The history of electronic music through the 1950s is covered in Abraham A. Moles, Les Musiques expérimentales (1960); and Fred K. Prieberg, Musica ex Machina: Über das Verhältnis von Musik und Technik (1960). Later books with an emphasis on history or the music itself include Herbert Russcol, The Liberation of Sound: An Introduction to Electronic Music (1972); Elliott Schwartz, Electronic Music: A Listener’s Guide, rev. ed. (1975); Jon H. Appleton and Ronald C. Perera (eds.), The Development and Practice of Electronic Music (1975); and David Ernst, The Evolution of Electronic Music (1977). Many how-to books and manuals have been published, most of them emphasizing the use of synthesizers. Typical examples include Gilbert Trythall, Principles and Practices of Electronic Music (1973); and Allen Strange, Electronic Music: Systems, Techniques and Controls, 2nd ed. (1983). A French publication, Michel Chion and Guy Reibel, Les Musiques électroacoustiques (1976), is valuable because its emphasis is on European rather than American practice. Books that deal primarily with relevant aesthetic problems include John Cage, Silence (1961, reissued 1973); Luigi Russolo, The Art of Noises (1967; originally published in Italian, 1913); Karlheinz Stockhausen, Texte zur elektronischen und instrumentalen Musik, 2 vol. (1963–64); and Iannis Xenakis, Formalized Music (1971). Electronic musical instruments and their components, many of which were at one time used for electronic music, are discussed in Richard H. Dorf, Electronic Musical Instruments, 3rd ed. (1968); Alan L. Douglas, The Electronic Musical Instrument Manual: A Guide to Theory and Design, 6th ed. (1976), and The Electrical Production of Music (1957); and Werner Meyer-Eppler, Elektrische Klangerzeugung (1949). Discussions of computer music may be found in Herbert Brün, Über Musik und zum Computer (1971); Heinz Von Foerster and James W. Beauchamp (eds.), Music by Computers (1969); Lejaren A. Hiller, Informationstheorie und Computermusik (1964), and, with L.M. Isaacson, Experimental Music (1959, reprinted 1979); Harry B. Lincoln (ed.), The Computer and Music (1970); Max V. Mathews et al., The Technology of Computer Music (1969, reissued 1974); Hubert S. Howe, Electronic Music Synthesis (1975); Christopher P. Morgan (ed.), The Byte Book of Computer Music (1979); Wayne Bateman, Introduction to Computer Music (1978, reissued 1980); and Hal Chamberlin, Musical Applications of Microprocessors (1980). Current articles may be found in Perspectives of New Music, and Journal of Music Theory (both semiannual); Audio Engineering Society Journal (monthly); and Computer Music Journal and Interface (both quarterly). For recordings of electronic and computer music, the reader is referred to Hugh Davies (comp.), International Electronic Music Catalog (1968); Schwann-1: Record and Tape Guide and Schwann-2 supplements; and Ernst (cited above). Sandra L. Tjepkema, A Bibliography of Computer Music (1981), is a valuable reference tool.