Other Publications

Peer-Reviewed Articles

“The Eddan Collective,” ASAP/Journal, 3/3 (December 2018): 679-698.

“Cassette Tape Revival as Creative Anachronism,” Twentieth-Century Music, 14/1 (2017): 109-117.

“Sound-alikes, Law, and Style,” University of Missouri – Kansas City Law Review Vol. 83:2 (2014): 303-311.

“On Meaninglessness,” Journal of Popular Music Studies 23/2 (2011):195-199.

“Field Recording, Sound Art and Objecthood”, Organised Sound, 14/1 (2009): 39-45.

“Dancing Machines: ‘Dance Dance Revolution’, Cybernetic Dance, and Musical Taste,” Popular Music, vol. 25, no.3 (2006), pp. 401-414.

“Sampling the 1970s in Hip-hop,” Popular Music, vol. 22 no.1 (2003), pp. 41-56.

“‘Brothers Gonna Work It Out?’: Echoes of Blaxploitation Sound in Hip-hop,” Music Research Forum, vol. 16 (2001), pp. 2-19.

Invited Essays and Reviews

Review of The Day The Sun Died, by Yan Lianke. Full Stop. 2 January 2019.

Review of The Willow King, by Meelis Friedenthal.  Full Stop. 8 May 2017.

Preface to Opera Povera catalog on 2015 exhibit at Schindler House, Los Angeles. 2016.

The sound of the End of the World: A Brief Guide to Drone Music,” Centro Pecci Journal (7 September 2016).  (Italian version here)

Blurry,” Musicology Now (27 March 2015).

“Music, Copies and Essences,” in The Sage Handbook of Popular Music, eds. Andy Bennett and Steve Waksman. 584-597. London: Sage, 2015.

“Noise”, in Encyclopedia of Aesthetics, 2nd ed., Michael Kelly, ed. New York: Oxford University Press, 2014.

“Materialism, Ontology, and Experimental Music Aesthetics,” in Tomorrow is the Question: New Directions in Experimental Music Studies, ed. Benjamin Piekut. 254-274. Ann Arbor: University of Michigan Press, 2014.

Tim Hecker and Revisited Tragedy,” in Headphone Commute (14 November 2013).

“Accents in Some Recent Digital Media Works,” in The Oxford Handbook on Digital Audiovisual Media Aesthetics, eds. Amy Herzog, Carol Vernallis, and John Richardson. 140-153. New York: Oxford University Press, 2013.

“Melody, Theft, and High Culture”, in Modernism and Copyright, ed. Paul Saint-Amour. 114-132. Oxford: Oxford University Press, 2010.

Sensuality Matters,” Journal of Music, Issue 57 (June/July 2010)

“After the End of Music: Listening To Kim Cascone’s ‘Music for Dagger and Guitar’”, Vague Terrain 5 (October 2009)

Review of Timothy Taylor’s Strange Sounds: Music, Technology, and Culture, in Journal of Popular Music Studies, vol. 16 no. 1, (2004), pg. 89.