My book An Orchestra At My Fingertips: A History of the Canadian Electronic Ensemble has been published by McGill-Queen’s University Press. This is the first detailed, academic study of the history, activities, and legacy of the Canadian Electronic Ensemble, or CEE, a live electronic ensemble that has been officially active since 1972. This book is a collection of stories, a pedagogical aid for teaching the history of electronic composition and performance, and a critical study of collective creativity and agency within a live electronic ensemble. Though the stories are about the CEE, they prompt examination and analysis that can enrich our understanding of all live electronic music-making.
“Unsettling Sounds of Indigeneity: Reckoning with the White Possessive and Building Anti-/De-colonial Solidarity in Popular Music Research.” Special issue: Musical Activism and Agency: Contestations and Confluence. MUSICultures 49 (Dec 2022): 225-240. (non-refereed)
“Decolonizing Desires and Unsettling Musicology: A Settler’s Personal Story of Researching and Teaching Indigenous Music at an American University.” Intersections: Canadian Journal of Music 39, no. 1 (2019; released in 2021): 41-56. Special Issue: Decolonizing Music Pedagogies, edited by Robin Attas and Margaret E. Walker.
“A Tribe Called Red’s Halluci Nation: Sonifying Embodied Global Allegiances, Decolonization, and Indigenous Activism.” Intersections 36, no. 2 (2016; released in 2018): 101-109.
“‘Welcome to the Tundra’: Tanya Tagaq’s Creative and Communicative Agency as Political Strategy.” Journal of Popular Music Studies 29, no. 4 (Dec 2017).
“Electroacoustic Voices: Sounds Queer, and Why It Matters.” TEMPO 71, no. 280 (April 2017): 68-79.
“Hearing Urban Indigeneity in Canada: Self-Determination, Community Formation, and Kinaesthetic Listening with A Tribe Called Red.” American Indian Culture and Research Journal 39, no. 3 (2015): 1-23.
“Music Appreciation and General Education in the College Classroom: Four Activities to Create Meaningful Musical Engagement.” Engaging Students: Essays in Music Pedagogy 3 (August 2015).
“Onomatopoeias and Robert Normandeau’s Sonic World of the Baobabs: Transformation, Adaptation, and Evocation.” Cahier d’analyse, Circuit: musique contemporaines 24, no. 2 (August 2014): 67-87.
“Imogen Heap as Pop Music Cyborg: Renegotiations of Power, Gender, and Sound.” Journal on the Art of Record Production, Issue 4: Supplement to ARP08 (Fall 2009).
“Materializing Identity in the Recording Studio.” In The Bloomsbury Handbook of Music Production, eds. Andrew Bourbon and Simon Zagorski-Thomas. London; New York: Bloomsbury Press (2020).
“Sounding the Halluci Nation: Decolonizing Race, Masculinity, and Global Solidarities with A Tribe Called Red.” In Sounding Critical Hope: Queer and Feminist Interventions in Popular Music Performance, eds. Susan Fast and Craig Jennex. Abingdon, UK: Routledge (2019).
“Hildegard Westerkamp’s Beneath the Forest Floor.” In Analytical Essays on Music by Women Composers: Electroacoustic, Multimedia, and Experimental Music, 1950–2015. Oxford; New York: Oxford University Press (under initial acceptance from editors; will be peer reviewed).
“Moving Beyond the Weird, Creepy, and Indescribable: Pedagogical Principles and Practices for Listening to Electroacoustic Music in the General Education Classroom.” eContact! 18.2 (April 2016).
“Playing with the Voice and Blurring Boundaries in Hildegard Westerkamp’s MotherVoiceTalk.” eContact! 14.4 (March 2013).
“Wallace Berry’s Structural Processes and Electroacoustic Music: A Case Study Analysis of Robert Normandeau’s Onomatopoeias Cycle.” eContact! 13.3 (June 2011).
“Liz Przybylski. Sonic Sovereignty: Hip Hop, Indigeneity, and Shifting Popular Music Mainstreams. New York: New York University Press, 2023. 328 pages.” Journal of Popular Music Studies. Forthcoming.
“Hungry Listening: Resonant Theory for Indigenous Sound Studies by Dylan Robinson, University of Minnesota Press, 2020.” Wicazo Sa Review 35, no. 1: 119-123. Note: 2020 issue year, released in 2023.
“Brandon LaBelle. Sonic Agency: Sound and Emergent Forms of Resistance. Goldsmiths Press, London, 2018.” Organised Sound 23, no. 3 (2018): 308-309.
“Norma Beecroft. 2015. Conversations with Post World War II Pioneers of Electronic Music. Self-published with assistance from the Canadian Music Centre. E-book.” Intersections 36, no. 1 (2016; released in 2018), 103-105.
“Ralf von Appen, André Doehring, Dietrich Helms, and Allan F. Moore, editors, Song Interpretation in 21st-Century Pop Music.” Journal of Musicological Research 35, no. 4 (Sept 2016): 353-355.
