2022 ‘Re-componiendo la Radio Mexicana’ and ‘Re-composing Mexican Radio’. In Roberto Morales Manzanares and Cynthia P. Villagómez Oviedo, eds. El Callejón del Ruido: Creacion, ideas y tecnología resonancias e impacto
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.
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.
2019 “Recomposing Sounds … and Other Things”. Organised Sound 24/2: 130-138.
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.
2017 “The Sounds of Music”. In: Andrew King, Evangelos Hermonides and Alex Ruthmann, eds. Routledge Companion to Music, Technology and Education. NY: Routledge. 49-58.
2017 “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
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.
2016 “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), joint Introduction (3–7) and joint chapter, “The Analysis
2015 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.