(Forthcoming) An Ear for Research: Pierre Schaeffer and the Ethics of Musical Invention, Resonances/Edinburgh University Press.
(Forthcoming) ‘Epistemological Stagflation and the Crisis of Democracy in Contemporary Music Research’, in Brandon Farnsworth and Christian Grüny (eds.), Critique and New Music’s Institutions, Stuttgart: J. B. Metzler.
(2023) ‘Vibration and Lysis: On the Skin of the Loudspeaker’, Journal of Comparative Literature and Aesthetics 46/1, 51-60.
(2023) ‘Spaces for Music in English State Secondary Schools and the Crisis of Democracy, 1976-1982’, History of Education.
(2022) ‘No One Receiving: Alien Listening by Daniel K. L. Chua and Alexander Rehding’, Los Angeles Review of Books (26 November).
(2022) ‘Grimes’s Hymn to Technocracy, Insolvent Affordances, and the Need for Reparative Organology’, Journal of Popular Music Studies 34/3, 119-141.
(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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