Required:

Pinch, T., 2002: Emulating Sound: What Synthesizers Can and Can’t do: Explorations in the Social Construction of Sound. Wissen und soziale Konstruktion, 109.

Subotnick, M., 2008. Music as a Studio Art. in The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde. D. W. Bernstein (Ed.). University of California Press.

Docs To glance:

Buchla, D., 1966: The Modular Electronic Music System. Buchla and Associates.

Moog, R., 1964: “Voltage-Controlled Electronic Music Modules.” Journal of the Audio Engineering Society.

Mumma, G., 1964: An Electronic Music Studio for the Independent Composer. Journal of the Audio Engineering Society, 12.

Olson, H.F., and Belar. H., 1955: “Electronic Music Synthesizer.” The Journal of the Acoustical Society of America 27.3. 595-612.

Olson, H. F., H. Belar, and J. Timmens., 1960: “Electronic Music Synthesis.” The Journal of the Acoustical Society of America 32.3: 311-319.

Buchla, D., Payne, M. and Bernstein, D., 2008 Interview with Don Buchla in The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde. D. W. Bernstein (Ed.). University of California Press.

Sender, R., 2008 (1964): The San Francisco Tape Music Center – A Report, in The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde. D. W. Bernstein (Ed.). University of California Press.

Recommended Books:

Pinch, T., and Trocco, F., 2004: Analog days: The invention and impact of the Moog synthesizer. Harvard Univ Pr. ISBN 0674016173.

Bernstein, D.W., 2008. The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde. D. W. Bernstein (Ed.). University of California Press.

Recommended documentary:

Moog Documentary, available on netflix or down here if it lasts: