“I am Here: AUMI Sings and Choral Participation.” Improvising Across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument. With Laurel Forshaw, Gillian Siddall, Henry Lowengard, Gale Franklin, Teresa Connors, and Karen Berglander. Ed. by the AUMI Editorial Collective. Music and Social Justice Series. University of Michigan Press, 2023. 

“Performance Studies and Critical Improvisation Studies in Ethnomusicology: Understanding Music and Culture through Situated Practice.” For Theory for Ethnomusicology: Histories, Conversations, Insights, 2nd Edition, edited by Harris Berger and Ruth Stone. London and New York: Routledge, 2019. 141-175.

"Improvisation, Adaptability, and Collaboration: Using AUMI in Community Music Therapy." Voices: A World Forum for Music Therapy. Co-authored with Mark Finch and Susan LeMessurier-Quinn. 16.3 (2016). DOI:10.15845/voices.v16i3.834

"Witnessing Music from the New Wilderness." Contemporary Music Review, special issue on Music and Ecology, 35.3, 2016. DOI:10.1080/07494467.2016.1239387

“Introduction: Improvising at the Nexus of Discursive and Material Bodies.” Co-authored with Gillian Siddall. Negotiated Moments: Improvisation, Sound and Subjectivity. Ed. Gillian Siddall and Ellen Waterman. Duke University Press, 2016.

“Improvisation and the Audibility of Difference: Safa, Canadian Multiculturalism, and the Politics of Recognition.” Negotiated Moments: Improvisation, Sound and Subjectivity. Ed. Gillian Siddall and Ellen Waterman. Duke University Press, 2016.

The Ecology of Musical Performance: Towards a Robust Methodology.”  Co-authored with Alice Boyle.  Current Directions in Ecomusicology. Ed. Aaron Allen and Kevin Dawe. Routledge, 2015.

“Trust and Risk in Improvisation: Opening Statements.” Improvisation Studies Reader: Spontaneous Acts. Ed. Rebecca Caines and Ajay Heble. New York and London: Routledge, 2014. 59-62.

“Listening Trust: The Everyday Politics of George Lewis’s “Dream Team”.” Co-authored with Julie Dawn Smith. People Get Ready: The Future of Jazz is Now! Ed. Ajay Heble and Rob Wallace. Duke University Press, 2013. 59-87.

“Send and Receive: Technology, Embodiment and the Social in Sound Art” for The Art of Immersive Soundscapes.  Anthology and DVD.  Ed. Pauline Minevich and Ellen Waterman. University of Regina Press, 2013. 111-127.

“Say Who You Are Play Who You Are: Improvisation, Pedagogy, and Youth on the Margins.” Action, Criticism & Theory for Music Education, Special Issue: Music Education in Urban Contexts. Co-authored with Ajay Heble, Ashlee Consolo Willox, Rob Jackson, Melissa Walker. 10.1(2011): 114-131.

“Naked Intimacy: Eroticism, Improvisation, and Gender.”  Critical Studies in Improvisation/Etudes critique en improvisation Vol 4.2, 2008.

“Radio Bodies: Discourse, Performance, Resonance” for Radio Territories. Ed. Brandon LaBelle and Erik Granly Jensen. Errant Bodies Press, 2007. 118-153.

“Purposeful Play: Women Radiomakers in Community-Based Campus Radio in Canada.” Atlantis: A Women’s Studies Journal 30.2(2006): 76-87.

“When it Rains: Experimental Music and The Cultural Ecology.”  Essay on Gordon Monahan’s Aqueolian Harp installation of Sept 2007, commissioned by The Western Front and published in their Echoic Chamber archive, 2008.

“I dreamed of other worlds” an Interview with Nicole Mitchell. Critical Studies in Improvisation/Etudes critique en improvisation Vol 4.1, 2008.

“Barnyard Drama’s chansons de métissage.” Musicworks 99(2007): 25-31.

“Lori Freedman: Clarinettist Immersed in Sound.” Interview.  Musicworks 94(2006): 18-23.