PUBLICATIONS
Refereed Articles
“Timbre Space: A Flat History of a Multidimensional Metaphor.” Music & Science 7 (2024).
“On the Horizon of Digital Technics in Kaija Saariaho’s IO and Nymphéa.” Archival Notes 7 (2022): 109–139.
“Hearing Timbre at the Crossroads.” Article for Symposium on The Race of Sound: Listening, Timbre, and Vocality (2019), by Nina Sun Eidsheim. Kalfou: A Journal of Comparative and Relational Ethnic Studies 9, nos. 2 (2022).
“Encoding Post-Spectral Sound: Kaija Saariaho’s Electronic Works at IRCAM, 1982–87.” Music Theory Online 27, no. 3 (2021).
“Transmedial Aesthetics and Mimetic Models in the Music of Panayiotis Kokoras.” Nuove Musiche 5 (2018): 119–139. See also forthcoming online companion piece, “Transmediation as Compositional Process: An Interview with Panayiotis Kokoras.”
“Reassembling Kaija Saariaho’s Vers le blanc (1982).” Mitteilungen der Paul Sacher Stiftung 33 (2020): 37–44.
“Playing with Shadows: Reinjection Loops and Historical Allusion in Georg Friedrich Haas’s Live-Electronic Music.” Circuit: musiques contemporaines 29, no. 2 (2019): 63–82.
“Strange Yet Familiar Sounds in Zosha Di Castri’s String Quartet No.1.” Circuit: musiques contemporaines 28, no. 2 (2018): 83–98.
Book Chapters
“Rhythm Quantization: Notes on the History of a Technocultural Practice.” Chapter for the Oxford Handbook of Time in Music, edited by Mark Doffmann, Emily Payne, and Toby Young, 347–372. Oxford: Oxford University Press (in press).
Conference Proceedings
“Graphic Music Representations: A Comparative Study Based on an Aural Analysis of Philippe Leroux’s M.É.” Proceedings of the Electroacoustic Music Studies Network Conference (2014).
Book Reviews
“Sensate Sovereignty: A Dialogue on Dylan Robinson’s Hungry Listening.” Coauthored with Sadie Couture, Jonathan Sterne, Mehak Sawhney, Shirley Roburn, Andy Kelleher Stuhl, Burç Köstem, Hannah Tollefson, Randolph Jordan, Allyson Rogers, and Michael Nardone. Amodern: Currents (2020).
Review of Sound Unseen: Acousmatic Sound in Theory and Practice, by Brian Kane. Music Theory Online 21, no. 1 (2015).
Audio Publications
“Making Orchestras Speak/ Making Machines Listen.” SMT-POD: The Society of Music Theory Podcast, Season 1, no. 14 (April 14, 2022).
Coauthored Publications
“On Mapping as a Technoscientific Practice in Digital Musical Instruments.” Co-authored with Andrew McPherson, Matthew Davison, and Marcelo Wanderley. Journal of New Music Research 53, nos. 1-2 (2025): 110-125.
“Entangling Entanglement: A Diffractive Dialogue on HCI and Musical Interactions.” Co-authored with Andrew McPherson. In ACM Proceedings of the 2024 CHI Conference on Human Factors in Computing Systems, 2024. https://doi.org/10.1145/3613904.3642171
“Sonic Entanglements with Electromyography: Between Bodies, Signals, and Representations.” Co-authored with Courtney Reed, Andrew McPherson, David Fierro, and Atau Tanaka. In ACM Proceedings of the 2024 Designing Interactive Systems Conference, 2024. https://doi.org/10.1145/3643834.3661572.
“(Electro)Acoustics, Optics, and Microtonal Aesthetics in the Music of Georg Friedrich Haas.” Co-authored with Amy Bauer. In The Oxford Handbook of Spectral Music, edited by Amy Bauer, Liam Cagney, and William Mason. Oxford University Press, 2023.
Manuscripts In Preparation
Instruments, Interfaces, Infrastructures: Thinking Across Musical Media (edited collection).
“Quid sit musicus? Contradictions in the Analysis of More-than-human Musical (Net)Works.”
“Max for Live: Converging Cultures of Use in New Musical Media.”
“Critical (Post-)Humanist Perspectives on ‘Disentangled’ Representations in AI Music.” Co-authored with Andrew McPherson.
Landon Morrison 