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‘The Entanglements which make Instruments Musical: Rediscovering Sociality’ in Journal of New Music Research (Special Edition) (forthcoming, 2021)


'An Indigenous London Flute-Making Practice in the Early Eighteenth Century: The Case of Patrick Urquhart.' in Galpin Society Journal 74 (publ March 2021) 15pp

‘Networks of Innovation, Connection and Continuity in Woodwind Design and Manufacture in London between 1760 and 1840’ in Galpin Society Journal 73 (2020)


‘Contribution towards an ethics of listening: an improvising musician’s perspective’ in Critical Studies in Improvisation 12:1. DOI:


‘Engendering Hope: A person-centred reflection on technology and gender’ in Contemporary Music Review, 35:1, 61-70, (2016), DOI:10.1080/07494467.2016.1176774)


‘Inhabiting Sound: A tactile-sonic basis for musical meaning’ in Charissa Granger, Friedlind Riedel, Eva-Maria Alexandra van Straaten & Gerlinde Feller, eds. Music Moves: Musical Dynamics of Relation, Knowledge and Transformation (Hildesheim, Georg Olms Verlag, 2016)


‘Tullis Rennie's Muscle Memory: Listening to the Act of Listening’ in Contemporary Music Review 34:1, 22-32 (2015), DOI: 10.1080/07494467.2015.1077563


‘Touching at a distance: Resistance, tactility, proxemics and the development of a hybrid virtual/physical performance system’ in Contemporary Music Review 32:2-3, 119-134 (2013)


‘Charles Nicholson and the London Flute Market in the early Nineteenth Century’ in Galpin Society Journal 64 (2011) 67-78 and 184 -7


‘Editorial: Performance Ecosystems’ in Organised Sound 16(2) (2011) 95-96


 ‘Content and Discontent’ in Schroeder, F. (ed.) Performing Technology: User Content and the New Digital Media (Newcastle, Cambridge Scholars Publishing, 2009) 143-157   ISBN 1-4438-1445-8


‘Performance Ecosystems: Ecological approaches to musical interaction’ in EMS-07 Proceedings at (Electroacoustic Music Studies Network, 2007) 20pp


‘Making the archive/archiving the making’ in Organised Sound 11(2) (2006) 149-153


‘Thinking the unheard: Hybrid thought in musical practice’ in Monks, J. and Gullström-Hughes, R (eds) Hybrid Thought (Milton Keynes, Open University, 2003) 163-189


‘The musical process in the age of digital intervention’, in ARiADA Texts 1 (December 2000): Download here.


‘Beyond the acousmatic: Hybrid tendencies in electroacoustic music’, in Emmerson, S (ed) Music, Electronic Media and Culture (Aldershot, Ashgate, 2000) 56-83  ISBN 0-7546-0109-9


Beyond the Acousmatic: Hybrid tendencies in electroacoustic music (Stockholm, International Confederation for Electroacoustic Music, 1997) ISBN 91-630-5390-X


Living Without Boundaries: Challenging conventional artform constraints within education (Bath, BCHE Press, 1994)


'Timbre Composition: Ideology, metaphor and social process', in Contemporary Music Review 10/2 (1994) 129-134


South West Arts Research Fellowship in Interdisciplinary Arts: Interim Report (ACGB, 1993)


'The Sonogram: A tool for the visual apprehension and analysis of sonic material', in Sonus (New York, 1992)


'The Sonogram: A Tool for the Documentation of Musical Structure' (with Tamas Ungvary), in Ex Tempore Vol.6 No 1 Fall 1992 (Christian University, Texas, 1992) pp.22-49 available at


'Nuntius: A computer system for the interactive composition and analysis of music and dance' (with T. Ungvary & P. Rajka), in Leonardo 25 (1). [International Society for the Arts & Science] (Oxford, Pergamon, 1992) 59-68


The Scollar Project: Southern Arts Collaborative Arts in Schools Project: A Summative Evaluation. (Winchester, Southern Arts, 1992)


 ‘The Sonogram: A Tool for Visual Documentation of Musical Structure’ (with Tamas Ungvary) Report 4/89 (K.A.C.O.R./E.M.S., Stockholm, 1989)


‘The Sonogram: A Tool for Visual Documentation of Musical Structure’ (with Tamas Ungvary) in Proceedings of the 1990 International Computer Music Conference (Computer Music Association, San Francisco, 1990)


Graphic Analysis of Structural Function in Music KACOR Research Report (Stockholm, KTH/EMS, 1989)

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