THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

Toop, Richard. “‘Are You Sure You Can’t Hear It?”: Some Informal Reflections on
Simple Information and Listening.” In The Pleasure of Modernist Music:
Listening, Meaning, Intention, Ideology, ed. Arved Ashby, 223-49. Rochester:
Rochester University Press, 2004.
Toop, Richard. György Ligeti. London: Phaidon Press, 1999.
Toop, Richard. “On Complexity.” Perspectives of New Music 31, no. 1 (Winter 1993):
42-57.
Toop, Richard. “Stockhausen and the Sine-Wave: The Story of an Ambiguous
Relationship.” Musical Quarterly XLV, no. 3 (July 1979): 379-91.
Toop, Richard. “Stockhausen’s Electronic Works: Sketches and Work-Sheets from 1952-
1967. Interface, Vol. 10 (1981): 149-97.
Toop, Richard. “Stockhausen’s Konkrete Etüde.” The Music Review (November 1976):
295-300.
Trythall, Gilbert. Principles and Practice of Electronic Music. New York: Grosset &
Dunlap, 1973.
Ungeheuer, Elena. “From the Elements to the Continuum: Timbre Composition in Early
Electronic Music.” Contemporary Music Review 10, no. 2, (1994): 25-33.
Ungeheur, Elena. Wie die elektronishce Musik ‘erfunden’ wurde...: Quellensudie zu
Werner Meyer-Epplers musikalischem Entwurf zwischen 1949 und 1953. Kölner
Schriften zur Neuen Musik 2, Johannes Fritsch and Dietrich Kämper, eds. Mainz:
Schott, 1992.
Wehinger, Rainer. Ligeti – Artikulation: Electronische Musik, eine Hörpartitur. Mainz:
Schott, 1970.
Wehinger, Rainer and Thomas Kabisch, eds. Analysieren und Horen neuer Musik:
Karkoschka Festschrift, Musiktheorie 12, no. 1, (1997).
Wessel, David L. “Timbre Space as a Musical Control Structure.” Computer Music
Journal 3, no. 2 (1979): 45-52.
Williams, Alastair. New Music and the Claims of Modernity. Brookfield: Ashgate
Publishing, 1997.
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