“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 2019.
“Strange Yet Familiar Sounds in Zosha Di Castri’s String Quartet No.1.” Circuit: musiques contemporaines 28, no. 2 (2018).
“Musica Simulacra: Mimetic Models in Panayiotis Kokoras’s Mutation.” Nuove Musiche, forthcoming in Winter 2019.
“Playing with Shadows: The Re-injection Loop in Georg Friedrich Haas’s Live-Elektronische Musik.” Circuit: musiques contemporaines, forthcoming in Spring 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.
Work in Progress
“Technomorphic Transcriptions in Philippe Leroux’s M (1997), m’M (2003), and AMA (2009).” Article in preparation.
“Sounds, Sketches, Software: Transmediation as Compositional Process in Post-Spectral Music.” To be 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).