(Forthcoming) ‘Epistemological Stagflation and the Crisis of Democracy in Contemporary Music Research’, in Christian Grüny and Brandon Farnsworth, eds. Critique and New Music’s Institutions, Stuttgart: J. B. Metzler.

(Forthcoming) ‘Grimes’s Hymn to Technocracy, Insolvent Affordances, and the Need for Reparative Organology’, Journal of Popular Music Studies 34/3.

(2022) ‘Scoring the Listener: Notation and Representation in Acousmatic Music’, in Emily Payne and Floris Schuiling (eds.), Material Cultures of Music Notation, New York: Routledge, 50-64.

(2021) Review of Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde by Jennifer Iverson, Organised Sound 26/1: 154-156.

(2021) ‘Coolness, Critique, and the Neoliberal Classical: A Roundtable Review of Marianna Ritchey, Composing Capital: Classical Music in the Neoliberal Era (Chicago, 2019) with Anna Bull, Simone Krüger-Bridge, and Marianna Ritchey’, Royal Musical Association Research Chronicle 52.

(2021) ‘Deep Structure: The Generative Subject in Actor-Network Theory and Musicology’, in Antoine Hennion and Christophe Levaux (eds.), Rethinking Music through Science and Technology Studies, New York: Routledge, 88-109.

(2020) ‘Contemporary Music and Its Futures’, Contemporary Music Review 39/2, 187-205.

(2020) ‘100% Expert! Mastery and Equality in Darsha Hewitt’s Sideman 5000 Adventure, in Martin Lücke and Anita Jori (eds.) The New Age of Club and Electronic Dance Music Culture, Cham: Springer, 89-99.

(2019) Rejoinder to ‘Musical Events and Perceptual Ecologies’ by Eric Clarke, The Senses and Society 14/3, 346-350.

(2019) ‘Remediating Modernism: On the Digital Ends of Montreal’s Electroacoustic Tradition’, Journal of the Royal Musical Association 144/1, 157-191.

(2019) Review of Treatise on Musical Objects by Pierre Schaeffer, translated by Christine North and John Dack, Sound Effects 8/1, 158-164.

(2018) ‘A Managed Risk: Mediated Musicianships in a Networked Laptop Orchestra’, Contemporary Music Review 37/5-6, 646-665.

(2018) ‘“All Sounds Are Created Equal”: Mediating Democracy in Acousmatic Education’, in Eliot Bates and Samantha Bennett (eds.), Critical Perspectives on the Production of Music and Sound, New York: Bloomsbury, 123-137.

(2018) ‘Technologies of Genre: Digital Distinctions in Montreal’, in Simon Emmerson (ed.), The Routledge Companion to Electronic Music, New York: Routledge, 96-112.

(2017) ‘Animating the Object: Marcelle Deschênes and Acousmatic Education in Quebec’, Organised Sound 22/3, 385-393.

(2017) ‘Hearing the Music of Others: Pierre Schaeffer’s Humanist Interdiscipline’, Music and Letters 98/2, 255-280.

(2015) Review of In Search of a Concrete Music by Pierre Schaeffer, Translated by Christine North and John Dack, and Sound Unseen by Brian Kane, Twentieth-Century Music 12/2, 285-290.

(2014) Review of Japanoise by David Novak, Popular Musicology Online

(2013) ‘Observations on the First Two Days’, Laboratory for Laptop and Electronic Audio Performance Practice

(2012) ‘The Spatialisation of Stereophony: Taking Positions in Post-War Electroacoustic Music’, International Review of the Aesthetics and Sociology of Music 43/2, 403–421.

(2009) ‘Spacing Out on the Amstel’, Musicworks 107, 56-57.

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