-292.
Pierce, J. R. 1960. "The Computer as a Musical Instrument." Journal of the Audio Engineering Society of America 8(2): 139.
Prieberg, F. K. 1960. Musica Ex Machina: Über das Verhältnis von Musik und Technik. Berlin: Verlag Ullstein.
Reitman, W. R. 1960. "Information Processing Languages and Heuristic Programming." In Bionics Symposium (WADD Technical Report 60-600). Ohio: Wright-Patterson Air Force Base, Directorate of Advanced Systems Technology. 410.
Xenakis, I. 1960. "Elements of Stochastic Music." Gravesaner Blätter 18: 84-105.
Zaripov, R. 1960. "On an algorithmic description of the process involved in the composition of music." Doklady Akademiya Nauk SSSR 132(6): 1283-1286.
Zaripov, R. 1960. "On an Algorithmic Description of the Process Involved in the Composition of Music (ARTINT)." Automation Express 3: 17-19.
Brower, B. 1961. "Why 'Thinking Machines' Cannot Think." New York Times February 19: 213.
Cohen, J. E. 1961. "Some Relationships between Music and Mathematics." Music Education Journal 48: 104.
Heike, G. 1961. "Informationstheorie und Musikalische Komposition." Melos 28: 269.
Lyon, R. 1961. ""Algorithme I," musique écrit par une machine pour le film "Imprévisibles"." Guide du concert 330: 385.
Moles, A. A. 1961. "La musique algorithmique, première musique calculée." Revue du Son 93(1): 28-29.
Olson, H. F. 1961. "Electronic Aid to Composers." Franklin Institute Journal CCLXX: 78.
Olson, H. F. and H. Belar. 1961. "Aid to Music Composition Employing a Random Probability System." Journal of the Acoustical Society of America 33(9): 1163-1170.
Pierce, J. R. 1961. Symbols, Signals and Noise: The Nature and Process of Communication. New York: Harper. {amazon
Strasser, B. E. and M. V. Mathews. 1961. Music from Mathematics. Murray Hill: Bell Laboratories.
Anonymous. 1962. "Inside stuff — music (first "stocastic work" composed by IBM coordinator 70.90)." Variety 207: 65.
Anonymous. 1962. "Les principes de composition de la musique algorithmique par des ensembles à traiter l'information." Electro-calcul 4(2).
Babbitt, M. 1962. "Twelve-Tone Rhythmic Structure and the Electronic Medium." Perspectives of New Music 1(1): 49-79.
Busoni, F. 1962. "Sketch of a New Esthetic of Music." In Three Classics in the Aesthetics of Music. Translated by T. Baker. New York: Dover. 73-102.
Cohen, J. E. 1962. "Information Theory and Music." Behavioral Science 7(2): 137-163.
Fucks, W. 1962. "Mathematical Analyses of Formal Structure of Music." IRE Transactions on Information Theory 8(5): 225-228.
Fucks, W. 1962. "Musical Analysis by Mathematics, Random Sequences, Music and Accident." Gravesano Review 6(23): 146-155.
Kraehenbuehl, D. and C. Schmidt. 1962. "On the Development of Musical Systems." Journal of Music Theory 6(1): 32-65.
Lyon, R. 1962. "La musique algorthmique." Guide du concert 336: 610.
Missel, J. 1962. "The fallacy of mathematical compositional techniques." American Music Teacher XII(2): 25.
Pikler, A. G. 1962. "Musical Transfer Functions and Processed Music." IRE Transcripts on Audio AU-10: 47.
Shostakovich, D. 1962. "Art must reflect reality!." Music Journal 20: 20.
Spaeth, S. 1962. "In and out of tune (mechanization and robotism in music)." Music Journal XX: 80.
Stockhausen, K. 1962. "The Concept of Unity in Electronic Music." Perspectives of New Music 1(1): 39-48.
Worthy, R. M. 1962. "A new American poet speaks: The works of A[uto] B[eatnik]." Horizon 4(3): 96-99.
Zaripov, R. 1962. "O programirovanyii processza szocsinyenyija." Problemy Kibernetiki 7: 151-160.
Baker, R. 1963. "MUSICOMP: Music-Simulator for Compositional Procedures for the IBM 7090 Electronic Digital Computer." Tehcnical Report No. 9, University of Illinois, Experimental Music Studio. {amazon
Baker, R. 1963. A Statistical Analysis of the Harmonic Practice of the 18th and 19th Centuries. D.M.A. Dissertation, University of Illinois.
Chomsky, N. 1963. "Formal Properties of Grammars." In Handbook of Mathematical Psychology Volume II. R. Luce, R. Bush and E. Galanter, eds. New York: Wiley.
Gill, S. 1963. "A Technique for the Composition of Music in a Computer." The Computer Journal 6(2): 129-133.
Hiller, L. and R. Baker. 1963. "Computer Cantata: A Study in Composition Using the University of Illinois IBM 7090 and CSX-1 Electronic Digital Computers." University of Illinois School of Music Experimental Music Studio. {amazon
Kassler, M. 1963. "Sketch of the use of Formalized Languages for the Assertion of Music." Perspectives of New Music 1(2).
Mathews, M. V. 1963. "The Digital Computer as a Musical Instrument." Science 142(3592): 553-557.
Neumann, J. von. 1963. "The General and Logical Theory of Automata." In J. von Neumann, Collected works. A. H. Taub, ed. 5: 288.
Schaeffer, M. S. 1963. "The Creation of Melodic Contours from Non-Melodic Raw Material Without Loss of Text or Timbre." Journal of the Audio Engineering Society 11(1): 55.
Stadlen, P. 1963. "When Computer Turns Composer." Daily Telegraph August 10: 11.
Tenney, J. 1963. "Sound Generation by Means of a Digital Computer." Journal of Music Theory 7(1): 24-70.
Xenakis, I. 1963. Musiques Formelles. Paris: Editions Richard-Masse.
Zaripov, R. 1963. Kibernetika i muzyka. Moscow: Izd. Znanie.
Anderson, A. R. 1964. Minds and Machines. Englewood Cliffs, NJ: Prentice-Hall. {amazon
Anonymous. 1964. "Sound of cybernetics: aleatoric music performed by the New York Philharmonic Orchestra." Newsweek 63: 88.
Appelton, J. 1964. "Aesthetic Direction in Electronic Music." The Western Humanities Review 18: 345.
Baudot, J. A. 1964. La machine à écrire. Montreal: Les Editions du Jour.
Burroughs, W. S. 1964. "The Cut-Up Method of Brion Gysin." Internet: http://www.ubu.com/ papers/ burroughs_gysin.html
Deutschman, B. 1964. "Music from Mathematics." Music Journal 22: 54.
Divilbiss, J. L. 1964. "The Real-Time Generation of Music with a Digital Computer." Journal of Music Theory 8(1): 99-111.
Ferentzy, E. N. and M. Havass. 1964. "Human Movement Analysis by Computer: Electronic Choreography and Music Composition." In Computational Linguistics. F. Kiefer, ed. Budapest: Computing Centre of the Hungarian Academy of Sciences. 3: 129-188.
Havass, M. 1964. "A Simulation of Music Composition. Synthetically Composed Folkmusic." In Computational Linguistics. F. Kiefer, ed. Budapest: Computing Centre of the Hungarian Academy of Sciences. 3: 107-128.
Hiller, L. and R. Baker. 1964. "Computer Cantata: A Study in Compositional Method." Perspectives of New Music 3(1): 62-90.
Metze, G. and J. Bauknight. 1964. "Magical Music Maker: A Four-Part Music-Making Program for the Illiac II." University of Illinois Digital Computer Laboratory 609.
Otsuki, S. 1964. "An attempt at machine composition by machine experience." Information Processing in Japan 4.
Padberg, H. A. 1964. Computer-Composed Canon and Free Fugue. Ph.D. Dissertation, St. Louis University.
Schaeffer, M. S. 1964. "An extension of tone-row techniques through electronic pitch control." Journal of the International Folk Music Council 16: 95.
Seay, A. 1964. "The Composer of Music and the Computer." Computers and Automation 13(16): 16-18.
Sychra, A. 1964. "Hudba a Kybernetika." Nové Cesty Hudby 1: 234.
Wiener, N. 1964. God & Golem, Inc.: A Comment on Certain Points where Cybernetics Impinges on Religion. Cambridge: M.I.T. Press.
Anonymous. 1965. "Age of the Patchwork." Time September 24. Internet: http://www.time.com/ time/ printout/ 0,8816,834382,00.html
Chomsky, N. 1965. Aspects of the Theory of Syntax. Cambridge: MIT Press. {amazon
Ferentzy, E. N. 1965. "On Formal Music Analysis-Synthesis: Its Application in Music Education." Computational Linguistics 4: 107.
Fux, J. J. 1965. The Study of Counterpoint; from Johann Joseph Fux's Gradus ad Parnassum. Translated by A. Mann. New York: W. W. Norton. {amazon
Mathews, M. V. and J. E. Miller. 1965. "Pitch Quantizing for Computer Music." Journal of the Acoustical Society of America 38.
Pierce, J. R. 1965. "Computers and Music." New Scientist 25(431): 423.
Pierce, J. R. 1965. "Portrait of the Machine as a Young Artist." Playboy 12(6): 124.
Putnam, H. 1965. "Trial-and-Error Predicates and the Solution to a Problem of Mostowski." Journal of Symbolic Logic 30(1): 49-57.
Stockhausen, K. 1965. "Elektronische Musik und Automatik." Melos 32: 337.
Wheatley, J. 1965. "The computer as poet." Queen's Quarterly 72: 105-120.
Xenakis, I. 1965. "Free Stochastic Music from the Computer. Programme of Stochastic music in Fortran." Gravesaner Blätter 26.
Barbaud, P. 1966. Initiation à la composition algorithmique. Paris: Dunod.
Citron, J. and A. Hurwitz. 1966. "Use of computers in aural pattern recognition." IBM Los Angeles Scientific Center Report 35-017.
Fencl, Z. 1966. "Komponující algoritmus a obsah informace." Kybernetica 2: 243.
Hiller, L. and A. Leal. 1966. "Revised Musicomp Manual." Techniucal Reports from the University of Illinois at Urbana-Champaign 13. {amazon
Neumann, J. von. 1966. Theory of Self-Reproducing Automata. A. W. Burks, ed. Urbana: University of Illinois Press. Internet: http://www.walenz.org/ vonNeumann/ index.html
Roberts, A. 1966. "An all-FORTRAN music-generating computer program." Journal of the Audio Engineering Society XIV(1): 17.
Strang, G. 1966. "The Computer in Musical Composition." Computers and Automation 15(16).
Tenney, J. 1966. "Musical Composition with the Computer (Abstract from the 71st Meeting of the Acoustical Society of America)." Journal of the Acoustical Society of America 39(6): 1245.
Weinberg, H. 1966. A Method of Transferring the Pitch Organization of a Twelve-Tone Set through All Layers of a Composition. Ph.D. Dissertation, Princeton University.
Xenakis, I. 1966. "The Origins of Stochastic Music." Tempo 78: 9-12.
Bois, M. 1967. Xenakis, The Man and His Music. London: Boosey and Hawkes. {amazon
Cross, L. M. 1967. A Bibliography of Electronic Music. Toronto: University of Toronto Press.
Grossman, G. 1967. "A Computer Sound Generation Program Allowing the Use of User-Defined Production Algorithms." Journal of the Audio Engineering Society 15(1): 96.
Heilbroner, R. L. 1967. "Do Machines Make History?." Technology and Culture 8(3): 335-345.
Hiller, L. 1967. "Programming a Computer for Music Composition." In Computer Applications in Music. G. Lefkoff, ed. Morgantown: West Virginia University Library. 65-88.
Le Caine, H. and G. Ciamaga. 1967. "A Preliminary Report on the Serial Sound Structure Generator." Perspectives of New Music 6: 114-118.
Morris, J. 1967. "How to write poems with a computer." Michigan Quarterly Review 6: 17-20.
Nemerov, H. 1967. "Speculative Equations: Poems, Poets, Computers." The American Scholar 36(3): 395-414.
Olson, H. F. 1967. Music, Physics, and Engineering. Dover. {amazon
Smoliar, S. 1967. "Euterpe-Lisp: A Lisp System with Music Output." In Artificial Intelligence Memo. Cambridge: Artificial Intelligence Laboratory, Massachusetts Institute of Technology. 141.
Smoliar, S. 1967. "Euterpe: A Computer Language for the Expression of Musical Ideas." In Artificial Intelligence Memo. Cambridge: Artificial Intelligence Laboratory, Massachusetts Institute of Technology. 129.
Xenakis, I. 1967. "Vers une Metamusique." La Nef 29: 117-140.
Xenakis, I. 1967. "The Way of Research and Questioning." In Cardinal VCS-10030. New York: Vanguard Recording Society.
Balestrini, N. 1968. "Tape Mark I." In Cybernetic Serendipity. J. Reichardt, ed. London: Studio International, W. & J. Mackay. 55-56.
Barbaud, P. 1968. La musique discipline scientifique. Paris: Dunod.
Baudot, J. A. 1968. "Automatic sentence generation." In Cybernetic Serendipity. J. Reichardt, ed. London: Studio International, W. & J. Mackay. 58.
Benjamin, W. 1968. Illuminations. Translated by H. Zohn. New York: Schocken Books.
Brün, H. 1968. "Composition with Computers." In Cybernetic Serendipity. J. Reichardt, ed. London: Studio International, W. & J. Mackay. 20.
Codd, E. F. 1968. Cellular Automata. New York: Academic Press.
Howe, H. S. 1968. "A General View of Compositional Procedure in Computer Sound Synthesis." In American Society of University Composers: Proceedings. 3: 98-108.
Innis, D. M. 1968. "Sound Synthesis by Computer: Musigol, a Program Written Entirely in Extended Algo." Perspectives of New Music 7(1): 66-79.
Knowlton, K. C. 1968. "Computer-animated movies." In Cybernetic Serendipity. J. Reichardt, ed. London: Studio International, W. & J. Mackay. 67-68.
Lindenmayer, A. 1968. "Mathematical models for cellular interactions in development." Journal of Theoretical Biology 18(3): 300-329.
Mathews, M. V. and L. Rosler. 1968. "Graphical Language for the Scores of Computer-Generated Sounds." Perspectives of New Music 6(2): 92-118.
Mendoza, E. 1968. "Computer texts or high-entropy essays." In Cybernetic Serendipity. J. Reichardt, ed. London: Studio International, W. & J. Mackay. 58-62.
Nake, F. 1968. "Notes on the programming of computer graphics." In Cybernetic Serendipity. J. Reichardt, ed. London: Studio International, W. & J. Mackay. 77-78.
Noll, M. A. 1968. "A subjective comparison of Piet Mondrian's 'Composition with lines' 1917." In Cybernetic Serendipity. J. Reichardt, ed. London: Studio International, W. & J. Mackay. 74.
O'Beirne, T. H. 1968. "Music from paper tape." In Cybernetic Serendipity. J. Reichardt, ed. London: Studio International, W. & J. Mackay. 29-30.
Reichardt, J. 1968. Cybernetic Serendipity: The computer and the arts. London: Studio International, W. & J. Mackay. {amazon
Rothgeb, J. 1968. "Harmonizing the Unfigured Bass: A Computational Study." Ph.D. dissertation, Yale University.
Weeks, J. 1968. "Indeterminate dimensions in architecture." In Cybernetic Serendipity. J. Reichardt, ed. London: Studio International, W. & J. Mackay. 69.
Winograd, T. 1968. "Linguistics and the Computer Analysis of Tonal Harmony." Journal of Music Theory 12(2): 49.
Apter, M. J. 1969. "Cybernetics and Art." Leonardo 2(3): 257-265.
Breton, A. 1969. Manifestoes of Surrealism. Translated by R. Seaver and H. R. Lane. Ann Arbor: University of Michigan Press. {amazon
Brün, H. 1969. "Infraudibles." In Music by Computer. H. von Foerster and J. W. Beauchamp, eds. New York: John Wiley & Sons. 117-120.
Clough, J. 1969. "Computer Music and Group Theory." American Society of University Composers Proceedings 6: 22-26.
Foerster, H. von and J. Beauchamp. 1969. Music by Computers. New York: Wiley. {amazon
Hiller, L. 1969. "Some Compositional Techniques Involving the Use of Computers." In Music by Computers. H. von Foerster and J. W. Beauchamp, eds. New York: John Wiley & Sons, Inc. 71-83. {amazon
Hopkins, G. W. 1969. "Review: Open Form: Open Question." The Musical Times 110(1514): 380-381, 383.
Koenig, G. M. 1969. "Construction and Working Methods of the Utrecht University Studio." In Electronic Music Reports. Utrecht: Institute of Sonology. 1: 61-67.
Mathews, M. V. 1969. The Technology of Computer Music. Cambridge: MIT Press. {amazon
Tenney, J. 1969. "Computer Music Experiments." In Electronic Music Report. Utrecht: Institute of Sonology. 1: 23-60.
Zaripov, R. 1969. "Cybernetics and Music." Perspectives of New Music 7(2): 115-154.
Bailey, R. W. 1970. "Automating Poetry." Computers and Automation 19(4): 10-13.
Barbaud, P. 1970. "Ars nova." Automatisme 15: 423-428.
Brün, H. 1970. "From Musical Ideas to Computers and Back." In The Computer and Music. H. B. Lincoln, ed. Ithaca: Cornell University Press. 23-36.
A. W. Burks, ed. 1970. Essays on Cellular Automata. Urbana-Champaign: University of Illinois Press. {amazon
Citron, J. 1970. "MUSPEC." In The Computer and Music. H. B. Lincoln, ed. Ithaca: Cornell University Press. 97-111.
Clough, J. 1970. "TEMPO: A Composer's Programming Language." Perspectives of New Music 9: 113-125.
Gardner, M. 1970. "The Fantastic Combinations of John Conway's New Solitaire Game 'Life'." Scientific American 223(4): 120-123.
Hiller, L. 1970. "Music Composed with Computers: An Historical Survey." In The Computer and Music. H. B. Lincoln, ed. Ithaca: Cornell University Press. 42-96. {amazon
Hiller, L. 1970. "Programming the I-Ching Oracle." Computer Studies in the Humanities and Verbal Behavior 3: 130-143.
Howe, H. S. 1970. "Compositional Technique in Computer Sound Synthesis." In American Society of University Composers: Proceedings. 7: 25-30.
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Koenig, G. M. 1970. "Project Two - A Programme for Musical Composition." In Electronic Music Report. Utrecht: Institute of Sonology. 3.
LaRue, J. 1970. "New Directions for Style Analysis." In Musicology and the Computer: Musicology 1966-2000: A Practical Program: Three Symposia. B. S. Brook, ed. New York: The City University of New York Press. 194-197.
Mathews, M. V. and F. R. Moore. 1970. "GROOVE - A Program to Compose, Store, and Edit Functions of Time." Communications of the ACM 13(12).
Negroponte, N. 1970. The Architecture Machine. Cambridge: MIT Press. {amazon
Pulfer, J. K. 1970. "Computer Aid for Musical Composers." Bulletin of Radio and Electrical Engineering Division 20(2): 44-48.
Schaeffer, P. 1970. "Music and Computers." In Music and Technology (Proceedings of the Stockholm Meeting organized by UNESCO). Paris: La Revue Musicale. 57-92.
Strang, G. 1970. "Ethics and Esthetics of Computer Composition." In The Computer and Music. H. B. Lincoln, ed. Ithaca: Cornell University Press. 37-41.
Struycken, P. and R. H. Fuchs, S. Tempelaars. 1970. "Peter Struycken: Computer Structures 1969." In Electronic Music Reports. Utrecht: Institute of Sonology. 2: 45-60.
Treble, D. P. 1970. "Computers and Composition in Change Ringing." The Computer Journal 13(4): 350-351.
Xenakis, I. 1970. "Towards a Metamusic." Tempo 93: 2-19.
Ashton, A. C. 1971. "A Computer Stores, Composes, and Plays Music." Computers and Automation 20(12): 43-44.
Borroff, M. 1971. "Creativity, Poetic Language, and the Computer." Yale Review 60: 481-513.
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