The demoscene's most wanted!

I'm seeking research material for a project for one of my university classes. The project concerns a selected music technology, how it was received culturally or in the industry and fits into the time and place of its introduction. I'm looking to pursue the topic in relation to the software that preceded and superseded music trackers, the cultural context of the mod and demo scenes, as well as reactions from within the music industry. I've been directed toward Ian Bogost and Nick Montfort's work in general and specifically "Racing the Beam", but nothing is immediately jumping out to me as relevant.
I was able to find "Bits and Pieces" by Keneth McAlpine and "Music and Technoculture" by Rene Lysloff and Leslie Gay. I've also found a handful of essays, "Endless Loop" by Kevin Driscol and Joshua Diaz and "Amiga Music Programs" by Johan Kotlinski. I was also able to find some articles and blog posts, notably Xavier Bordier's series on Soundtracker.


My current summarised understanding of MOD trackers and associated culture is that Karsten Obarski wrote the first modern iteration of a tracker, inspired by Chris Hulsbeck's Sound Monitor. Ultimate Soundtracker and its playback routine was cracked a few months after publication and distributed as freeware/shareware by a user using the tag "Exterminator." This led to rapid iteration of tracker software and its common usage in writing game music, as a signature on cracked software, as part of keygens, and eventually as the main composition tool for users in the demo scene to display technical and programming prowess.