Sound Morphology and the Articulation of Structure in Electroacoustic Music. Organised Sound, 9/1, 2004 (first presented at Un siecle d'invention du son technologique: Ressources, discours et outils d'analyse. Resonances 2003, IRCAM, Paris).

Tongue:A Compositional Approach to Sound and (non)Sense. MAXIS II: Proceedings of the 2^nd International Festival and Symposium of Sound and Experimental Music, 2003. Sheffield: University of Sheffield Hallam Press, 121-5.

The Interaction of Sound Identities in Electroacoustic Music. Proceedings of the 2002 International Computer Music Conference, Gothenburg, Sweden, 2002.

Sound-Image Design and Electroacoustic Transformation Processes. Sonimagenes 2002: Jornadas UNLa de Arte Acusmˆ°tico y Multimedial, Universidad Nacional de Lanus [August 2002].

With M. Norris. Half-Heard Sounds in the Summer Air: Electroacoustic Music in Wellington and the South Island of New Zealand. Organised Sound, v. 6, n. 1, April 2001, pp. 21-28 [second author].

Sju_Who? Proceedings of 'Music Without Walls/Music Without Instruments' Conference. Leicester: De Montfort University, 2001 [CD ROM]. Read this paper here.

Composer entries: Jack Body, Ross Harris, John Rimmer, Denis Smalley. The New Grove Dictionary of Music and Musicians. London: Macmillan, 2001.

Letting the Ordinary Shine Through: British Acousmatic Music. Journal of Electroacoustic Music, v. 13, September 2000, pp 2-6. Follow links to an online version in the SAN article archive here.

Studio Report: Victoria University of Wellington Electroacoustic Music Studios. Berlin: Proceedings of the ICMC 2000, pp 424-427.

Towards a Sense of Place: The Music of Christopher Blake. Music in New Zealand, Autumn 1996, pp. 8-13.

Imagining the Source: The Interplay of Realism and Abstraction in Electroacoustic Music. In A Poetry of Reality: Sampling the Real World. Contemporary Music Review, 15 (1), London: Harwood Academic Press, 1996, pp. 73-93.

Lines, Distances and Soundscapes: Douglas Lilburn's Electroacoustic Music. Music in New Zealand, Summer 1995-96, pp. 21-23.

The Extended Environment. Proceedings of the 1994 International Computer Music Conference. Danish Institute of Electroacoustic Music, Aarhus, September 1994, pp. 23-26.

The Electroacoustic Music of Denis Smalley. Music in New Zealand. Summer 1993-94, pp. 14-19.

Chris Cree Brown Talks to Music in New Zealand [Interview with John Young]. Music in New Zealand, Summer 1991-92, pp. 8-15.

Sign Language: Source Recognition of Environmental Sounds in Electroacoustic Music. Canzona, 1991, pp. 22-29.