“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 fall 2020.
“Reassembling Kaija Saariaho’s Vers le blanc (1982).” Mitteilungen der Paul Sacher Stiftung 33 (2020): 37–44.
“Playing with Shadows: Re-injection 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.
“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.
“Electro-Acoustics, Optics, and Ideology in the Music of Georg Friedrich Haas.” Chapter coauthored with Amy Bauer for the Oxford Handbook of Spectral Music, edited by Amy Bauer and William Mason, forthcoming in Fall 2020.
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,” currently under review.
“Constructing Musical Timbre in Computer-Assisted Orchestration Software.” To be submitted for review in Summer 2020, with plans for a longer book-length project on representations of timbre in computer-assisted orchestration.
“Computer-Assisted Orchestration, Format Theory, and the Social Construction of Timbre.” This paper was to be delivered at the annual meeting of the Music Theory Society of New York State, Long Island, NY (April 4–5, 2020), as well as the IRCAM Forum Hors les murs, Montreal, QC (April 3–5, 2020). Both conferences have been postponed indefinitely due to the coronavirus pandemic.
“Encoding Post-Spectral Thought: Kaija Saariaho’s Early Electronic Works at IRCAM, 1982–87.” Multiple versions of this paper were presented at the annual meeting of the Society of Music Theory, Columbus, OH (November 7–10, 2019); the International Conference on Spectralisms, 2nd Edition, Paris, FR (June 12–14, 2019); and the annual meeting of the Music Theory Society of New York State, Albany, NY (April 6–7, 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).
“On 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 1–4, 2018).
“Stumbling onto the Grid: A Loose History of Rhythm Quantization.” Presented at the annual meeting of the American Musicological Society, Rochester, NY (November 9–12, 2017).
“Playing with Shadows: Re-injection Loops in Georg Friedrich Haas’s Live-elektronische Musik.” Presented at the annual meeting of the Society of Music Theory, Arlington, VA (November 2–5, 2017). Earlier versions of this paper were presented at the 9th European Music Analysis Conference, Strasbourg, FR (June 28–July 1, 2017), and at the West Coast Conference of Music Theory and Analysis, Santa Barbara, CA (April 21–23, 2016).
“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, Huddersfield, UK (September 14–16, 2017).
“A Socio-technical Perspective on the Quantization of Musical Time.” Presented at ‘Making Time in Music’: An International Conference, Oxford, UK (September 12–14, 2016).
“Copy-Paste Aesthetics, Distributed Creativity, and the Circulation of Max for Live Devices in Online Communities.” Presented at the Toronto International Electroacoustic Symposium, Toronto, CA (August 10–13, 2016).
“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, Montreal, QC (June 1, 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, Berlin, DE (June 10–14, 2014).
“Sound and Sense: Musical Syntax in Francis Dhomont’s Voyage-Miroir.” Presented at the Musicology Colloquium Series at University of Colorado, Boulder, CO (April 1, 2013).
“A Modified Approach for Grundgestalt Analysis: Developing Variation and Dissolution in Alban Berg’s String Quartet, Op. 3, mvt. 1.” Presented at the Rocky Mountain Society of Music Theory Conference, Greeley, CO (March 30–31, 2012).