“Rhythm Quantization: Notes On the History of a Technocultural Practice.” Chapter in the Oxford Handbook of Time in Music, edited by Mark Doffmann. Oxford: Oxford University Press, forthcoming in late 2019.
“Georg Friedrich Haas as a Spectral Composer?” Chapter in the Oxford Handbook of Spectral Music, co-authored with Amy Bauer and William Mason. Oxford: Oxford University Press, forthcoming in 2020.
“Strange Yet Familiar Sounds in Zosha Di Castri’s String Quartet No.1.” Circuit: musiques contemporaines 28, no. 2 (2018): 83-98.
“Playing with Shadows: The Re-injection Loop in Georg Friedrich Haas’s Live-Elektronische Musik.” Circuit: musiques contemporaines 29, no. 2 (2019): 63-82.
“Pt I, Transmediation as Compositional Process: An Interview with Panayiotis Kokoras,” and “Pt II, Transmedial Aesthetics and Mimetic Models in the Music of Panayiotis Kokoras.” Nuove Musiche, forthcoming in late 2019.
Review of Sound Unseen: Acousmatic Sound in Theory and Practice, by Brian Kane. Music Theory Online 21, no. 1 (February 2015).
“Tools for Creating 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, Berlin, June 2014. Available online at: http://www.ems-network.org/spip.php?article392.
“Encoding Post-Spectral Thought: Kaija Saariaho’s Early Electronic Works at IRCAM, 1982-87,” Music Theory Online, to be submitted in November 2019 for a special issue on new approaches to archival music research.
“Encoding Post-Spectral Thought: Kaija Saariaho’s Early Electronic Works at IRCAM, 1982–87.” Presented at the International Conference on Spectralisms, 2nd Edition, Paris, FR (June 12–14, 2019).
“From Bell-Boy Chimeras to Speaking Orchestras: Spectral Modeling Techniques in the Music of Jonathan Harvey.” Presented at the annual meeting of the New England Conference of Music Theorists, Montreal, CA (April 13–14, 2019).
“’Transkaija’: Kaija Saariaho’s Early Electronic Works at IRCAM, 1982–87.” Presented at the annual meeting of the Music Theory Society of New York State, Albany, NY (April 6–7, 2019).
“Re-assembling Transmedial Artifacts for the Study of Computer-based Music.” Presented at the annual meeting of the Society for Cinema and Media Studies, Seattle, WA (March 13–17, 2019).
“Sounds, Sketches, Software: Transmediation as Compositional Process in Post-Spectral Music.” Presented at the Autographs and Archival Documents IG-session at the annual meeting of the Society of Music Theory, San Antonio, TX (November 2018).
“Stumbling onto the Grid: A Loose History of Rhythm Quantization.” Presented at the American Musicological Society, Rochester, NY (November 2017).
“Playing with Shadows: The Re-injection Loop in Georg Friedrich Haas’s Live-elektronische Musik.” Presented at the Society of Music Theory Conference, Arlington, VA (November 2017).
“Technomorphic Transcriptions in Philippe Leroux’s M (1997), m’M (2003), and AMA (2009).” Presented at the 4th International Conference on Tracking the Creative Process in Music, University of Huddersfield, UK (September 2017).
“The Re-injection Loop as Historical Memory in Georg Friedrich Haas’s Live-elektronische Musik.” To be presented at the 9th European Music Analysis Conference (EuroMAC 9), Strasbourg, FR (July 2017).
“A Socio-technical Perspective on the Digital Quantization of Musical Time.” Presented at the Making Time in Music: An International Conference, Oxford University in Oxford, UK (September 2016).
“Copy-Paste Aesthetics, Distributed Creativity, and the Circulation of Max for Live Devices in Online Communities.” Presented at the Toronto International Electroacoustic Symposium (August 2016).
“The Case of Max for Live: On the Convergence of Two Music Software Paradigms.” Co-presented with Ian Hattwick and Victoria Simon at the Annual Symposium for the Centre for Interdisciplinary Research in Music Media and Technology in Montreal, QC (June 2016).
“Playing with Shadows: Recorded Playback as a Formal Device in Georg Friedrich Haas’s Ein Schattenspiel.” Presented at the West Coast Conference of Music Theory and Analysis at University of California, Santa Barbara (April 2016).
“Tools for Creating Graphic Music Representations: A Comparative Study Based on an Aural Analysis of Philippe Leroux’s M.É.” Presented at the International Conference for the Electroacoustic Music Studies Network at the Universität der Kunst in Berlin, Germany (June 2014).
“Sound and Sense: Musical Syntax in Francis Dhomont’s Voyage-Miroir.” Musicology Colloquium Series at the University of Colorado at Boulder (March 2013).
“A Modified Approach for Grundgestalt Analysis: Developing Variation and Dissolution in Alban Berg’s String Quartet, Op. 3/i.” Rocky Mountain Society of Music Theory Conference at the University of Northern Colorado in Greeley (March 2012).