for American Music:
The Sonic Politics of the U.S. Abortion Wars
for Journal of Interdisciplinary Voice Studies:
review of Sensing Sound: Singing and Listening as Vibrational Practice
for Sounding Out!:
- Sounds of life: Fetal heartbeat bills and the politics of animacy
- Gendered sonic violence from the waiting room to the locker room
for The Log Journal:
- review of Ellen Reid’s p r i s m
- Interview with Thea Musgrave
- Interview with Kate Soper
- review of MATA initiative A Room of One’s Own
- #Hearallcomposers: Straining our ears, amplifying our voices
- Interview with Joan La Barbara
for New Music Box:
“This event is probably not unique”: On communication and metaphor in Robert Ashley’s Improvement
selected pieces for I Care If You Listen:
- review of Julia Wolfe’s Fire In My Mouth
- On gendered spaces in the new music world
- review of Pauline Oliveros’s posthumous ‘phantom opera’
- Interview with Soosan Lolavar
- “Currents”: Nouveau Classical Project at National Sawdust
- Interview with Sugar Vendil
- Interview with Listening to Ladies
- Ensemble Pi presents moving Black Lives Matter concert
- Tallinn Music Week
- Gibson’s Apparitions of the Four Pillars: 2016 Avant Media Festival
- Marveling in the human voice at Meredith Monk and Vocal Ensemble’s 50th anniversary
- Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk
- (ICIYL author page)
for Resonance: The Journal of Sound and Culture:
- “The Ripping Apart of Silence”: Sonic Patriarchy and Anti-Abortion Harassment
- review of Annoying Music in Everyday Life
for Lincoln Center:
- Program note on Ashley Fure’s The Force of Things
- Playbill on Kaija Saariaho’s Only the Sound Remains
for Music & Literature:
- Robert Ashley, Giordano Bruno, and the infinity of the everyday
- The “real child world” of Harry Partch: Partch’s Bitter Music & Delusion of the Fury
for St. Louis Symphony Orchestra:
- Playbill on Terence Blanchard’s Fire Shut Up in My Bones
- Program notes on Barber, Beal, Tchaikovsky
- Program notes on Wennäkoski, Salonen, Shostakovich
for Irritable Hedgehog:
Liner notes for Bryan Christian’s Each flows into the other
for VAN Magazine:
- Interview with Caroline Shaw
- Interview with Marina Abramović
- Hearing queerly: On the sexual politics of musical metaphors
- review of Meredith Monk’s Cellular Songs
- Interview with Du Yun
- review of Ultima Oslo Festival
- review of Ostrava Days Festival
- Interview with Annea Lockwood
- The sounding objects of Ellen Fullman and Theresa Wong
- Against the grain: Rethinking the voice with contemporary music
- Doom and womb: A feminist listening of Éliane Radigue’s Biogenesis
- Listening to homelessness: On Robert Ashley’s Dust
- On tour with the Baltic Sea Philharmonic
for Scholars Strategy Network:
How City Policymakers Can Address Verbal Harassment at Abortion Clinics
for Online Abortion Resource Squad:
10 Ways to Get Involved in Abortion Advocacy
for TEMPO Quarterly Review of New Music:
- review of Gelsey Bell’s & John King’s Ciphony
- review of Postopera: Reinventing the Voice-Body
- review of Tristan Perich’s Surface Image & Meredith Monk’s Piano Songs
- review of Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording
selected pieces for Bachtrack:
- Interview with John Adams
- Kaija Saariaho’s L’Amour de loin triumphs at the Met
- Jessie Montgomery première shines among the classics at Carnegie Hall
- New Opera Days Ostrava
- Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk
- Either/Or plays For Philip Guston at Issue Project Room
- Bang on a Can and New York Philharmonic bring enormous new works to the Biennial
- David Lang’s whisper opera: Intimate impossibilities at the Mostly Mozart Festival
- John Cage’s HPSCHD: Living art at Eyebeam in NYC
- Stockhausen’s Oktophonie incites intergalactic panic attack at the Park Avenue Armory
- Transcendent November in March: An early minimalist classic in New York
- (Bachtrack author page)