Maginnis n.d. Maginnis, Tom, [電子音樂在Allmusic上的頁面. [2011-12-30]. The Man Who Dies Every Day: Ultravox: Song Review] 请检查|url=值 (帮助), Allmusic.com, n.d..（archive at webcitation.org）
Anonymous 2001. Note: Historically, world's first electronic musical instruments using active component may be the Audion Piano developed in 1915 by Lee De Forest who also invented Audion tube, the first active component for amplification and oscillation. However at that era, also passive components were researched for oscillation（ex. intermittent glow discharge of neon tubes[1] （页面存档备份，存于互联网档案馆））, and possibly more earlier electronic musical instruments might be found. Anonymous, Theremin, BBC h2g2 encyclopaedia project (2 April), 2001, (2 April) [2008-05-20], （原始内容存档于2010-09-26）. Guide ID: A520831 (Edited).
books.google.com
Lee De Forest, Father of radio: the autobiography of Lee de Forest, Wilcox & Follett: 306–307, 1950
Vercoe 2000，第xxviii–xxix頁. Vercoe, Barry, Forward, The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming, edited by Richard Boulanger, Cambridge, Mass.: MIT Press: xxvii–xxx, 2000 [2013-10-10], ISBN 0-262-52261-6, （原始内容存档于2010-01-30）.
cyndustries.com
Sofer & Lynner 1977，第23頁 harvnb error: no target: CITEREFSoferLynner1977 (help) "Yes, I used [ Moog modular equipment ] until I went with Herbie (Hancock) in 1970. Then I used a [ ARP ] 2600 because I couldn't use the Moog on stage. It was too big and cranky; every time we transported it, we would have to pull a module out, and I knew I couldn't do that on the road, so I started using ARP's."
Eimert 1972，第349頁. Eimert, Herbert, How Electronic Music Began, Musical Times, 1972, 113 (1550 (April)): 347–349, doi:10.2307/954658.（First published in German in Melos 39 (Jan.-Feb. 1972）: 42–44.)
Luening 1968，第48頁. Luening, Otto, An Unfinished History of Electronic Music, Music Educators Journal, 1968, 55 (3（November）): 42–49, 135–42, 145, doi:10.2307/3392376.
Luening 1968，第49頁. Luening, Otto, An Unfinished History of Electronic Music, Music Educators Journal, 1968, 55 (3（November）): 42–49, 135–42, 145, doi:10.2307/3392376.
Bayly 1982–83，第150頁. Bayly, Richard, Ussachevsky on Varèse: An Interview April 24, 1979 at Goucher College, Perspectives of New Music, 1982–83, 21 (no. 1（Fall–Winter 1982）and no. 2（Spring–Summer 1983）): 145–51, doi:10.2307/832872
Emmerson 2007，第115頁; Collins 2003. Emmerson, Simon, Living Electronic Music, Aldershot（Hants.）, Burlington (VT): Ashgate, 2007, ISBN 0-7546-5546-6, （cloth）（pbk） Collins, Nick, Generative Music and Laptop Performance, Contemporary Music Review, 2003, 22 (4): 67–79, doi:10.1080/0749446032000156919.
gamemusic4all.com
"This element of embracing errors is at the centre of Circuit Bending, it is about creating sounds that are not supposed to happen and not supposed to be heard (Gard 2004). In terms of musicality, as with electronic art music, it is primarily concerned with timbre and takes little regard of pitch and rhythm in a classical sense. ... . In a similar vein to Cage’s aleatoric music, the art of Bending is dependent on chance, when a person prepares to bend they have no idea of the final outcome" (Yabsley 2007). Gard, Stephen, Nasty Noises: 'Error' as a Compositional Element, Sydney Conservatorium of Music, Sydney eScholarship Repository, 2004 [2013-10-10], （原始内容存档于2021-05-22） Yabsley, Alex, "Back to the 8 Bit: A Study of Electronic Music Counter-Culture" (February 3), Gamemusic4all.com, 2007 [2011-06-05], （原始内容存档于2012-06-18）
Schutterhoef 2007[5] （页面存档备份，存于互联网档案馆）. Schutterhoef, Arie van, Sogitec 4X, Knorretje, een Nederlandse Wiki over muziek, geluid, soft- en hardware., 2007 [2010-01-13], （原始内容存档于2013-11-04）
Anonymous 2001. Note: Historically, world's first electronic musical instruments using active component may be the Audion Piano developed in 1915 by Lee De Forest who also invented Audion tube, the first active component for amplification and oscillation. However at that era, also passive components were researched for oscillation（ex. intermittent glow discharge of neon tubes[1] （页面存档备份，存于互联网档案馆））, and possibly more earlier electronic musical instruments might be found. Anonymous, Theremin, BBC h2g2 encyclopaedia project (2 April), 2001, (2 April) [2008-05-20], （原始内容存档于2010-09-26）. Guide ID: A520831 (Edited).
"This element of embracing errors is at the centre of Circuit Bending, it is about creating sounds that are not supposed to happen and not supposed to be heard (Gard 2004). In terms of musicality, as with electronic art music, it is primarily concerned with timbre and takes little regard of pitch and rhythm in a classical sense. ... . In a similar vein to Cage’s aleatoric music, the art of Bending is dependent on chance, when a person prepares to bend they have no idea of the final outcome" (Yabsley 2007). Gard, Stephen, Nasty Noises: 'Error' as a Compositional Element, Sydney Conservatorium of Music, Sydney eScholarship Repository, 2004 [2013-10-10], （原始内容存档于2021-05-22） Yabsley, Alex, "Back to the 8 Bit: A Study of Electronic Music Counter-Culture" (February 3), Gamemusic4all.com, 2007 [2011-06-05], （原始内容存档于2012-06-18）
utexas.edu
lib.utexas.edu
"In 1969, a portable version of the studio Moog, called the Minimoog Model D, became the most widely used synthesizer in both popular music and electronic art music" Montanaro 2004[页码请求]. Montanaro, Larisa Katherine, A Singer's Guide to Performing Works for Voice and Electronics(PDF), DMA thesis (Austin: The University of Texas at Austin), 2004 [2008-06-28], （原始内容(PDF)存档于2008-09-11）.
Anonymous 2001. Note: Historically, world's first electronic musical instruments using active component may be the Audion Piano developed in 1915 by Lee De Forest who also invented Audion tube, the first active component for amplification and oscillation. However at that era, also passive components were researched for oscillation（ex. intermittent glow discharge of neon tubes[1] （页面存档备份，存于互联网档案馆））, and possibly more earlier electronic musical instruments might be found. Anonymous, Theremin, BBC h2g2 encyclopaedia project (2 April), 2001, (2 April) [2008-05-20], （原始内容存档于2010-09-26）. Guide ID: A520831 (Edited).
"This element of embracing errors is at the centre of Circuit Bending, it is about creating sounds that are not supposed to happen and not supposed to be heard (Gard 2004). In terms of musicality, as with electronic art music, it is primarily concerned with timbre and takes little regard of pitch and rhythm in a classical sense. ... . In a similar vein to Cage’s aleatoric music, the art of Bending is dependent on chance, when a person prepares to bend they have no idea of the final outcome" (Yabsley 2007). Gard, Stephen, Nasty Noises: 'Error' as a Compositional Element, Sydney Conservatorium of Music, Sydney eScholarship Repository, 2004 [2013-10-10], （原始内容存档于2021-05-22） Yabsley, Alex, "Back to the 8 Bit: A Study of Electronic Music Counter-Culture" (February 3), Gamemusic4all.com, 2007 [2011-06-05], （原始内容存档于2012-06-18）
"In 1969, a portable version of the studio Moog, called the Minimoog Model D, became the most widely used synthesizer in both popular music and electronic art music" Montanaro 2004[页码请求]. Montanaro, Larisa Katherine, A Singer's Guide to Performing Works for Voice and Electronics(PDF), DMA thesis (Austin: The University of Texas at Austin), 2004 [2008-06-28], （原始内容(PDF)存档于2008-09-11）.
Schutterhoef 2007[5] （页面存档备份，存于互联网档案馆）. Schutterhoef, Arie van, Sogitec 4X, Knorretje, een Nederlandse Wiki over muziek, geluid, soft- en hardware., 2007 [2010-01-13], （原始内容存档于2013-11-04）
Vercoe 2000，第xxviii–xxix頁. Vercoe, Barry, Forward, The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming, edited by Richard Boulanger, Cambridge, Mass.: MIT Press: xxvii–xxx, 2000 [2013-10-10], ISBN 0-262-52261-6, （原始内容存档于2010-01-30）.
Maginnis n.d. Maginnis, Tom, [電子音樂在Allmusic上的頁面. [2011-12-30]. The Man Who Dies Every Day: Ultravox: Song Review] 请检查|url=值 (帮助), Allmusic.com, n.d..（archive at webcitation.org）
