2006

 Unpulser (2.0, Beta 2.02): An Environment for Pre-compositional Planning and Analysis with Additive Rhythms. With Ian Saxton. In peer review.

2007

Perceiving and distinguishing simple timespan ratios without metric reinforcement. Journal of New Music Research, 37/4 (December 2007).

2006

What are Musical Paradox and Illusion? (Review Essay) American Journal of Psychology 120/1 (Spring 2007), 123-139.

2003

(With Christopher Williams) “On the Piano Music of Benjamin Carson: A Correspondence of Essays” The Open Space Magazine 5 (Fall 2003), 231-250.

2003

Review Essay “John Adams and a Counterpoint of Contemporary Reasoning: The Los Angeles Philharmonic’s El Niño, March 2003, Echo V/1) (http://www.humnet.ucla.edu/echo/volume5-issue1/reviews/carson.html)

2004

 “Tough Questioning,” in Shock and Awe: War on Words – Feminist Provocations 1.  Bregje van Eekelen, Jennifer González, Bettina Stötzer, and Anna Tsing, Eds. New Pacific Press: Santa Cruz, 2004. 153-154.

2009

Lesser Myths I & II: Anonym, Atalune, Infidel Collection of five works for C trumpet, alto saxophone, contrabass, two keybaord instruments, and two percussionists. Premiered by Yarn/Wire with Rhonda Taylor, Chris Williams, Glen Whitehead at a Columbia University Performance Program Special Event: “The Music of Benjamin Carson” (Mar 26, 09)

2008

Mediations, Tenors for vibraphone with wooden objects and marimba with metal objects. Premiered at SUNY Stony Brook (Mar 5 09)

Pieces, Threaded, for piano. Premier (Apr 08): UCSC [9’40”]

2007

Takes to the Stage for solo cello. For Franklin Cox. Premier (Apr 07): UCSC

“Hysterics / Reminiscences” [4’20”]; “Ana Agnosis / Paranoia” [4’00”] for solo piano.

2004

“‘Fors Seulement…’, fors seulement condition” [4’30”] for piano, performed (Jun 04) at J.M. Harris’ faculty recital, New England Conservatory’s Summer Institute for Contemporary Piano Performance; and by Carson (Apr 04) at UCSC and (Oct 05) at Sydney Conservatory’s “Music and Social Justice” Conference.

2003

“Detáler” [6’30”] for contrabass, three voices, and eight instruments.  Commissioned by Christopher Williams.  Premier (UCSD): Cond. Harvey Sollberger. Winner, 1^st prize, International Bass Festival (London)

1994

“Slowly a Sweetness” [4’15”] for baritone and six instruments. Premiered (Jul 92) at Aspen Summer Music Festival.

1992

“A Dream Before Sleeping” [8’00”] for seven instruments. Recorded (Jan 93) by Steven Mosko and members of the Portland New Music Ensemble.

2003

 “Plain-clothes Cop,” for piano. In The Open Space Magazine 5, Fall 2003. 236.

2009

Hearing Time Freely: theoretical psychology, psychology of rhythm, and rhythm theory. Between the Cracks: Intersections of Discipline in Science and Art. Lecture Series at Oregon State University. Corvallis, March 29.

2007

Perceiving and distinguishing simple timespan ratios without metric reinforcement. Society for Music Theory. Baltimore, November 15-18.

2005

Stream Segregation and Rhythm Perception. The Psychonomic Society’s Auditory Perception, Cognition, and Action Meeting. Toronto, November 10.

Lecture-recital “Subjectivity and Collectivity in Late 20th-Century Piano Music.” Musicological Society of Australia’s Music and Social Justice Conference.  Sydney Conservatory, October 2.

2004

Lecture “Compositional Economy and Self-Identical Bodies in New Music.” Oakes College, UC Santa Cruz: Cultural Studies Colloquium, May 26.

Lecture “Pulse and special linear identity.” Perception et Cognition Auditives, Paris Universite V. September 1999.