# data[].attributes.body
I found all my evidence through the UOW Library catalogue, Grove Music Online and Google Scholar.

Most of the relevant sources I found came from Google Scholar, whereas UOW Library and Grove Music Online did not have as much relevant material.

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The review is structured into four categories;

Definition,

History,

Interpretation,

Debate.

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Emmerson, S & Smalley, D 2001, 'Electro-acoustic music,' Grove Music Online.

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Emmerson, S & Smalley, D 2001, 'Electro-acoustic music,' Grove Music Online.

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This article looks at electro-acoustic music and how this genre can tie ideas from acousmatic and live performance techniques. Electro-acoustic music brings the acoustic and electronic worlds together through the creation of music by using recorded sounds and electronically modifying theme to change multiple features, i.e timbre, tone, thus giving off an electronic effect.

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Chion, M, 1993, ‘The state of Musique Concrète,' Contemporary Music Review, Volume, pp. 51–55.

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Chion, M, 1993, ‘The state of Musique Concrète,' Contemporary Music Review, Volume, pp. 51–55.

# data[].attributes.body
This review looks at the state of Musique Concrète and Electro-acoustic music, particularly regarding its prominence in France. The review seeks to challenge the definiton of Musique Concrète, particularly in a modern sense.

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Camilleri, L, & Smalley, D 1998 'The analysis of electroacoustic music: Introduction,'. Journal of New Music Research, Volume 27, pp. 3–12.

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Camilleri, L, & Smalley, D 1998 'The analysis of electroacoustic music: Introduction,'. Journal of New Music Research, Volume 27, pp. 3–12.

# data[].attributes.body
This article looks at the early history of Electro-acoustic music and how it has changed and evolved over the years. In particular the widespread nature of the genre and how it interpreted.

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Luening, O 1968, 'An Unfinished History of Electronic Music,' Music Educators Journal, Volume 55, pp.43–145.

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Luening, O 1968, 'An Unfinished History of Electronic Music,' Music Educators Journal, Volume 55, pp.43–145.

# data[].attributes.body
This article looks at the history of Electronic music and how music has been around for many centuries. It also looks at how modern (1960's) composers claim to have created Electronic music.

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Stockhausen, K 1971, 'The Origins of Electronic Music,' The Musical Times, Volume 112, pp. 649–50. 

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Stockhausen, K 1971, 'The Origins of Electronic Music,' The Musical Times, Volume 112, pp. 649–50. 

# data[].attributes.body
This article looks at the origins of Electronic music, particularly in Cologne, Germany. It also looks at the 'Americanisation' of Electronic music.

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Eimert, H 1972, 'How Electronic Music Began,' The Musical Times, Volume 113, pp. 347–349.

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Eimert, H 1972, 'How Electronic Music Began,' The Musical Times, Volume 113, pp. 347–349.

# data[].attributes.body
This article examines the beginning of Electronic music, and how the genre provided a new way of listening to or interpreting music.

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Palombini, C 1993, 'Machine Songs V: Pierre Schaeffer: From Research into Noises to Experimental Music,' Computer Music Journal, Volume, 17, pp. 14–19.

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Palombini, C 1993, 'Machine Songs V: Pierre Schaeffer: From Research into Noises to Experimental Music,' Computer Music Journal, Volume, 17, pp. 14–19.

# data[].attributes.body
This article provides an insight into Pierre Schaeffer, a French composer, and his work with Musique Concrète. It focuses on his work with the genre, particularly through experimentation with records and tape.

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Stockhausen, K & Kohl, J 1996, 'Electroacoustic Performance Practice,' Perspectives of New Music, Volume, 34, pp. 74–105. 

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Stockhausen, K & Kohl, J 1996, 'Electroacoustic Performance Practice,' Perspectives of New Music, Volume, 34, pp. 74–105. 

# data[].attributes.body
This article provides a lecture from Karlheinz Stockhausen, a German Electro-acoustic composer on six areas of Electro-acoustic performance practice,

Recording technique,

Amplification technique,

Transformation technique,

Technique of pre-formed music,

Electronic musical instruments, and

Combination of all Electro-acoustic possibilities.

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Gurevich, M, 2015, ‘Interacting with Cage: Realising classic electronic works with contemporary technologies’, Organised Sound, Volume 20, pp. 290–299.

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Gurevich, M, 2015, ‘Interacting with Cage: Realising classic electronic works with contemporary technologies’, Organised Sound, Volume 20, pp. 290–299.

# data[].attributes.body
This article looks at John Cage, an American Electro-acoustic composer and his new approach to performance techniques in the 1950's and 60's, particularly through the use of electronics rather than musical instruments. It aims to convey how Cage's influence is interpreted in 21st century electronic music.

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Van Nort, D, Oliveros, P & Braasch, J 2013, ‘Electro/Acoustic Improvisation and Deeply Listening Machines,' Journal of New Music Research, Volume 42, pp. 303–324.

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Van Nort, D, Oliveros, P & Braasch, J 2013, ‘Electro/Acoustic Improvisation and Deeply Listening Machines,' Journal of New Music Research, Volume 42, pp. 303–324.

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This article looks at Electro-acoustic improvisation and deep listening machines. It talks about the use of acoustic instruments and modifying their sounds using electronic processing, such as delay and modulation. It also looks at the techniques and innovations that made these forms of electronic processing possible.

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How does electroacoustic EDM differ from traditional forms of EDM?

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What does the work of electronic music composers tell us about electro-acoustic music?

I changed the research question to make it appropriate to my creative project, as my creative project has changed since I completed Assessment 1.

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Originally, my creative project was centered around Electro-acoustic music in relation to Electronic Dance Music (EDM), however while progressing with my project I found that it isn't necessarily an EDM project, rather more experimental, whilst still having electronic roots.

It is still centered around Electro-acoustic music, just without the EDM element.