PEER-REVIEWED PUBLICATIONS

BOOK

2018. Sound and the Aesthetics of Play: A Musical Ontology of Constructed Emotions. Cham: Palgrave Macmillan, 2018.

https://doi.org/10.1007/978-3-319-66899-4

ARTICLES & BOOK CHAPTERS

2019. Improvisation: an ideal display of imagination in embodied perception. In The Oxford Handbook of Sound & Imagination. Oxford: Oxford

University Press. https://doi.org/10.1093/oxfordhb/9780190460242.013.7

2018. Playing in Streams of Knowledge: multimodality in perception and action. In An old melody in a new song: aesthetics and psychology.

Annals of Theoretical Psychology. Cham: Springer. https://doi.org/10.1007/978-3-319-92339-0

2016. Preparing Empirical Methodologies to Examine Enactive, Embodied Subjects Experiencing Musical Emotions. Danish Musicology

Online: 7-25.

www.danishmusicologyonline.dk/arkiv/arkiv_dmo/dmo_saernummer_2016/dmo_saernummer_2016_NMC_01.pdf

2015. Virtual Distance and Soundstage, and their impacts on experienced emotional valence. Danish Musicology Online: 101-116.

www.danishmusicologyonline.dk/arkiv/arkiv_dmo/dmo_saernummer_2015/dmo_saernummer_2015_lyd_musikproduktion_06.pdf

2015. Emotional cues, emotional signals, and their contrasting effects on listener valence. In AM '15 Proceedings of the 10th Audio Mostly on

Interaction With Sound. Association for Computing Machinery: 1-5.

https://doi.org/10.1145/2814895.2814913

2015. Individual temporal biases, and methods composers of high-groove music use to increase beat sensation. In Proceedings of CMMR:

1-17.

2014. Imagined time: sculpting a temporal experience for the listener. In AM '14 Proceedings of the 9th Audio Mostly: A Conference on

Interaction With Sound. Association for Computing Machinery: 1-5.

https://doi.org/10.1145/2636879.2636897

2012. Unfolding Time: Perceiving Speed in Music as Resulting from the Interactions of Discrete Musical Layers. PhD diss., University of

Southampton.

https://eprints.soton.ac.uk/367344/ (dissertation is from page 275 onwards).

2009. Spectral Analysis and Deconstruction. In Contemporary Techniques and Openmusic, edited by Rozlie Hirs and Bob Gilmore. Paris:

Editions Delatour France/Ircam - Centre Pompidou: 275-283.

COMPOSITIONS

Songs of Passage for soprano and ensemble – 2019. 9 min.

Folding the unfolding brass for brass ensemble – 2018, 3 min.

I wish that there was something there for mixed ensemble and electronics – 2017, 11 min.

Self-portrait, reflection for mixed ensemble – 2016, 7 min.

This is fun for me, even if you don't think it is for flute and piano duo – 2015, 8 min.

Emptying the omission for mixed ensemble – 2015, 20 min.

Happy intervals, inevitable consequences for mixed ensemble – 2015, 7 min.

Contradictory Histories for violin & harp duo – 2013, 7 min.

Trajectories for string trio – 2013, 8 min.

Critical Distance for mixed ensemble – 2013, 14 min.

Krebs en Schütze for large ensemble – 2012, 8 min.

Hand I used to hold for large ensemble – 2011, 10 min.

Arguments Against Motion for mixed ensemble – 2011, 23 min.

The Failures of Marsyas for mixed ensemble – 2009, 9 min.

Matter for mixed ensemble – 2008, 11 min.

For Ilknur for bass clarinet – 2008, 4 min.

Cwmdonkin Drive for mixed ensemble with narrator – 2007, 12 min.

Lacking the door often requires of the window for solo cello – 2007, 6 min.

Hijway for solo tape – 2006, 2 min.

She said I could for large ensemble – 2006, rev. 2006, 6 min.

Fundere for mixed ensemble – 2006, rev 2007, 6 min.

Inclination for String Orchestra – 2005, 7 min.

To become a member you must do all of the steps  for two organs – 2005, 3 min.

Twofold Refractions   for 10 instruments – 2004, 9 min.

Le Lion abattu  par l’homme   for 3 voices and electronics – 2004, 3 min.

Caudalis  for 6 trumpets – 2003, 6 min.

Time and Expectation for mixed ensemble – 2003, 6 min.

Tourniquet Mirage for orchestra – 2003, 13 min.

Seams for String Orchestra – 2000, 6 min.

Artesian Flow for large chamber ensemble – 2000, rev. 2002, 8 min.

Established time  for solo trumpet – 1999, 6 min.

Entreaty and Elegia for Brass Quintet – 1999, 8 min.

Embers for Chamber Orchestra – 1998, 10 min.

Upon Billows for tape – 1998, 8 min.

remnants for two pianos – 1998,  7 min.

Inner dialogue for tape and electronics – 1997, 6 min.

Wspomnienie for Large String Orchestra – 1997,  5 min.

DISCOGRAPHY

Ensemble Modelo62. 2018. Clareonce Barlow Musica Algorithmica. Ensemble Modelo62/World Edition (0034).

Gruppo Montebello. 2017. Canadian Composers. Etcetera Records (KTC 9006 8711801090061).

Standing Wave Ensemble. 2017. New Wave. Redshift Records (B06XW3QJXS).                                                  Itunes link   Spotify link

Ensemble Modelo62. 2015. Modelo moves. Ensemble Modelo62/Attacca Productions (8714835109266).    Itunes link   Spotify link

Elliot Simpson. 2015. The Wayward Trail. Microfest Records (700261422510).                                                        Itunes link   Spotify link

Canadian League of Composers. 2014. ISCM Canadian Section – Selected Works 2014.

Ensemble Modelo62 with Juan Parra Cancino. 2014. Multiple Paths. Orpheus Institute Series.

INVITED TALKS

Nov 2019     University of Saskatchewan Music Department Fine Arts Research Lecture Series. Making Music wih Others: We-agency and

                      Transformational Music Experiences

May 2018     York University Music Composition Department. Composers and their Means of Approaching Different Temporal Modes of

Aesthetic Experience in their Practice.

Mar. 2018     Tokai University European Center. 3rd Dialogue between Civilizations. Composers and their Means of Approaching Different Modes

of Affective and Aesthetic Experience in their Practice.

Jan. 2018      Royal Danish Academy of Music. Composition Seminar. Music as Virtual Other? Negotiating with the broken.

Nov. 2016     Koninklijk Conservatorium. Composition Seminar. Given alongside a week of workshops & private lessons for composition

students.

Jun. 2015     The Psycho-physiology of Meaning-making: Annual International Gatherings in Biosemiotics. Virtual Distance & Musical Valence.

May 2014     Centro Mexicano para la Música y las Artes Sonoras : Encuentro de Ensambles. Sculpting Time in the Musical Experience.

Apr. 2013     La Colmena Escuela De Músicos, Córdoba, Argentina 26 April, 2013. Pay Attention!: how the study of the listener’s attention shapes

my compositional processes.