MoMA PS1Archives. Series I: Curatorial and Exhibition Records; Series II: Press and Communications Office Records; Series III: Publications Records; and Series VII: Series VII: Records of Founder and Director Alanna Heiss.
“A Proposal for a Sound Installation for Times Square.” Rockefeller Foundation Records. RG 1.3-RG1.8. Subgroup Series 200 Box 926. Folder 6220.
Buchloh, Benjamin. “Conceptual Art 1962-1969: From the Aesthetic of Administration of the Critique of Institutions.” In Conceptual Art: A Critical Anthology, eds., Alexander Alberro and Blake Stimson, 514-537. Cambridge, MA: The MIT Press.
Butler, T. “A Walk of Art: The Potential of the Sound Walk as Practice in Cultural Geography,” Social and Cultural Geography 7: 889-908.
Cage, John. Fontana Mix. New York: Henmar Press, 1960. Score.
Cross, Lowell. "Reunion: John Cage, Marcel Duchamp, Electronic Music and Chess." Leonardo Music Journal 9 (1999): 35-42.
“Max Neuhaus, Composer, Presents ‘Round’ in Rotunda of U.S. Custom House on Bowling Green: Vacant Landmark Opens Doors for Avant-Garde Music.” Letter from Creative Time to New York Landmarks Conservancy. [Undated]
Smithson, Robert. “A Museum of Language in the Vicinity of Art.” In Robert Smithson: The Collected Writings, 78-94. Berkley: University of California Press.
Weiss, Allan. "Radio, Death, and the Devil: Artaud's Pour enfinir avec lejugement de Dieu." In Wireless Imagination: Sound, Radio and the Avant-Garde, ed., by Douglas Kahn and Gregory Whitehead, 269-308. Cambridge, MA: The MIT Press.
Williams Jr., Richard S. and William Douglas Carter. "ERTS-1, A New Window on our Planet." U.S. Geological Survey 929. 1976.
NEWSPAPER ARTICLES, EDITORIALS, AND REVIEWS
Chapman, David Allen. Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976. Dissertation. Music. Washington University in St. Louis, 2013.
Stevens, S.S. and Newman, E.B. (1936) 'The localization of actual sources of sound', American Journal of Psychology, 48, 297-306.
Cage, John. 4”33”. Score. New York: C. F. Peters., 1952.
Taubman, Howard. “U.S. Music of today Played at Concert – Two Works Presented on Tape Recorded Provide Novelty – Stokowski is Conductor.” The New York Times. October 29, 1952.
Helmholtz, Hermann. On the Sensations of Tone. New York: Dover Edition, 1954.
Bergson, Henry. Time and Free Will. London: George Allen & Company Ltd.,1913. Billboard. April 28, 1958.
Manhattan Percussion Ensemble. Sound Adventure. Period Records SPL 743, 1958. LP.
Bergson, Henri. Time and Free Will. London: George Allen & Company Ltd., 1913. Billboard. April 28, 1958.
Cage, John. The 25-Year Retrospective Concert of the Music of John Cage. 1959. LP.
“Variations on a Brake Drum.” Time Magazine. March 30, 1959.
Gluck, Bob. "Nurturing Young Composers: Morton Subotnick's Late-1960s Studio in New York City." Computer Music Journal 36, no. 1 (Spring 2012): 65-80.
Cage, John. Fontana Mix. New York: Henmar Press, 1960. Score.
Salzman, Eric. "Percussion Group in Concert Here; Composers Unit is Host to Manhattan Ensemble.” The New York Times (November 22, 1961): 23.
Cowell, Henry. “Henry Cowell Musical Autobiography.” New York: WBAI-FM, April 6, 1961.
Brown, Earle. Folio and 4 Systems. London: Associated Music Publishers, 1961. Score
Cage, John. “Experimental Music: Doctrine.” In Silence. Middletown, CT: Wesleyan University Press, 1961.
Cage, John. “Lecture on Nothing.” In Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961.
Cage, John. Silence: Lectures and Writings. Hanover, N.H.: Wesleyan University Press, 1961, p.117
Greenberg, Clement. Art and Culture: Critical Essays. Boston: Beacon Press, 1961.
Stockhausen, Karlheinz. Zyklus Nr 9 für einen Schlagzeuger, London: Universal Editions, 1961.
Stockhausen, Karlheinz. “Musik Im Raum.” [1959/1961] Die Reihe 5 (1961): 67-82.
Various Artists, Concert Percussion. Time Records S/8000, 1961. LP.
Salzman, Eric. “Manhattan Percussion Ensemble Heard.” The New York Times (January 17, 1961).
Disks: Percussive and Electronic.” The New York Times (July 2, 1961).
Price, Paul. “The Exciting World of Percussion.” Hi-Fi/Stereo (April 1961): 44-47.
Baruch, David J. “Manhattan Percussion Ensemble Premieres.” Musical America. March 1961.
James Tenney, “On the Discriminability of Differences in the Rise-Time of a Tone”; Journal of the Acoustical Society of America, 34/5 (abstract); 1962.
Ericson, Raymond. “Music: Unusual Sounds.” New York Times (August 28, 1963): 38
Hughes, Allen. “Judson Dance Theater Seeks New Paths – Avant-Gardists Give First Programs in a Church.” New York Times (June 26, 1963).
“Is it Music?” Newsweek (September 2, 1963): 53
Johnston, Jill. “Dance – From Lovely Confusion to Naked Breakfast.” The Village Voice (July 18, 1963).
Parmenter, Ross. “Music: Avant-Garde Sound Mosaic; Works by Ichiyanagi and Cage Offered.” New York Times (August 22, 1963): 20
Parmenter, Ross. “Music: Mechanical Star; A Self-Playing Percussion Assemblage Performs at Pocket Theater Concert.” New York Times (August 27, 1963): 28
Rubin, Marjorie. “Musicians Using Bizarre Sounds; Judson Hall Plans Festival Featuring Unusual Idiom.” New York Times (August 17, 1963): 21.
Sargeant, Winthrop. “Musical Events: It Just Is-or Is It?” The New Yorker (September 14, 1963): 120-123.
Schonberg, Harold C. “Dada, Dada; Avant-Garde Doings to Pepper Up the Town,” New York Times (August 25, 1963): Sec. 2, p. 9.
Schonberg, Harold C. “Music: Frederic Rzewski at the Piano; Presents Avant-Garde Concert in Debut.” New York Times (August 21, 1963): 39.
Flynt, Henry. “Essay: Concept Art (Provisional Version).” In An Anthology, eds., La Monte Young and Jackson Mac Low. New York: La Monte Young and Jackson Mac Low, 1963.
Martirano, Salvatore. O, O, O, O, That Shakespeherian Rag. Composers Recordings, Inc. CRI 164, 1963. LP.
Maxfield, Richard. “Composers, Performance and Publication.” In An Anthology, ed., La Monte Young and Jackson Mac Low. New York: La Monte Young and Jackson Mac Low, 1963.
Parmenter, Ross. “Music Mechanical...: A Self-Playing Percussion Assemblage Performs at Pocket Theater Concert.” The New York Times. August 27, 1963.
Tenney, James. “Sound Generation by Means of a Digital Computer.” Journal of Music Theory 7, no. 1 (1963).
WBAI Folio 4, no. 20 (September 30-October 13, 1963).
Young, La Monte and Jackson Mac Low, eds., An Anthology of Chance Operations. New York: La Monte Young and Jackson Mac Low, 1963.
Cage, John. “26 Statements Re Duchamp.” In A Year from Monday, 70-73. Middletown, CT: Wesleyan University Press, 1963.
Ericson, Raymond. “Music: An Evening with Stockhausen – Composer Appears in Lecture- Recital.” New York Times (January 7, 1964): 26.
Goldstein, Malcolm. “Neuhaus Realizations.” Village Voice, (June 1964)
Johnston, Jill. “Dance: Inside Originale.” Village Voice (October 1, 1964): 6, 16.
Klein, Howard. “Music: Avant-Garde Festival Closes,” New York Times (September 4, 1964): 18
Klein, Howard. “Music: Varese Concert.” New York Times (September 3, 1964): 25.
McLean, Eric. “Informal Concert with Stockhausen.” Montreal Star (January 29, 1964).
Steinem, Gloria. “Music, Music, Music, Music.” Show Magazine (January, 1964).
Raymond Ericson, "Showcase Offers Music of Germany," New York Times, April 30, 1964, p 29
Felton, James. “Stockhausen Concert.” Philadelphia Bulletin. February 19, 1964.
Village Voice, " Neuhaus Realization" by Goldstein Malcolm, New York, June 10, 1964
The New York Herald , "Percussion Solo, a Matter of Choice" by Berner William, new York, June 3, 1964
The New York Times, "Percussion group in Concert here" by Salzman Eric, Mew York, 1964
Show Magazine, " Music,Music,Music" by Steinem Gloria, New York, June 1964
Klein, Howard. “Music: The Avant-Garde: Second Concert Given in Festival Series.” The New York Times. September 2, 1964.
Kohn, Karl, H. Wiley Hitchcock, Donald C. Johns and John Weissmann. “Current Chronicle.” The Musical Quarterly 50, no. 2 (Apr., 1964): 249–51.
Tenney, James. Meta + Hodo: A Phenomenology of 20th Century Musical Materials and an Approach to the Study of Form. New Orleans: Tulane University, 1964.
Bender, William. “Percussion Solo and a Matter of Choice.” N.Y. Herald Tribune. June 3, 1964.
Goldstein, Malcolm. “Neuhaus Realizations.” Village Voice. June 18, 1964.
“3 Compositions of Grad Student to be Performed.” The Daily Iowan (Tuesday, February 16, 1965): 7.
Henahan, Donal. “A Bracing Dash of New Music.” Chicago Daily News (January 27, 1965).
“John Cage: His Heart Belongs to Dada,”by Henahan Donald, Chicago Daily News (April 14, 1965)
Marsh, Robert C. “Depressing Turnout for a Percussionist.” Chicago Tribune (Unknown date of publication. Clipping in Max Neuhaus Papers.) Neuhaus, Max. “Zyklus.” Percussionist, Number 1 (November, 1965): 3; 6-12.
“Max Paa Oden Aventyr,” Nutida Musik, Number 9: 5/6 (1965-66): 26-27.
“Poets Applauded at Spoleto Fête.” New York Times (June 27, 1965)
Schonberg, Harold. “Music: Chicago Group Ends Series.” New York Times (April 2, 1965).
“Schlagzeug an der Spitze: Zwei Konzerte de Koelner Kurse fuer Neue Musik.” KoelnerKulturspiegel (Thursday, November 4, 1965): 12.
“Schlagzeug an der Spitze: Zwei Konzerte de Koelner Kurse fuer Neue Musik.” KoelnerKulturspiegel (Thursday, November 4, 1965): 12.
Snyder, Louis. “The Quick Chicagoans.” New York Herald Tribute (April 2, 1965).
“Concert Tribute to Varèse at 80: Chicago Chamber Players Heard in Carnegie Hall.” The New York Times (March 31, 1965).
Willis, Thomas. “Contemporary Chamber Players in U. of C. Concert.” Chicago Tribune (Feb16, 1965). *
Bortolotto, Mario and William C. Holmes. “The New Music in Italy.” The Musical Quarterly 51, no. 1 (Jan. 1965), 61–77
“Hungarian Ball Will Raise Funds Jan. 30 at Pierre.” The New York Times. January 4, 1965.
Feldman, Morton. The King of Denmark. New York: C.F. Peters, Corp., 1965.
J. Y. Lettvin, H. R. Maturana, W. S. McCulloch and W. H. Pitts, “What the Frog’s Eye Tells Frog’s Brain,” Proc. IRE, 47 (1959); reprinted in Warren S. McCulloch, Embodiments of Mind (Cambridge: MIT Press, 1965).
Nutda Musik, "Max Paa Oden Aventyr" by Max Neuhaus, Stockholm, Issue #606, 1965-66
The New York Time, "New Music heard at the 92nd St. "Y"" by Klein Howard, Jan. 4, 1965
New York Herald Tribune, " At Avant-garde Concert, Rewards for Everybody" by Bender Williams, New York . Jan. 4, 1965
Musica, "Max Neuhaus y la percussion" by Marcos Tomas, Madrid 1965
John Marsh Files. Gerald R. Ford Presidential Library. Box 70, Folder “National Endowment for the Arts Program Report.” Johnson, Phyllis. “Letter from the Editor.” Aspen 1 (1965)
Kirby, Michael. Happenings: An Illustrated Anthology. New York: E. P. Dutton & Co., 1965.
Klein, Howard. “New Music Heard at the 92d St. ‘y’,” New York Times (January 4, 1965).
Patterson, Benjamin. “Appendix from Methods & Processes.” In The Four Suits, 54-53. New York: Something Else Press, 1965.
Strongin, Theodore. “Concert Tribute to Varese at 80: Chicago Chamber Players Heard in Carnegie Hall.” The New York Times. March 31, 1965.
Young, La Monte. “Lecture 1960.” The Tulane Drama Review 10/2 (Winter 1965): 73-83.
Behrman, David. "What Indeterminate Notation Determines." Perspectives of New Music 3, no. 2 (spring-summer 1965): 58-73.
Johnson, Phyllis. “Letter from the Editor.” Aspen 1 (1965).
Garabedian, John. “Way Out in Central Park – Even the Hippies Agree it was Out of Sight.” New York Post (September 10, 1966)
Klein, Howard. “Hartt Group Plays Avant-Garde Music.” The New York Times (December 2, 1966).
Strongin, Theodore. “Avant-Garde Music Switched on Here.” The New York Times (September 14, 1966).
Artforum, NEWS AND ANNOUNCEMENTS, JANUARY 1966
Cage, John and Morton Feldman. “Radio Happening I.” New York: WBAI-FM, July 9, 1966. https://archive.org/details/CageFeldmanConversation1
“Friday June 2nd European Edition at Spoleto.” N.Y. Herald Tribune. July 2, 1966.
Fylkingen Bulletin 1. Stockholm: Fylkingen, 1966.
Stockholms-Tidningen, "Met ett Ton Slagwerk" by Johnson Emil, Stockholms Jan 27, 1966
Higgins, Dick. “Intending.” The Something Else Newsletter 1, no. 3 (April, 1966).
Higgins, Dick. “Intermedia.” The Something Else Newsletter 1, no. 1 (February, 1966).
“Spoleto Festival Opens 8th Season.” The New York Times. June 25, 1966.
Varèse, Edgard and Chou Wen-Chung. “The Liberation of Sound.” Perspectives of New Music 5, no. 1 (1966): 11-19.
WBAI Folio 6, no. 19 (December-January 1966).
WBAI Folio 7, no. 11 (October 1966).
“Weakened Pound Read in Spoleto.” The New York Times. July 1, 1966.
Pfeiffer, John F. “Living with the Bugaboo.” New York Times (September 25, 1966)
Poets Applauded at Spoleto Fete.” Special to The New York Times (June 27, 1966).
Thoma Willis, "Just Like Space Age, Music Has Its Hardware" Chicago Tribune, April 10, 1966, pp. G9-10
Dwyer, John. “A Psychedelic Weekend of Color, Sound: Beauty is Where You Find it in Buffalo.” Buffalo Evening News (October 20, 1967).
’In City’ Concert Honors Grand Old Architecture.” Buffalo Evening News (October 21, 1967).
Kaprow, Allan. “The End of the Concert Hall.” The Statesman (Wednesday, May 3, 1967): 4-5.
Plumb, Barbara. “New Design, U.S.A..” New York Times (April 23, 1967): 112.
Sitts, Maxine. “Hippies Reign on Art Cruise – Thousands Jam Ferry Festival.” Staten Island Advance (September 30, 1967).
Meyer, Leonard B. Music, the Arts and Ideas: Patterns and Predictions in Twentieth- Century Culture. Chicago: University of Chicago Press, 1967.
Glueck, Grace. “If It’s Art You Want, Try Your Supermarket.” The New York Times. August 6, 1967. Section 2, D19.
Kaprow, Allan. “The End of the Concert Hall.” The Statesman (May 3, 1967). 4-5.
McLuhan, Marshall and Quentin Fiore, eds., Aspen 4 (1967).
Moog, Robert. "Introduction to Mixers and Level Controls." Electronic Music Review 4 (October 1967): 10-13.
Moore, Carmen. “Listen Max.” The Village Voice. May 25, 1967.
Neuhaus, Max. “Performer’s Notes for Fontana Mix-Feed.” Aspen Magazine, 5/6. New York: Roaring Fork Press, 1967.
Clark, Alfred E. “And in the Park It’s a Happening: 1,000 Hear a Work by Cage with Hoving as Host.” The New York Times (January 1, 1967).
“The Talk of the Town.” The New Yorker (October 14, 1967): 49.
Combs, Joseph. The Problems of Sight Reading on Mallet-Played Instruments and Their Relationship to Kinesthetic Sensation. D.M.E. Dissertation, The University of Oklahoma, 1967.
“A Sunset is Going to Give Three Evenings of Electronic Music.” Village Voice. August 10, 1967.
“A Sunset is Going to Give Three Evenings of Electronic Music.” Village Voice. August 10, 1967
“Album Reviews – Classical – Electronics & Percussion: Five Realisations by Max Neuhaus.” Billboard (June 22, 1968): 85.
Braudy, Susan. “The Eyes and Ears of the (Underground) World.” New York Magazine (October 21, 1968): 34.
R. P. M., “Max Neuhaus: Electronics and Percussion: Five Realizations.” High Fidelity Magazine/Musical America, Volume 18, Issue 2. (August, 1968): 100.
“Col. [Columbia] Issues Neuhaus Contemporary Album.” Billboard (June 8, 1968): 40.
Johnston, Jill. “The Avant Garde has a Float-In,” The Village Voice (September 19, 1968): 35; 38.
“Recording of Special Merit: Max Neuhaus: Electronics and Percussion: Five Realizations.” HiFi/Stereo Review, Volume 21. Ziff-Davis Publishing Company, (1968): 128.
“Recording of Special Merit: Max Neuhaus: Electronics and Percussion: Five Realizations.” HiFi/Stereo Review, Volume 21. Ziff-Davis Publishing Company, (1968): 128.
Saltzman, Eric. “Max Neuhaus’s Electronics and Percussion.” HiFi Stereo Review, November 1968. Strongin, Theodore. “When the Listener is Composer,” New York Times (June 13, 1968).
“Technology Work in Toronto, March 7-10, 1968.” Arts/Canada, Volume 25, Society for Art Publications, (1968): 17.
G. Allen and Unwin, "Twentieth Century Music", by Yates Peter, p. 367, London 1968.
Audio, "Max Neuhaus, Electronic and percussion: Five Realizations" by Barcow, New York Nov. 1968
Betray Him at Recital.” The New York Times. January 9, 1968.
Junker, Howard. “’Probabilistic Theater 1’: New look for a New Music.” Newsweek. November 25, 1968.
Kostelanetz, Richard. The Theatre of Mixed-Means: An Introduction to Happenings, Kinetic Environments, and other Mixed-Means Presentations. New York: Dial Press, 1968.
KPFA Folio 19, no. 2 (February 1968).
KPFA Folio 19, no. 11 (November 1968).
Kubler, George. “Style and the Representation of Historical Time.” In Aspen 5+6, ed., Brian O’Doherty (1968).
Lippard, Lucy and John Chandler. "The Dematerialization of Art.” Art International 12, no. 2 (February 1968): 31-36.
Ouellette, Fernand. Edgard Varèse, trans. Derek Coltman. New York: The Orion Press, 1968.
Reich, Steve. Live/Electronic Music. Columbia Masterworks MS 7265, 1968. LP.
“Technology Work in Toronto, March 7-10, 1968.” Arts/Canada 25 (1968): 17.
Ussachevsky Vladimir and Otto Luening. Tape Music: An Historic Concert. New York: The Museum of Modern Art, 1968. LP.
“An Annotated Sampler of Electronic Music Recordings,” Music Educators Journal 55, No. 3 (November 1968): 177-180.
“EMscope,” Electronic Music Review, No. 4 (October 1967): 3. “Equipment for Electronic Music Laboratories,” Music Educators Journal 55, No. 2 (1968): 176-177.
Barthes, Roland. “The Death of the Author,” Aspen 5+6 (1968).
Henahan, Donal. “Electronic Music Hits Open Switch: Max Neuhaus’s 14 Speakers Betray Him at Recital.” The New York Times. January 9, 1968, p. 35
Carlos, Walter. Switched on Bach. Columbia Masterworks – MS 7194, 1968. LP.
“---,” Chelsea Clinton News (October 23, 1969): 3
Ashton, Dore, "A Planned Coincidence." Art in America (September-October, 1969): 36-47.
“Max Neuhaus.” The Thirteenth High Fidelity Annual Records in Review: 1969 Edition, Wyeth Press, 1969: 506.
Whitman, Simone, “Interview with Max Neuhaus and Ted Wolff.” Techne: A Projects and Process Paper, Vol. 1, No. 1 (April 14, 1969): 4.1970 Bell, Michael. Experiments in Art & Technology Bulletin (1970)
Whitman, Simone, “Interview with Max Neuhaus and Ted Wolff.” Techne: A Projects and Process Paper, Vol. 1, No. 1 (April 14, 1969): 4.1970 Bell, Michael. Experiments in Art & Technology Bulletin (1970)
Cage, John and Alison Knowles, eds., Notations. New York: Something Else Press, 1969.
Chase, Gilbert. “New Musical Resources – Yesterday and Today.” Anuario 5 (1969): 101-109
Cowell, Henry. New Musical Resources. [1930] New York: Something Else Press, 1969.
Gordon, Camille, “Camille Reports Again.” The Something Else Newsletter, Volume 1, Number 10 (November, 1969): 3.
Henahan, Donal. “What, You Never Learned to Read Music?” The New York Times. November 30, 1969.
Higgins, Dick. “Boredom and Danger.” In Source Magazine, no. 5 (January, 1969).
Press Release No. 160 (December 15, 1969). New York: The Museum of Modern Art, 1969.
Press Release No. 162 (December 30, 1969). New York: The Museum of Modern Art, 1969.
Music of the Avant Garde, no. 5 (January 1969).
Tenney, James. “Computer Music Experiences.” In Electronic Music Reports 1. Utrecht: Institute of Sonology, 1969.
Vostell, Wolf and Dick Higgins. Fantastic Architecture. Something Else Press, 1969.
Vostell, Wolf and Dick Higgins. Fantastic Architecture. Something Else Press, 1969.
Appleton, Jon. Appleton Syntonic Menagerie. Flying Dutchman FDS 103, 1969. LP.
Whitman, Simone, “Interview with Max Neuhaus and Ted Wolff.” Techne: A Projects and Process Paper, Vol. 1, No. 1 (April 14, 1969): 4.1970 Bell, Michael. Experiments in Art & Technology Bulletin (1970)
Whitman, Simone, “Interview with Max Neuhaus and Ted Wolff.” Techne: A Projects and Process Paper, Vol. 1, No. 1 (April 14, 1969): 4.1970 Bell, Michael. Experiments in Art & Technology Bulletin (1970)
Higgins, Dick. “On Cage’s Classes.” In John Cage: An Anthology, ed., Richard Kostelanetz. New York: Praeger, 1970.
Licht, Jennifer. Spaces. New York: The Museum of Modern Art, 1970.
McShine, Kynaston. Information. New York: The Museum of Modern Art, 1970.
Press Release No. 69. (July 2, 1970). New York: The Museum of Modern Art, 1970.
Music of the Avant Garde, no. 7. (January 1970).
Various Artists, The Wild Sounds of New Music, Columbia Masterworks - BTS 17, 1970. Vinyl (7").
Cott, Jonathan. “Max Neuhaus, The Floating Composer.” Rolling Stone (August 19, 1971): 18.
“Neuhaus Underwater.” High Fidelity Magazine/Musical America (August 1971).
“New Works First Published in Source: Music of the Avant Garde,” Perspectives on New Music 9/10, No. 2 (Spring/Summer – Autumn/Winter, 1971).
Sherman, Robert. “N.Y.U. Concert Wets Whistles for More.” New York Times (Sunday, May 9, 1971): 61. “---,” New York Magazine (May 10, 1971).
Rolling Stone Magazine, "Max Neuhaus, the Floating Composer" by Cott Johathan, New York, Aug. 19, 1971
Graham, Dan. “Editorial Note [On In-Formation].” Aspen, no. 8 (Fall-Winter 1971).
Leitner, Bernhard. “Sound Architecture: Space Created Through Traveling Sound,” Artforum (March 1971).
Leitner, Bernhard. “Ton-Architektur,” Das Fenster (1971).
Cowell, Henry. Pulse. [1939] New York: Music for Percussion, 1971. Score. 269
Ericson, Raymond. “City Sounds Yield an Opus by Cage.” New York Times (July 2, 1972): 31.
Fuller, Lawrence. “Underwater Audiences Thrill to New Sounds: Water Whistle Concerts Lure Art Sponsors Around the Land.” The National Observer, (January 15, 1972).
Monson, Karen. “Neuhaus’s Submerged Premiere.” The Christian Science Monitor (January 19, 1972): 6.
Johnson, Tom. “John Cage at (almost) 60.,” Village Voice (January 25, 1972): 33, 36, 38. “---,” Minneapolis Star (January 1, 1972). “---,” Los Angeles Times (Jan 14, 1972). “---,” The St. Petersburg Times (June 6, 1972).
Willis, Thomas. “Public Supply: A Sound Idea.” Chicago Tribune (May 2): 1973. “---,” New York Sunday News (December 9, 1972). “---,” Newsday (October, 1973).
“Composer Dives in to Wet his ‘Whistle’.” The Sydney Morning Herald. Jan 16, 1972.
Karen Monson, " Neuhaus' Submerged Premiere," Christian Science Monitor, January 19, 1972 p. 6
Harold C. Schonberg, "Things You May Not Know You Missed-Until Now," New York Times, January 2, 1972, p. D11
Johnson, Tom. “The First Meredith Monk Review.” Village Voice. February 3, 1972.
Knowles, Alison and James Tenney. A House of Dust. Cologne, Verlag Gebr. Koenig, 1972.
Marzella, Michael. “Audience Floats in Pool of Music.” St. Petersburg Times. June 19, 1972. 279
Music of the Avant Garde, no. 1. (January 1972).
The Music of James Tenney, 154-155. For Varèse’s listening to foghorns and sirens in Manhattan, see Louise Varése, Varése: A Looking Glass Diary, Vol. 1 (New York: Norton, 1972), p. 150
“Friday, March 23-Sunday, March 25, 1971.” Daily Bulletin. (March 23-25). Toronto: York University, 1973.
“Environments.” Sightlines 7-9 (1973): 22.
Lambert, James William. “A Student’s Preparation of Zyklus.” Percussionist 11 (Fall 1973): 15- 18.
Peterson, Clarence. “Three Mysteries fill in NBC’s Schedule.” Chicago Tribune (April 30, 1973): 15.
Cage, John. "How the Piano Came to be Prepared.” In Empty Words: Writings, '73-'78, 7-10. Middletown, CT: Wesleyan University Press, 1973.
New York Sunday News, "Walk Through Sounds of Pleasure in City of Noise" by Leogrande Leo, New York Dec. 9, 1973
Praegger, " Eletronic Music: Listener's Guide" by Schwartz Elliot. pp: 139-140, pp. 160-161, New York, 1973
Nelson, Abigail. “Who’s Who in Filmmaking: Phill Niblock.” Sight Lines 7, no. 3 (1973/74): 21- 23
“Back Matter,” Perspectives of New Music, Vol. 11, No. 2 (Spring-Summer, 1973): 280.
Ashton, Dore. The New York School: A Cultural Reckoning. Berkeley: University of California, 1973.
Jonathan Cott, Stockhausen: Conversations with the Composer, New York, Simon and Schuster, 1973.
Baron, Robert Alex. “What Noise Does to Us.” The New York Times (December 21, 1974): 26.
"Turnpike Planning June I Crackdown on noise Pollution," New York Times, March 27, 1974, p. 9
Shawn G. Kennedy, "Final Federal Standards Issues Setting Noise Levels for Trunks," New York Times, October 23, 1974, p. 20
Martin Tolchin, "U.S. Says Noise Level in City Bars Federal Funds for Housing," New York Times, June 23, 1974. p. 34
Roger Starr, "...and Less Noise," New York Times, June 17, 1974
David Bird, "City Environmental Body Is in Turmoil under Beame," New York Times, October 13, 1974, p. 1
Eugene M. Friedman, "Letters to the Editor: Save Our Ears," New York Times, October 22, 1974, p.40
Nicholas Bergman, "what Noise Does to Us", New York Times, december 21, 1974, p.26.
Source Magazine "Water Whisly" by Max Neuhaus, San Francisco, 1974
The New York Times, Option Editorial, "Bang, Booooom, Thump, Eeek, Tinkle" by Max neuhaus, New York, Dec.6, 1974
Pimentel, Lina. “The Solo Percussionist’s Performance Limitations.” Percussionist 18 (Summer 1974): 128-129.
"Westar 1 and the War of the Talksats." Science News 105, no. 17 (Apr. 27, 1974): 269-270.
Peter Garland, “Americas,” Soundings (Spring 1974), p. 115
Annual Report 1973. Washington D.C.: National Endowment for the Arts, 1974
Baron, Robert Alex. “What Noise Does to Us.” The New York Times. December 21, 1974. 26.
Philip Wechsler, "State Calls on Railroad to Explain Freight Din,"New York Times, March 27, 1974. p.75
DePonte, Niel. “No. 9 ‘Zyklus’ How and Why?” Percussionist 12 (Summer 1975): 136-149.
HiFi/MusAm 15/2, "New Music" by Johnson Tom, New York 1975
WeltDeutscheAllgemeine Zeitung, "Auf Knopfdruck piept ein Dauerton", by Wanzelius Rainer, Essen, Nov.19, 1975
Harvey, Jonathan. The Music of Stockhausen. Berkeley: University of California Press, 1975.
Leitner, Bernhard. Die Architektur von Ludwig Wittgenstein. Press of the Nova Scotia College of Art and Design, Halifax, 1973; New York University Press, New York, 1975.
Peters, Gordon. The Drummer: Man. Wilmette, Illinois: Kemper-Peters Publications, 1975.
Sonnier, Keith. Air to Air. Los Angeles: Gemini Gel, 1975. LP.
Appleton, Jon H. and Ronald C. Perera, eds., The Development and Practice of Electronic Music. Englewood Cliffs, NJ: Prentice Hall, 1975.
Germano Celant, « Artspaces », Studio International, vol. 190, no 977, sept.-oct. 1975, p. 115-123.
The Village Voice, first published as "Creating the Context: Max Neuhaus ", 6 December 1976
Israel Shenker, "Foundations Get Real and Unreal Pleas for Aid," New York Times, September 2, 1976, p. 66.
Morphet, Richard. "Carl Andre's Bricks." The Burlington Magazine 118, no. 884 (Nov., 1976): 762-765+767.
O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkeley: University of California Press, 1976.
Parsons, Michael. “Systems in Art and Music,” Musical Times. October 1976.
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“What Happened?” The Fight to Save WBAI, Issue 1 (April 1977).
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"Max Neuhaus: 'Undergraund Music(s) II, '''The Museum of Modern Art Members Calendar, July 1978
"Undergraund Music, " MoMa 7 (Summer 1978),p. 7
Lang, Joel. “Sirens May Be Tuned to Please.” Hartford Courant. June 12, 1978.
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“The Talk of the Town – Music Below.” The New Yorker (June 5, 1978): 27.
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Christina Kubisch, "Time into Space/Space into Time: New Sound Installations in New York, "trans. Michael Moore, Flash Art, nos.88-89 (March-April 1979), p.16
The New York Times, "Temporary Art in the Museum" by Kramer Hilton, April 1, 1979
Arts News, "Max neuhaus Broadway Melody" by Baracks Barbara, Nov. 1979
“Museum Exhibition Features Works Incorporating Sound.” Press Release No. 41. New York: The Museum of Modern Art, 1979.
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Village Voice, "Canonizing Joan of Art, by Rickey Carrie, New York. Aug. 26, 1980
Artforum, MAX NEUHAUS AND PETER DOWNSBROUGH, by Ronny H. Cohen REVIEWS OCTOBER 1980
“Situation Esthetics: Impermanent Art and the Seventies Audience: Max Neuhaus,” Artforum 18 No. 5 (January 1980): pp. 27-29.
Art Forum, XVIII:5, "Statement in "Situation Esthetics: Impermanent Art and the Seventies Audience", Jan.1980. pp.27-29
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KPFA Folio 32, no. 8 (September 1980).
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Various Artists. Lovely Little Records. Lovely Music LP 101-06, 1980. Vinyl (7”).
Chapter: “Information Theory and Art” in John R. Pierce, An Introduction to Information Theory: Symbols, Signals and Noise (Second Edition), (New York: Dover Publications, 1980), pp. 250-267.
Bell, Alexander Graham. "On the Production and Reproduction of Sound by Light: The Photophone." American Association for the Advancement of Science 29 (October 1880): 115-136.
René Block, Lorenz Dombois et al., Für Augen und Ohren: Von der Spieluhr zum akustischen Environment. Objekte, Installationen, Performances, cat. exp. (Berlin, Akademie der Künste, 1980), Berlin, Akademie der Künste, 1980.
Battcock, Gregory ed. Breaking the Sound Barrier: A Critical Anthology of the New Music. NYC: Elsevier-Dutton Publishing Co., Inc., 1981.
The New York Times, "On the Police Beat" by Basler Barbara, New York, April4, 1981
Maciunas, George, Diagram of Historical Development of Fluxus and Other 4- Dimensional, Aural, Optical, Olfactory, Epithelial and Tactile Art Forms. Copenhagen: Kalejdoskop, 1981.
Rockwell, John. “Avant-Garde: Liz Phillips Sound.” The New York Times. May 14, 1981.
Anthony, Michael. “A New NPR Series Tunes in New Music.” The New York Times. October 11, 1981.
John Rockwell, "In the Arts: Critics' Choises," New York Times, May 30, 1982, p.103
John Rockwell, "Music: Cardew Benefit," New York Times, May 30, 1982, p. 26
Delehanty, Suzanne. “Soundings.” In Soundings. Purchase, NY: Neuberger Museum, 1982.
Patterson, R.D. (1982) 'Guidelines for Auditory Warning Systems on Civil Aircraft', CAA paper 82017, London: Civil Aviation Authority.
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Perreault, John. “Whose Art?” Village Voice. January 9, 1969. Penchansky, Alan. “Varied Fare to Be Offered at New Music Fest.” Billboard. June 26, 1982:
Ch 12 Environmental Composers and Ambient Music, by Rockwell John, Alfred A. Knopf Publisher, New York 1983
Le Monde, " Un rien pour Edouard" by La Bardonnie Mathilde,, Paris, 15-16 Mar. 1983
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Pierce, John. R. The Science of Musical Sound. New York: Scientific American Books, 1983.
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“An Aural Architecture for Social Exchange,” Istituto Della Enciclopedia Italiana, Rome, Italy, 12-16 December 1983.
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“Public Art: Recent Works,” Design Quarterly, No. 122, Site: The Meaning of Place in Art and Architecture (1983): 30-34.
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Parkett n.2,"A Plea For New Art in Public Space" by Ammann Jean-Christophe, Zurich, 1984, pp. 7-35
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Artforum, PARADISE GAINED by Max Wechsler SEPTEMBER 1985
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Art Press, "Max Neuhaus Bruits de couloirs" by Javault Patrick, Paris, February, 1986, pp. 55
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George Brecht’s Entrance and Exit Music, the marketed version first being available in 1964, consisting of a six-minute, quarter-track audiotape of a smooth transition from white noise to sine wave tone for the entrance, which is then reversed for the exit. The tape was engineered for Brecht by Tenney. See Jon Hendricks, Fluxus Codex (New York: Harry N. Abrams, Inc., 1988), page 192.
New York Times, "Composer is Replacing Sirens Wail with Melody and Meaning" New York, April 1, 1989.
International Herald Tribune, "The Siren Song of Sound Sculptor Max Neuhaus", Paris, April 8-9, 1989
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Giorgio Agamben, The Coming Community, trans. Michael Hardt ( Minneapolis: University of Minnesota press, 1993, p.101
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Richard H. Axsom and David Platzker , Printed Stuff: Prints, Posters, and Ephemera by Claes Oldenburg, a Catalogue Raisonné 1958-1996 (New York: Hudson Hills Press, in association with Madison Art Center, Wisconsin, 1997), p 244
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Kahn, Douglas. Noise, Water Meat. Cambridge: The MIT Press, 1999.
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Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts, Cambridge, The MIT Press, 1999.
Georgina Kleege, Sight Unseen, New Haven/Londres, Yale University Press, 1999.
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Bagli, Charles V. "Mayor Claims Credit for Times Sq. Revival." The New York Times. January 27, 2000.
David Toop (dir.), Sonic Boom: The Art of Sound, cat. exp. (Londres, Hayward Gallery, 2000), Londres, Hayward Gallery Publishing, 2000.
Steven Connor, Dumbstruck: A Cultural History of Ventriloquism, Oxford, Oxford University Press, 2000.
Alberro, Alexander. “Inside the White Box: Aspen 5+6.” Artforum (September 2001): pp. 171-4.
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Cowell, Henry. “Our Inadequate Notation.” Modern Music 3 (March-April 1927): 29-33.
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Timothy D. Taylor, Strange Sounds: Music, Technology, and Culture, Londres, Routledge, 2001.
Sara Danius, The Senses of Modernism: Technology, Perception, and Aesthetics, Ithaca, Cornell University Press, 2001.
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Hicks, Michael. Henry Cowell, Bohemian. Urbana: University of Illinois Press, 2002.
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Thompson, Emily. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933. Cambridge: The MIT Press, 2002, pp.121, 156-57
Shaw-Miller, Simon. Visible Deeds of Music: Art and Music from Wagner to Cage. New Haven: Yale University Press, 2002.
Schaeffer, (1966) 2002 : Pierre Schaeffer, Traité des objets musicaux. Essais interdisciplines (1966), Paris, Le Seuil, 2002.
Christine Van Assche (dir.), Sonic Process. Une nouvelle géographie des sons, cat. exp. (Paris, Centre Pompidou, 16 oct. 2002 – 6 janv. 2003), Paris, Centre Pompidou, 2002.
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klangraumarchitektur.ch | Cercle Bruit Schweiz Tobias Reber, Künstler und Vermittler, MA, Contemporary Arts Practice / Music and Media Art, Jan/24 | Seite 1
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