Other Writings |
Leigh Landy |
| 1970 -1975 |
Several concert and record reviews in (a.o.): Soho Weekly News & Columbia Spectator (New York). |
| 1975 | Two reviews 'Briefly Mentioned' in Ethnomusicology 19/3:496-497. |
| 1977 | "Music in Holland", EAR Magazine 3/2: 3. |
| 1978 | "On DARMS : (Digital Alternative Representation
of Musical Systems)" in Informatique musicale 1977.
Paris: C.N.R.S., 17-26.
"Foreign Composers Living and Making Electronic Music in Holland", Key Notes 1978/2: 53-55. "At a Fork on the Way - 4: World Music and this thing called Serious Music", EAR Magazine 4/8-9: 16-17. |
| 1980 | "At a Fork on the Way - The African Lesson", in S. Moore, ed. There's No School for Feeling: a Report on Musicultura 1979. Breukelen: UNESCO & Ed. van Beinum |
| 1981 | "Music and Politics: a Reply", EAR Magazine
6/3: 2.
European corresponding editor for EAR Magazine until 1985. "Arabic Taqsim Improvisation: a Methodological Study Using Computers", and "Computer Musicology and Politics: Why are They Never Associated", in H. Charnassé, ed. Informatique et musique: actes du seconde symposium - Orsay 1981. Ivry-sur-Seine: ELMERATTO/C.N.R.S., 21-30, 243-254. "New Music and the Media, or Mr. Businessman's Veni, Vendidi, Vici ", EAR Magazine 7/2: 3,4. |
| 1982 | "New Notation?", EAR Magazine 8/1-2: 11-16. |
| 1983 | "The Sound of Music", NRC Handelsblad
(Scientific Supplement) 21 Oct., p. 1.
"Foutloos Musiceren: Techniek vs. Technologie", Politiek en Sociale Vorming 1/3: 12-14. "La vidéothéâtrie: son SON", Nordeste 3: 49-51. At a Fork on the Way. EAR Magazine 8/5, 9/1, 9/2, 9/3 (manuscript 87p). |
| 1984 | "Over het Muziek-Video-Theaterstuk, Electronique
Vidéo Circus" , Toneel Teatraal 105/4: 25-27.
"De Wereld van de Computer in de Muziek", in Catalogus: Computer Festival. Amsterdam: De Meervaart, 38-43. |
| 1985 | "Studij eksperimentalne muzike: oslobadnje ili
izolacija nova muzike?" (Experimental Music Studies: Liberation or
Isolation of New Music?), Zvuk (Sarajevo) 1/1985: 53-
58.
"Das Studium der experimentellen Musik an der Universität Amsterdam:
Befreiung oder Isolierung der neuen Musik?", Musik und Bildung
10/Okt. 1985: 693-694, 703.
"Duchamp, Dada Composer and his Vast Influence on Post-World War II Avant-garde Music", Kunstlicht Nr. 17 Winter 1985/1986: 18-25. + (1988) "Duchamp, Compositeur Dada, et son influence sur la musique d'avant-garde depuis la guerre", in S. Briosi & H. Hillenaar, ed. Vitalité et contradictions de l'avant- garde: Italie-France 1909-1924. Paris: Librairie José Corti: 241-254. + (1988) English version in Avant Garde No. 2 'Duchamp'. |
| 1987 | "An Analysis of Tayutai for koto (1972)
composed by Makoto SHINOHARA: a 3-Dimensional Approach", Interface
16/1-2: 75-96.
"Musicology and Computing Science: An Update - A New Specialization: A New Department", in R. Wegman & E. Vetter, ed. Liber Amicorum Chris Maas. Amsterdam: Univ. of Amsterdam, 207-214. “Comp(exp. mus.) = ftΣ'parameters'( ~ )” , Avant Garde No. 0 'Presentation': 27-40. "'Spar deinem Schiff die unbequeme Fracht / Den Mißlaut meiner Schmerzen deinem Ohr' - Die Arbeit eines Komponisten bei Heiner Müller-'Philoktet'", Basler Theater - Magazine 3-4/88: 2pp. "Vondel + een experimentele componist = ?" in Programme book for Vondel's Faeton. The Hague: De Appel, 1p. |
| 1988 | " How often have you seen your compositions
performed? A plea for more audio-visual collaborations in experimental
music", Interface 17/4: 241-249.
"Over György Ligeti's Violoncello Concert", Preludium 1988/10: 35-37 and Preludium 1991/12: 35-38. (Reprint: 1991/12: 35-38.) |
| 1989 | "John C A G E: anarchist musician", Avant
Garde 3 'Anarchia': 67-84.
to be translated and published in Flemish in Perspectief 1994.
"Musicology and Computing Science - a New Major at the University of Amsterdam: Problems and Solutions Involved in its Foundations", Musicus 1/i: 9-14. "Veni, Vendidi, Vici (Forretningsstandens Neoklassisisme: Jeg Kom, Jeg Solte, Jeg Vant) - Den Nye Musikken og Media", Ballade (Oslo) 1989/2: 50-55. |
| 1990 | "Is More than Three Decades of Computer Music Reaching the Public It Deserves?" in International Computer Music Conference Glasgow Proceedings. ICMC: 369-372. |
| 1991 | "Leigh Landy over nationalistische stijlen: is een koto amerikaans?", Het Gebouw (Noordhollands Filh. Orkest) 1/1991: 5-6. |
| 1992 | "A-RI-A – A Work in Progress (of Getting
Started)" Composers Desktop Project Quarterly (York) 15 :
15–17.
Letter re: "The dilemma of the marginalization of computer music", Computer Music Journal 16/1 : 4–5. "Academic? Underground? – The image the academic world has (or doesn’t have) of the 'contemporary underground'", Vital : Magazine for Electronic and Electroacoustic Music 23:10-12. "La musique éléctroacoustique" (of François Bernard Mâche) Les Cahiers du CIREM (Rouen) 22–23 : 79–96. (written with Chr. ten Hoopen) Special Editor for Avant Garde - Nr. 7 'Avant Garde and Technology' including the article "'I make Technology Ridiculous': The Unusual Dialectics of Nam June Paik" : 79–108. (written with Antje von Graevenitz). |
| 1993 | "Sound Transformations in Electroacoustic
Music", Composers Desktop Project Quarterly (York) special
edition: 14 pp.
Guest editor of an Interface number on the theme, "Sound transformations". "Oo, Li Po", in Henriette Ritter and Annelies Schulte Nordholt, eds. La Révolution dans les lettres. Rodopi (Amsterdam) 381–390. |
| 1994 | "The Something to Hold on to Factor’ in
Electroacoustic Timbral Composition",
Contemporary Music Review. Theme ‘Timbral Composition’
10/2:49-60.
"Composition and Performance in the 1990s" Computer Music Journal Summer 1994 – Vol. 18 No. 2: 49–58. "University College Bretton Hall - Studio Report". International Computer Music Conference 1994 Proceedings. Århus, Denmark: 499–500 (written with Paschall de Paor). |
| 1995 | "Computer-Musik ein guter Grund, zu Hause zu
bleiben? Ja und neinNeue Zeitschrift für Musik 3–4/95: 31–34.
"Too Many Languages? Has Contemporary Music Been Responsible for Its Own Marginalisation?" "Professorial Inaugural Lecture – Bretton Hall" National Arts and Education Archives, Bretton Hall (Wakefield), 13pp. + ill., cassette Book review: Sophie Fuller and Nicola LeFanu (eds.) "Reclaiming the Music". Contemporary Music Review Vol. 11 (1994) Journal of New Music Research Vol. 11/4: 398–401. "Artists are too Concerned with Today and Yeserday – What about Tomorrow?" in Dance ’95: Move into the Future. Proceedings. Centre for Dance Studies, Bretton Hall (Wakefield) 18–26. |
| 1996 | "Quality and Quality (if we’re lucky) or
Marcuse’s problem ain’t been solved yet", to be published in Contemporary
Music Review. Theme "Leaving the Twentieth Century: Ideas and Visions for New Musics". Vol. 15/3–4: 63–70. Co-editor of the volume of Contemporary Music Review as mentioned in the previous article. |
| 1998 | "L’espace divisé vs l’espace unifié (la
séparation est-elle en train de disparaître?)", in Jean-Marc Chouvel
and Makis Solomos, eds. L’espace: Musique/Philosophie.
L’Harmattan (Paris) 319–329.
"Digital Music Technology Can Aid in Bringing Music Back as a Part of Life" in Bernd Enders and Niels Knolle, eds. Klang Art – Kongreß 1995. (Series: Musik und Neue Technologie 1). Universitätsverlag Rasch (Osnabrück), 175–183. |
| 1999 | "Reviewing the Musicology of Electroacoustic
Music". Organised Sound: an International Journal of Music
Technology 4(1): 61–70.
"Heightening Access and Cohesion within the Worlds of Electroacoustic Music: The Promotion of Triangulation in Creativity, Development and Scholarship". International Computer Music Conference 1999 Proceedings. Beijing: 100–103. |
| 2000 | "Music as Organised Notes and Sound: The
electronic works of Ton de Leeuw".
Occassional Papers in the Arts and Education. Vol. 8 ed.
Tim Stephenson The National Arts Education Archive, West Bretton, UK:
65–77.
"Recording the Ephemeral in Music, an Art of Interpretation". Occassional Papers in the Arts and Education. Vol. 9 "Recording the Ephemeral", ed. Philip Butterworth. The National Arts Education Archive, West Bretton, UK: 1–10. "The Music, Technology and Innovation Research Centre (MTIRC) at De Montfort University – Studio Report". International Computer Music Conference 2000 Proceedings. Berlin: 432–435 (with Andrew Hugill). "Co-hear-ence and Electroacoustic Music". SBC2000 Anais do XX Congresso Nacional da Sociedade Brasileira de Computação. (Keynote speech: 19pp on CD-ROM). |
| 2001 | "From Algorithmic Jukeboxes to Zero-Time
Synthesis:A Potential A – Z
of Music in Tomorrow’s World – a conference provocation". Proceedings:
"Music without Walls? Music without Instruments?"
(10pp on CD-ROM) and Organised Sound: an International
Journal of Music Technology 6(2): 91–96.
"Analysis without Ink". Analyse et Création Musicales. L’Harmattan, Paris: 253–262. "Measuring Intention against Reception in Electroacoustic Music: a new opportunity for analysis". Proceedings: ICMC2001 Havana In print"Borrowing or Stealing? Celebration or Global Village? Interculturality in Contemporary Music from a Composer’s Point of View". to be published in Akin Euba, Cynthia Tse Kimberlin, eds. Intercultural Music Volume 4. Expected"The Emancipation of Sound in that Box We Call a Theatre". Proceedings: MAXIS Symposium. (6pp) |
| 2002 | "The Emancipation of Sound in that Box We Call a
Theatre". Proceedings:
MAXIS Symposium 2002. Sheffield: 65–71.
"La synthèse sonore: enfin l'émancipation?". Actes: 9e Journées d'Informatique Musicale, Marseille: 5-15 (Keynote speech). |
| 2003 | Voulez-vous changer votre paradigme avec moi ce
soir? ,MAXIS Symposium Leeds: 73-78. "In Transit" or Realising One's Aesthetic when the Technology Finally Catches Up. MAXIS Symposium 2003. Leeds: 79-84 (with Evelyn Jamieson, Kia Ng). Book review, Thomas Licata, ed. Electroacoustic Music: Analytical Perspectives. Greenwood Press, Westport, CT. in Notes September, 2003: 162-163. Book reviews, Bernd Schulz, ed. Felix Hess: Light as Air, Robin Minard: Silent Music Between Sound Art and Acoustic Design, Christine Kubisch, KlangRaumZeitLicht, Kehrer Verlag, Heidelberg, 2001, 1999, 2000. in Organised Sound 8/2, 227-229. Introducing the ElectroAcoustic Resource Site (EARS) International Computer Music Conference 2003 Proceedings. Singapore, 115-118 (with Simon Atkinson). Measuring Intention against Reception in Electroacoustic Music. SAN Diffusion. October 2003, 2-6 (with Rob Weale). "Borrowing or Stealing? Celebration or Global Village? Interculturalism in Contemporary Music from a Composer's Point of View". in Robert Mawuena Kwami, ed. Intercultural Music, Vol. 5 (MRI Press, Pt. Richmond, CA), 103-115. "About the Electroacoustic Resource Site (EARS) Project". SAN Diffusion. November 2003, 4 (with Simon Atkinson). |
| 2004 | "The ElectroAcoustic Resource Site (EARS):
philosophy, foundation
and aspirations." Organised Sound:
an International Journal of Music Technology 9(1): 79-85 (with
Simon Atkinson).
"There's Good News and There's Bad News: The impact of new technologies on music since the arrival of household electricity and the phonograph including potential adventures to look forward to". in 2004 IEEE Conference on the History of Electronics - Conference Proceedings (CD-ROM). IEEE History Center, Rutgers University. "Investigating Compositional Intent and Reception: Two Case Studies Prochaine Station by Christian Calon and Claude Schryer and Valley Flow by Denis Smalley". Analytical Methods of Electroacoustic Music. Mary Simoni, ed. Lisse: Swets & Zeitlinger in press. |
| 2005 | "The Music, Technology and Innovation Research
Centre (MTI) at De Montfort
University - Studio Report". International Computer Music Conference
2005 Proceedings. Barcelona, 507-511.
"Why I Haven't Written about the Pieces Played at This Year's ICMC" in Array 2005 (online journal of the International Computer Music Association). |
| 2006 | "The Intention/Reception Project" in Mary
Simoni, ed. Analytical Methods of Electroacoustic Music. Routledge (New
York): 29-53 + appendix on DVD.
"La Zététique: Musique mixte créée en collaboration". in Marc Battier, Bruno Bossis, Anne Veitl, eds. Musique, instruments, machines. Paris: MINT/OMF/Université de Paris IV-Sorbonne: 6-79 "Electroacoustic Music Studies and Accepted Terminology: You can't have one without the others". EMS06 Beijing Proceedings. www.ems-network.org. |
| 2007 | "The ElectroAcoustic Resource Site (EARS)
Approaches Its Next Phase: Going global and addressing the young".
International Computer Music Conference 2007 Proceedings. Copenhagen,
I: 141-144. "The ElectroAcoustic Resource Site (EARS)". to appear in the initial issue of Journal of Music Technology and Education (Intellect Press, 9/07). "The ElectroAcoustic Resource Site (EARS) Approaches Its Next Phase: going global and addressing the young:" Electroacoustic Music Studies Conference 2007, Leicester. Online publication: http://www.ems-network.org/spip.php?article284. "The ElectroAcoustic Resource Site". Journal of Music, Technology and Education 1/1: 69–81. |
| 2008 | “On the Paradigmatic Behaviour of Sound-based Music”. in
Tatjana Böhme-Mehner, Klaus Mehner and Motje Wolf, eds. Elektroakustische Musik –
Technologie, Theorie als Herausforderung an die Musikwissenschaft /
Electroacoustic Music – Technologies, Aesthetics, and Theories – a
Musicological Challenge. Essen; Die Blaue Eule: 11–22. “Re-composing Words”. in Cathy Lane, ed. Playing with Words: The spoken word in artistic practice. CriSAP/RGAP, distributed by Cornerhouse Publications, Manchester: 140–144. + excerpt of “Rock’s Music” on their double CD and the full work online: http://www.gruenrekorder.de/?page_id=1771 “Where Does Sound Art Fit?” / “Hvor passar lydkunst inn?”, in Jøran Rudi, ed. Absorpsjon og resonans – lyd og mening / Absorption and Resonance – Sound and Meaning. Oslo: Notam: 128–137. Yingchun Tian, Hongji Yang, Leigh Landy – “MDA-based Development of Music-learning System”. Proceedings of the 14th Chinese Automation and Computer Science Conference in the UK. Sijing Zhang, Dayou Li, eds. Colchester: Pacilantic International: 97–102. “On the Paradigmatic Behaviour of Sound-based Music”. EMS08 Paris Proceedings. http://www.ems-network.org/ems08/paper.html. + Martin Supper: “Landy, Leigh” in: MGG – Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik, Ludwig Finscher, ed; 2nd revised edition, Supplement. Kassel/Stuttgart: Bährenreiter/Metzler, columns 457-459. |
| 2009 |
“Re-introducing Life into Art:
Musical Sampling/Recycling of Sounds”. Re-* Recycling_Sampling_Jamming:
Künstlerische Strategien der Gegenwart (Conference – Akademie der
Künste, Berlin 2/09) recording of talk:
http://www.recycling-sampling-jamming.de/programm.php?what=sa “Sound-based Music 4 All”. in Dean, Roger T., ed. The Oxford Handbook of Computer Music. Oxford. Oxford University Press: 518–535. Yingchun Tian, Hongji Yang, Leigh Landy – “An Ontology-based Model-Driven Approach for a Music Learning System”. 21st International Conference on Software Engineering and Knowledge Engineering Proceedings (SEKE 09, Boston): 739–744. “Écoute réduite – a wrong turn in the history of electroacoustic music?” Keynote address: NZEMS, University of Auckland. http://hdl.handle.net/2086/5226. “Digital Musicking and Co-hear-ence”. Keynote address at the “Outside the Box: Practice, Participation and Method in Electronic Music.” AHRC conference at City University, 16 November 2009. https://www.dora.dmu.ac.uk/handle/2086/5272. “Increasing Access to Sound-based Music – www.e-EMS”, EMS09 Buenos Aires Proceedings. http://www.ems-network.org/ems09/proceedings.html. |
| 2010 |
Book review, James Saudners, ed. The Ashgate Research Companion to Experimental Music. Farnham: Ashgate, 2009. in Organised Sound 15/1, 75–77. “Educating Students in Electroacoustic Music Studies: What does this consist of and how can we best deliver it?” EMS10 Shanghai Proceedings. http://www.ems-network.org/spip.php?rubrique53. Co-edited book with Raúl Minsburg. En el Límite: escritos sobre arte y technológia. Lanús: Ediciones de la UNLa: Coleccion Humanidades y Artes. “Introduccíon” with Raúl Minsburg: 8-9, “El projecto Intención/Recepción y su relevancia en el campo de la producción y en el de la educación musical” with Rob Weale: 23-34. “From Music in the Laboratory to Music of the Folk: On the future of sound-based music” invited paper in Sonic Ideas/Ideas Sónicas Vol. 3, No. 1:18–22 theme “Música en el Holodeck” invited article. |
| 2011 |
“Thinking Concretely about Pierre Schaeffer” in Jerica Ziheri, ed. Pierre Schaeffer: mediArt: Proceedings of the International Conference. Rijeka: Muzej moderne I suvremene umjetnosti: 69–74 + pdf at http://darkofritz.net/text/Images_Sound_Vladimir_Bonacic.pdf. “Art for Goodness[’) Sake: It’s your tea party ad you can cry if you want to”. EMS11 New York Proceedings – keynote address. http://www.ems-network.org/spip.php?rubrique57. Book review: Jacqueline Oskamp. Onder Stroom: Geschiedenis van de elektronische muziek in Nederland. in Organised Sound 16/3, 286–287. |
| 2012 |
“Discovered whilst entering a
new millennium: A technological revolution that will radically
influence both music making and music education”. in Journal of Music, Technology and Education. 4/2-3: 181–188. Making Music with Sounds. NY: Routledge (208p). “The Analysis of Electroacoustic Music, the Differing Needs of its Genres and Categories” (with Simon Emmerson) EMS12 Stockholm Proceedings. http://www.ems-network.org/spip.php?rubrique58. |
| 2013 |
“Widening Participation in Electroacoustic Music: The EARS 2 pedagogical initiatives” (with Richard Hall, Mike Uwins). Organised Sound 18/2: 108–123. “music Technology, Music technology or Music Technology” in Contemporary Music Review 32/5: 459–471. “eOrema – a word of welcome”. eOrema I. http://www.orema.dmu.ac.uk/?q=content/eorema-%E2%80%93-word-welcome. Online publication of the “Compose with Sounds” website for the software of that name and all activities related to it: cws.dmu.ac.uk. |
| 2014 |
“Widening Participation in Electroacoustic Music: The EARS 2 pedagogical initiatives” (with Richard Hall, Mike Uwins). Organised Sound 18/2: 108–123. “music Technology, Music technology or Music Technology” in Contemporary Music Review 32/5: 459–471. “eOrema – a word of welcome”. eOrema I. http://www.orema.dmu.ac.uk/?q=content/eorema-%E2%80%93-word-welcome. Online publication of the “Compose with Sounds” website for the software of that name and all activities related to it: ears2.dmu.ac.uk/cws. Compose Your Words. eBook. NY: Intelligent Arts (42p.) (Available from Amazon, iTunes, etc.) |
| 2015 |
“Editorial – 20 Years of Organised Sound: Looking back and forward” in Organised Sound 20(1): 1–9. + two book reviews ‘briefly mentioned’ ibid 139–140. “Über die Zusammenarbeit mit Heiner Müller: “The idea is to feed, furnish and let the space speak for itself” (Artaud) and “Dokument: ‘Spar deinem Schiff die unbequeme Fracht, Den Mißlaut meiner Schmerzen deinem Ohr’: A Composer’s Work with Philoktet (1987)” in Julia H. Schröder (Ed.), Im Hörraum vor der Schaubühne. Theatersound von Hans Peter Kuhn für Robert Wilson und von Leigh Landy für Heiner Müller”. Bielefeld: Transcript, 89–112 and 113–118 respectively. “Wprowadyanie młodzieży w świat organizowania dzwiękow: EARS 2 i Compose with Sounds” (transl. Małgorzata Cnota). Glissando #27 “Dziecko” (Theme: The Child) 83–89. “Comment l’analyse fondée sur l'écoute peut-elle faciliter la comprehension et l’appréciation de la musique électroacoustique?” in Nicolas, Marty, ed. Musiques électroacoustiques Analyses <–> Écoutes. Sampzon, France: Delatour, 209–228. (Keynote talk at 2014 EuroMAC conference. (Translation: N. Marty with the author.) |
| 2016 |
Expanding the Horizon of Electroacoustic Music Analysis
(Cambridge University Press, x, 407p.), co-edited with Simon Emmerson,
including joint Introduction (3–7), and joint chapter, “The
Analysis of Electroacoustic Music: The differing needs of its genres
and categories” (8-27) and “Trevor Wishart’s Children’s Stories II from
Encounters in the Republic of Heaven: An analysis for children of a sample-based composition” (197-208). “Sound Art vs. Electroacoustic Music: Finding value for the heart and the brain” in Thomas Gardner and Salomé Voegelin, eds. Colloquium: Sound Art - Music. Winchester, Washington: Zero Books, 100-108. |
| 2017 | But Is It (Also) Music?. In: Marcel Cobussen, Vincent Meelberg and Barry Truax, eds. The Routledge Companion to Sounding Art. NY: Routledge. 17-26. “The Sounds of Music”. In: Andrew King, Evangelos Hermonides and Alex Ruthmann, eds. Routledge Companion to Music, Technology and Education. NY: Routledge. 49-58. “Finding a Way to Tie Technology, Aesthetics and Dramaturgy Together in Terms of Experimental Sound-based Music”. In: Martin Flašar, ed. Musica Artificiosa: Music as an art and Profession. Musicologica Brunensia 2017/1 issue 52: 5-16. Also available at: http://www.phil.muni.cz/journals/index.php/musicologica-brunensia. “In Pursuit of the Innovative and the Accessible: Some of the driving forces behind my music and my research”. Journal of the Japanese Society of Sonic Arts, Vol. 9 No. 2: 10-15. Available at: http://data.jssa.info/paper/2017v09n02/3.Landy.pdf. |
| 2018 | “The Three Paths: Cultural retention in Chinese electroacoustic music”. In: Simon Emmerson, ed. Routledge Research Companion to Electronic Music: Reaching out with Technology”. Abingdon: Routledge. 77-95. |
| 2019 | Stephen Pearse, Leigh Landy, Duncan Chapman, David Holland and Mihai Eniu. ‘Composing with Sounds: Designing an Object-Oriented DAW for the Teaching of Sound-Based Composition’. Proceedings of the Sound and Music Computing Conference 2019, Malaga, Spain. “Recomposing Sounds . . . and Other Things”. Organised Sound 24/2: 130-138. Editorial - Bringing New Music to New Audiences. Organised Sound 24/3: 225-227. |
| 2020 | ‘Hildegard Westerkamp’s Beneath the Forest Floor (1992). in Miller Puckette and Kerry L. Hagan, eds. Between the Tracks: Musicians on Selected Electronic Music. Cambridge Mass.: MIT Press. pp. 39-62. |
| 2021 | ‘It’s Not (Just) About History and, by the Way, Which History?’ in Blake Stevens, ed. Teaching Electronic Music: Cultural, Creative, and Analytical Perspectives. New York and Abington: Routledge. pp. 123-137. ‘From AI Enabling Sound Spotting to Zeitgeist Incorporated into EMS: A potential A - Z regarding the future of our field of Electroacoustic Music Studies - a conference provocation’. Electroacoustic Music Studies EMS21 Conference. De Montfort University, Leicester 10-13 November 2021. https://zenodo.org/communities/electroacoustic-music-studies-network/search?page=1&size=20. |
| 2022 | ‘Re-componiendo la Radio Mexicana’ and ‘Re-composing Mexican Radio’. In Roberto Morales Manzanares and Cynthia P. Villagímez Oviedo, eds. El Callejón del Ruido: Creacion, ideas y tecnología resonancias e impacto (1994-2019). Loma Verde, MX: Ediciones de las Sibilas. pp 223-235, 376-385. |
| 2023 | In press: Experiencing Organised Sounds: The listening experience across sound-based works. Abingdon: Routledge - 106k words + copious media examples online. |
| Under review: The 21st Century Sonic Musician (with John Richards - 84k words). |