I have published the following writing, for example:
- Arborienteering (Guelph), with Polly Samland, a publication that is at once an event program, a musical score, and a field guide of the University of Guelph Arboretum (Guelph: Publication Studio, 2021)
- “COVID-19 and the Creative Music Ecology” with Karen Ng, in Critical Studies in Improvisation, 2021
- “Productions SuperMusique as Heard by an Outsider-turned-Insider,” in Circuit: Musiques Contemporaines, 2020
- “The Share: Guelph Artists-in-Residence, 2012” with Susanna Hood, Guelph: ICASP & Musagetes Foundation (2016)
- “One Musician Writes about Creative Music Venues in Toronto,” in People Get Ready (ed. Wallace & Heble), Durham, NC: Duke UP, 2013, pp 175-83
- “‘Improvisation’ in Corporations and Creative Music: What Are We Really Talking About?” in Critical Studies in Improvisation, 2013
- “Listening To, Listening With” in Music is Rapid Transportation (ed. Daniel Kernohan), Toronto: Charivari Press, 2010, pp 91-98
- “The Pedagogical Imperative of Musical Improvisation” in Critical Studies in Improvisation, 2007
- Reviews of books by John Tilbury, Edwin Prévost, and Ben Watson
In addition, I wrote nearly all the artists’ biographical notes for the brochures of the Guelph Jazz Festival from, I think, 1998 to 2012, and then again from 2017. I have regularly seen these texts copied and quoted –– usually unattributed –– in other print and electronic publications, which is flattering.
Editing & Translation
I work freelance as a copyeditor and French-to-English translator on lots of grad-student theses, grant applications, media releases, CD liner notes, etc., and I worked for a spell with an academic journal. Please contact me if you would like me to consider working for you in this capacity; my work is good, affordable, and efficient.