My PhD thesis on Udo Kasemets and experimentalism in 1960s Toronto is available, warts and all, via U of Toronto’s T Space here.
“‘Listening Out’ to Experimental Music in Canada: Publics, Subjects, Places.” Intersections 36, no. 2 (pdf, uncorrected proof).
“Vue d’ensemble de la musique interculturelle au Canada : politique, diversité et colonialisme dans l’exécution musicale” Circuit: musiques contemporain (commissioned article, trans. Véronique Robert) 28, no. 1: 59–69
“Canavangard, Udo Kasemets’ Trigon, and Marshall McLuhan: Graphic Notation in the Electronic Age.” Twentieth-Century Music 14, no. 2: 209–243. (pdf)
“Extermination Music Nights: Reanimating Toronto’s Lost Geographies in Sound and Art.” Echo: a Music-Centered Journal 12, no. 1.
“Reading Ascension: Intertextuality, Improvisation, and Meaning in Performance.” Critical Studies in Improvisation 9, no. 2. (pdf)
“Subjectivity, Space, and Scale in Udo Kasemets’ Counterbomb Renga,” in Intensities: the Intersensory Affect of Sound, edited by Dylan Robinson and Mary I. Ingraham (pdf, unpublished manuscript, in process).
“Modernisms on the Air: CBC Radio in the 1960s” in John P. L. Roberts, CBC/Radio Canada and Art Music, edited by Friedemann Sallis and Regina Landwehr. Cambridge Scholars Press (pdf, unpublished manuscript, in press).
“Modernism and Music in Canada and the United States,” (co-authored with David Cecchetto) in The Modernist World, edited by Stephen Ross and Allana C. Lindgren, 546–554. New York: Routledge. (pdf)
From 2012–2016, I worked with my fabulous colleagues Matthew Fava, Colleen Renihan, and Alexa Woloshyn as part of the editorial collective of Notations, the newsletter-cum-digital magazine of the Canadian Music Centre’s Ontario Region. We’re pretty proud of the work we did, stewarding what once was a modest black-and-white newsletter into a robust online periodical, with lots of great content about Ontario’s new music scene. Issues are archived and available to read here.