1. - Larry Polansky - The future of music / The future of Leonardo
3. - Roger F. Malina - The Leonardo music journal and Leonardo compact disc series

5-10 - Waren Burt - Australian Experimental music 1963-1990
11-16 - Bart Hopkin - Trends in new acoustic musical instrument design
17-18 - Larry Polansky - 17 Gloomy sentences (and commentary) at the turn of the millenium (in the form of an editorial)
19-24 - I Wayan Sadra with Jody Diamond - Komposisi Baru : On contemporary composition in Indonesia

25-30 - Sara Garden Armstrong with Robert Ross - The Airplayer series : Manipulation of lights, sound and space through technology (Technical appendix by Nick Didkovsky)
31-36 - Peter Beyls - Chaos and Creativity : The Dynamic system approach to musical composition
37-40 - John Bischoff - Software as sculpture : creating music from the ground up
41-44 - Nicolas Collins - Low Brass : the evolution of trombone-propelled electronics
45-50 - Daniel Goode - From notebook #2
51-53 - Mark Trayle - Nature, networks, chamber music

55-70 - Charles Ames - A catalog of statistical distributions : techniques for transforming random, determinate and chaotic sequences
71-73 - Martin Bartlett - Relative ratio tuning : an intonational strategy for performance systems

75. - Elliot Mazer - Introduction
77-80 - K.Atchley - Don Giovanni and other new electronic operatic works
81-88 - Larry Austin, Charles Boone and Xavier Serra - Transmission two : the great excursion : (TT : TGE) - The aesthetic, art and science of a composition for radio
89-93 - Ed Osborn - Local conditions and perceptual concerns : notes on several sound works
95-102 - Daniel Goode, I Wayan Sadra, Graeme Gerard, Steven Paxon, Paula Claire, David Rothenberg, Erling World, Craig Harris, Amnon Wolman, Marc Battier, Simon Running, Sarah Hopkins - contributors' notes

103-105 - Craig Latta - Notes on the Netjam prolect
105-106 - Mathias Fuchs - Entrée / Sortie

107-110 - Nick Didkovsky, Richard Friedman, Vance Maverick, Larry Polansky - Book reviews
110-115 - Kent Devereaux, Nick Didkovsky, Tim Perkis - Recording reviews
115-118 - Miguel Frasconi, Anthony J. Gnazzo, Larry Polansky, Carter Scholz - Publications review
118-120 - Jim Horton, Peter M. Yadlowsky, Richard Zvonar - Software reviews

1-2 - Marc Battier - Leonardo music journal : building bridges

3-12 - Nick Didkovsky - Lottery : a computer-music performance based on responsible resource sharing
13-18 - Brian Evans - Elemental counterpoint with digital imagery
19-22 - Barton McLean - Composition with sound and light
23-28 - Stephen Travis Pope - Producting Kombination XI : using modern Hardware and Software systems for composition
29-35 - Godfried-Willem Raes - A personal story of music and technologies
37-40 - Barry Truax - Composing with time-shifted environmental sound
41-44 - Rodney Waschka II - Computer-assisted composition and performance : The creation of A Noite, Porém, Rangeu E Quebrou

45-47 - Mark Rais - Jaan Soonvald and his musical system
49-53 - Peter Vähi - Buddhist music of Mongolia

55-72 - Charles Ames - A catalog of sequence generators : accounting for proximity, pattern, exclusion, balance and/or randomness

73-79 - Andrew Gerzso - Paradigmes and computer music
81-88 - Leonard C. Manzara, Ian H. Witten and Mark James - On the entropy of music : an experiment with Bah chorale melodies
89-95 - Joan Truckenbrod - Integrated creativity : transcending the boundaries of visual art, music and literature

99-102 - Jody Diamond - Interaction : new music for gamelan - an introduction
103-109 - Barbara Benary, Jody Diamond, Lou Harrison, Larry Polansky, Jarrad Powell, I Wayan Sadra, Rahayu Supanggah and A. W. Sutrisna - Notes on the compositions
110. - CD companion glossary

111-113 - Laura Blanchini and Michelangelo Lupone - The activities of centro ricerche musicali
113-115 - Cristèle Pruvot - Lyon, Musique en Scène 1992
115-116 - Robert Rowe - The lmusic business and technology program at New York university

117-125 - Marc Battier, Roger B. Dannenberg, Bulat M. Galeyev, Gregory Kramer, Adolfo Nunez, Robert Rowe and Denis Smalley - Reviews

1-2 - Gayle Young - Redefinition within the changing acoustic environment

3-10 - Kristi A. Allik and Robert C. F. Mulder - Skyharp : an interactive electroacoustic instrument
11-16 - Xavier Chabot - To listen and to see : making and using electronic instruments
17-23 - Helen Hall - Both side of the mirror : integrating physics and acoustics with personla experience
25-28 - Richerd M. Povall - The last garden - explorations in interactive performance methods

29-34 - Joe Catalano - Electronic midwifery : a videophone celebration of Pauline Oliveros's four decades of composing and community
35-38 - Pauline Oliveros - The earth worm also sings : a composer's practice of deep listening

39-43 - Gregory Young, Jerry Bancroft and Mark Sanderson - Musi-tecture : seeking useful correlations between music and architecture

45-52 - Charles Ames - How to level a driver sequence
53-58 - Guiseppe G. Englert - Our score : a description of Metro 3, a compositional and performance software program

59-61 - Jack Ox - Creating a visual translation of Kurt Schwitters's Ursonate

65-71 - Larry Wendt - Vocal neighborhoods : a walk throught the post-sound poetry landscape
73-79 - Brenda Hutchinson, Paul Dutton, Valeri Scherstjanoi, Amanda Stewart, Trevor Wishart, Henri Chopin and David Moss - Contributors' notes

81. - Andrew Horner, Andrew Assad and Norman Packard - Artificial music : the evolution of musical strata

82-83 - Debra Sykes - The tuning of the world : The first international conference on acoustic ecology
83-84 - Goffredo Haus - IEEE computer society : task force on computer-generated music

85-96 - Marc Battier, Robert Coburn, Scott Daly, Martin Herman, Matt Malsky, Guerino Mazzola, Mark Rais, Robert Rowe - Reviews

1-8 - Alvin Curran - Music from the Center of the Earth: Three Large-Scale Sound Installations
9-11 - Frances Dyson - Radio Art in Waves
13-15 - Michaël Levinas - Transients of Attack and Hybrid Sounds: Toward a New Mixity
17-22 - Greg Schiemer - Interactive Radio

23-30 - Jonathan Berger and Charles Nichols - Brahms at the Piano: An Analysis of Data from the Brahms Cylinder
31-38 - Stephanie Mason and Michael Saffle - L-Systems, Melodies and Music Structure

39-40 - Kathryn Vaughn - Music, Cognition and Culture (Special Section Introduction)
41-51 - Judith Becker - Music and Trance
53-58 - Wendy S. Boettcher, Sabrina S. Hahn, and Gordon L. Shaw - Mathematics and Music: A Search for Insight into Higher Brain Function
59-68 - Edward C. Carterette and Roger A. Kendall - On the Tuning and Stretched Octave of Javanese Gamelans
69-77 - Cornelia Fales and Stephen McAdams - The Fusion and Layering of Noise and Tone: Implications for Timbre in African Instruments
79-84 - James Kippen and Bernard Bel - Computers, Composition and the Challenge of "New Music" in Modern India
85-90 - Frédéric Voisin - Musical Scales in Central Africa and Java: Modeling by Synthesis

93-94 - Ricardo Dal Farra - Some Comments about Electroacoustic Music and Life in Latin America
95-97 - Leon Birotti , José augusto mannis, carlos Vazquez, Roberto Morales-Manzanares, Pablo Freire, Zndré Posada, Andina Izarra, Ricardo Dal Farra - Contributors' Notes

99-101 - Christophe Charles - Megalopolis Aborigines: The Tokyo-Osaka Action Art Ensemble's Tour
102-106 - Takehito Shimazu - The History of Electronic and Computer Music in Japan: Significant Composers and Their Works

107-113 - Marc Battier, Gerald Hartnett, Alex Mulder - Books, Software, Materials Received

1-3 - Douglas Kahn - An Unheard-of Organologyl

5-10 - Brigitte Burgmer - Chromatic Notation of Music: Bach and Webern into Color and Light
11-18 - David A. Jaffe - Orchestrating the Chimera: Music Hybrids, Technology and the Development of a "Maximalist" Musical Style

19-22 - Pauline Oliveros - Acoustic and Virtual Space as a Dynamic Element of Music
23-28 - Robert HP Platz - More than Just Notes: Psychoacoustics and Composition
29-32 - Diane Thome - Reflections on Collaborative Process and Compositional Revolution

33-38 - Charles Ames - Thresholds of Confidence: An Analysis of Statistical Methods for Composition. Part I: Theoryb

39-48 - Libor Zajicek - The History of Electroacoustic Music in the Czech and Slovak Republics

49-55 - Pavel B. Ivanov - A Hierarchical Theory of Aesthetic Perception: Scales in the Visual Arts
57-66 - Andra McCartney - Inventing Images: Constructing and Contesting Gender in Thinking about Electroacoustic Music

69-70 - Marc Battier - Introduction
71-74 - Ichiro Nodaïra, Masahiro Miwa, Mamoru Fujieda, Yuji Takahashi, Hinoharu Matsumoto, Shigenobu Nakamura, Kazuo Uehara - Contributors' Notes

75-77 - Gerald Hartnett, Curtis E.A. Karnow - Book, Compact Discs, Materials Received

1-6 - Gerald Hartnett - Ballast Reduction and the Audio Arts

7-14 - Lydia Ayers - Merapi: A Composition for Gamelan and Computer-Generated Tape
15-20 - Neil Leonard III - A Personal Approach to Contemporary Jazz: Works for Saxophone and Computer-Controlled Electronics

21-26 - Charles Ames - Thresholds of Confidence: An Analysis of Statistical Methods for Composition. Part 2: Applications
27-31 - Stephen Brooks and Brian J. Ross - Automated Composition from Computer Models of Biological Behavior
33-40 - Axel Mulder - Getting a Grip on Alternate Controllers: Addressing the Variability of Gestural Expression in Musical Instrument Design

41-44 - Joel Chadabe - The History of Electronic Music as a Reflection of Structural Paradigms

45-48 - Bulat M. Galeyev - Light and Shadows of a great life : in commemoration of the one-hundredth anniversary of the birth of Leon Theremin, Pionneer of the electronic art (Introduction)
49-50 - Leon S. Theremin - The Design of a Musical Instrument Based on Cathode Relays
51-55 - Lydia Kavina - My Experience with the Theremin
57-60 - Natalia Nesturkh - The Theremin and Its Inventor in Twentieth-Century Russia
61-67 - Alexander S. Belonenko (The Electronic Music School Studio at the Rimsky-Korsakov State Conservatory of St. Petersburg),

89-93 - Douglas Kahn - The Lyre's Island: Some Australian Music, Sound Art and Design
95-98 - Paul Carter - Speaking Pantomimes: Notes on The Calling to Come
99-107 - Rainer Linz - Towards the Design of a Real-Time Interactive Performance Sound System
109. - Percy Aldridge Grainger - Free Music
111-115 - Sherre DeLys, Frances Dyson, Joyce Hinterding, Jodi Rose - Contributors' Notes

116-117 - Peter Bosch and Simone Simons - The electric Swaying orchestra : a music machine with certain creative powers
117-118 - David Rossiter - Toward the integrated support of computer graphics and computer music creativity

119-122 - Marc Battier - Software, Materials Received

1-2 - Nicholas Collins - A Turn in the Shrubbery - Music, Technology and Words

3-10 - Flo Menezes - To Be and Not To Be: Aspects of the Interaction Between Instrumental and Electronic Compositional Methods
11-15 - Bill Thibault and Scot Gresham-Lancaster - Experiences in Digital Terrain: Using Digital Elevation Models for Music Interactive Multimedia

17-25 - Kevin Holm-Hudson - Quotation and Context: Sampling and John Oswald's Plunderphonics

27-33 - Bruno Degazio - The Evolution of Music Organisms

35-39 - David Rosenboom - Propositional Music: On Emergent Properties in Morphogenesis and the Evolution of Music Part II: Imponderable Forms and Compositional Methods

43-48 - Sean Cubitt - Online Sound and Virtual Architecture (Contribution to the Geography of Cultural Translation)
49-55 - Eduardo Reck Miranda - Machine Learning and Sound Design: A Case Study

61-71 - Larry Polansky - Cocks Crow, Dogs Bark: New Compositional Intentions
73-76 - Nick Didkovsky - Metamusic/Metatext: The Blurry Boundaries Around Distributed Compositional Systems
77-80 - Gordon Monro - This is Art, Not Science
81-91 - Charles Ames, Warren Burt, David Feldman, Daniel Goode, Mary Simoni, Laurie Spiegel, Christian Wolff - Contributor's Notes

92-95 - Jody Diamond with Epilogue by Sutanto - Yogyakarta Gamelan Festival 1997

96-97 - Jacob Duringer - The Evolution of the Musical Keyboard

98-102 - Marc Battier, Patrick Chambelet - Software, Multimedia, Compact Disc, Book, Materials Received

1-2 - Nicholas Collins - Ghosts and Monsters: Technology and Personality in Contemporary Music

3-4 - Cornelius Cardew - John Cage--Ghost or Monster?

5-11 - Alvin Lucier - Origins of a Form: Acoustical Exploration, Science and Incessancy

13-16 - Ron Kuivila and David Behrman - Composing with Shifting Sand: A Conversation between Ron Kuivila David Behrman on Electronic Music and the Ephemerality of Technology

17-19 - Richard Barrett - not necessarily anything to do with Karlheinz Stockhausen (excavated from diary entries 20 February-10 November 1994)

21-26 - Jonathan Impett - The Identification and Transposition of Authentic Instruments: Musical Practice and Technology
27-32 - Nicolas Collins - Ubiquitous Electronics--Technology and Live Performance 1966-1996

33-38 - David Gamper with Pauline Oliveros - A Performer-Controlled Live Sound-Processing System: New Developments and Implementations of the Expanded Instrument System

39-44 - Scot Gresham-Lancaster - The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music
45-48 - Robert M. Poss - Distortion Is Truth
49-54 - Ricardo Arias - From the Margins of the Periphery: Music and Technology at the Outskirts of the West--A Personal View

59-63 - Matthias Osterwold - CD Companion Introduction : Ghosts, Monsters and Other Realities in Music
65. - Chistian von Borries - Memorial Ode on the Death of Vladimir Ilyich Lenin by Alexander Abramovitch Krejn
65-66 - John Cage - Essay
66. - Andrew Culver - John Cage's Essay : installation notes
66-68 - John Tilbury - Some reflections on Cardew's "John Cage-Ghost or monster ?"
68-70 - Paul de Marinis - The lecture of Comrade Stalin at the extraordinary 8th plenary congress about the draft concept of the constitution of the Soviet Union on November 25, 1936
70-71 - Robert Ashley - Automatic writing
71. - Henning Christiansen - reality is a ghost in my mind (cruelty & terror)
71. - Alvin Lucier - Nothing is real (Strawberry fields forever)
71-72 - Peter Cusack - Extract from A Host, of Golden Daffodils
72. - Shelley Hirsch - For Jerry
72. - Jerry Hunt - Text from the video Rant
73. - Michael Schell - About Jerry Hunt
73-74 - Frieder Butzmann - Music for Salomé
74. - Michael Snow - Blues withbeer, magazines, table and chair

75-85 - Roy Behrens, David Feldman, Judy Malloy, Axel Mulder, Cliff Pickover, E.V.Sintsov, Irina L.Vanechkina, Stephen Wilson - CD-ROM, Web Site, Conference, Books, Leonardo Digital Reviews

1-2 - Nicolas Collins - Power and Responsibility: Politics, Identiy and Technology in Music

3. - Krystyna Bobrowski - Grass Roots
5-12 - Sergi Jordà - Faust Music On Line: An Approach to Real-Time Collective Composition on the Internet
13-18 - William Duckworth - Making Music on the Web
19-22 - Mark Trayle - Free Enterprise: Virtual Capital and Counterfeit Music at the End of the Century
23-28 - Chris Brown - Talking Drum: A Local Area Network Music Installation
29-34 - Justin Bennett - BMB con.: Collaborative Experiences with Sound, Images and Space
35-42 - Lowell Cross - Reunion: John Cage, Marcel Ducham, Electronic Music and Chess

43-44 - Daniel Goode - MARX BRO.
45-51 - Fred Ho - Beyond Asian American Jazz: My Musical and Political Changes in the Asian American Movement
53-62 - Rajmil Fischman - Global Village, Local Universe: A Statement of Identity
63-67 - David Dunn and Rene van Peer - David Dunn: Music, Language and Environment
69-75 - William Osborne - Symphony Orchestras and Artist Prophets: Cultural Isomorphism and the Allocation of Power in Music
77-78 - Frederic Rzewski - Parma Manifesto

79-87 - David Cope - Facing the Music: Perspectives on Machine Composed Music
89-94 - Roger Alsop - Exploring the Self Through Algorithmic Composition
95-101 - Ann Warde - Change Over Time: Responsibility and Power in the Midst of Catastrophe
103-106 - Dante Tanzi - The Cultural Role and Communicative Properties of Scientifically Derived Compositional Theories
107-114 - Greg Scheimer - Improving Machines: Spectral Dance and Token Objects
115-120 - Suguru Goto - The Aesthetics and Technological Aspects of Virtual Musical Instruments: The Case of the SuperPolm MIDI Violin

121. - Peter Manning - Ownership and Control of the Creative Process in the Composition and Performance of Electroacoustic Music
121. - David Ryan - De-Composing Opera/Re-Composing Listening: John Cage's Europeras
121. - Sasan Rahmatian - Information Systems Development and Music: The Exploration of Parallelism
122. - John Bischoff - Jim Horton's Involvement with Playing Music: Autobiographical Notes

123-126 - Guy van Belle - CD Companion Introduction: Power and Responsibility: Converted to Streaming Between Machines

1 - Nicolas Collins - LMJ10 : southern cones introduction

3 - Coriun Aharonian - An approach to compositional trends in Latin America
7 - Lucio Edilberto Cuellar Camargo - The development of electroacoustic music in Colombia, 1965-1999 : an introsuction
13 - Carlos Palombini - The Brazilian group for computer music research : a proto-history

21 - Daniel Velasco - Island landscape : following in Humboldt's footsteps throught the acoustic spaces of the tropics
25 - O'Dyke Nzewi - The technology and music of Nigerian Igbo Ogene Anuka Bell Orchestra

33 - George Lewis - Twomany notes : computers, complexity and culture in Voyager
41 - Lucas Ligeti - Beta Foly : experiments with tradition and technology in west Africa
49 - Artemis Moroni, Jonatas Manzolli, Fernando von Zuben and Ricardo Gudwin - Vox populi : an interactive evolutionary system for algorithmic music composition
55 - Damian Keller - Compositional processes from an ecological perspective
61 - Neil McLachlan - A spacial theory of rhythmic resolution

70 - Introduction : track list and credits
71 - Jurgen Bräuninger - Southern cones : music out of Africa and South America

73-80 - Lukas Ligeti - Balarama