Twenty-First Century Musical Instruments: Hardware and Software, Institue for Studies in American Music, Brooklyn, New York, 1989.

Co-Editor with Ronald Perera; The Development and Practice of Electronic Music, Prentice-Hall, Inc., 1975.

Preface to Introduction to Electroacoustic Music by Barry Schrader, Prentice-Hall,1982.

Musical Storytelling, in Contemporary Music Review, 1996, Vol. 15, pp. 57-62.

Science in the Service of Music; Music in the Service of Science Computer Music Journal, 1992.

President's Message Journal SEAMUS, Vol. III, No. 1, March, 1988.

President's Report Journal SEAMUS, Vol. III, No. 2, October, 1988.

Review Essay: 'The Composer and the Computer', The Musical Quarterly, Fall, 1986.

Guest Editorial with Lars-Gunnar Bodin, Keyboard Magazine, May, 1986.

Live and in Concert: Composer/Performer Views of Real-Time Performance Systems Computer Music Journal, Vol. 8, No. 1, 1984.

Electronic Music: Questions of Style and Compositional Technique The Musical Quaterly, Vol. LXV, No. 1, January, 1979.

A Composer's View - Electronic Music's Rising Fortunes Schwann Record and Tape Guide, October, 1978.

Prospects for Electronic Music in the 1980'sAmerican Music Center Newsletter, Vol. 20, No. 4, 1978.

A Special Purpose Digital System for Musical Instruction, Composition and Performance with Sydney Alonso and Cameron Jones, Computers and the Humanities, Vol. 10, p. 209. Reprinted in Creative Computing, March-April, 1977.

Elektronisk musik pa 1980-talet Nutida Musik, Hafte 3, 1976 p.24.

Koncentrerad information om ny musik a review of David H. Cope's New Directions in Music in Nutida Musik, Hafte 2, 1976, p. 26.

The Electric Music of Tonga: The Use of Non-Western Music by Western ComposersMundus Artium, Vol. VII, No. 1, 1974, p.172.

Nagra brev fran framtidenNutida Musik, Hafte 2, 1971, p.35.

The State of Electronic Music: 1972 College Music Symposium, Vol.12, Fall, 1972, p.72.

The Making of Human MusicMusic Journal 1971 Anthology , p. 30.

Electronic Music and the Composer's FutureThe World of Music (UNESCO), Vol. XIII, No. 1, 1971, p.29.

Svensk elektronisk musikNutida Musik, Hafte 3, 1970, p.14.

The Composer in AcademiaCollege Music Symposium, Spring, 1970, p.62.

Re-evaluating the Principle of Expectation in Electronic Music Perspectives of New Music, Fall-Winter, 1969, p.106.

Neubewertung des Prinzips der 'Erwartung' von Botschaften fur elektronische Musik, Experimentelle Musik, Gebr. Mann Verlag, Berlin, l970.

A New Role for the ComposerMusic Journal, Vol. XXVII, No. 3, March, 1969. Reprinted in Nutida Musik, Hafte 4, 1969.

Additive vs. Subtractive SynthesisElectronic Music Review, Vol. 2, No. 1.

Tradition and Change: The Case of Music with Leonard Kasdan, Comparative Studies in Society and History, Vol. 12, No. 1, p.50.

Report from Yale: Festival of Contemporary American Music Current Musicology, Spring, 1966.

Tone-Relation, Time-Displacement and Timbre: An Approach to Twentieth Century MusicThe Music Review, Vol. 27, No. 1.

Aesthetic Direction in Electronic MusicWestern Humanities Review, Autumn, 1964. Reprinted inAmerican Journal, Vol V, No. 2,Japan-American Forum, October, 1965, Comentario, December, 1966.

Wendy Carlos: Clockwork Orange, Sonic Seasonings, Tales of Heaven and Hell, Computer Music Journal, Vol 24, No. 1, Spring, 2000.

Bits and Pieces: EMS 30 years, Computer Music Journal, Vol. 23, No. 2, 1999

Gilbert Trythall's 'Principles and Practice of Electronic Music,' NOTES, March, 1975.

Proceedings of the First-Third Annual Conference of the American Society of University Composers NOTES, Vol. 31, No. 3, 1975.

Otto Luening and Vladimir UssachevskyContemporary Music Newsletter, Vol. IV, No. 2.

Royalton, Vermont- Current ChronicleThe Musical Quarterly, Vol. LVI, No. 1, January, 1969.

Berlin-Current ChronicleThe Musical Quarterly, Vol. LV, No. 1, January, 1970.

International Electronic Music Catalog NOTES, Vol. 25, No. 1.

Rapport fra den internationale konference om elektronmusik Dansk Musik Tidskrift1981/1982, Nr. 2, p. 90.

Harold N. Lee's 'Perception and Aesthetic Value,' NOTES, Vol. 25, No. 1.

Ernst Krenek's 'Horizon Circled,' The Musical Quarterly, Vol. LIV, No. 1.

Electronic Music Review NOTES, Vol. 24, No.3.

Edmond Gurney's 'The Power of Sound NOTES, Vol. 24, No. l.

On the Use of Digital Performance Instruments in Concert The International Electronic Music Conference in Stockholm, Sept., 1981.

Current Developments in Digital Performance Instruments 49th Meeting of the Australian-New Zealand Association for the Advancement of Science, Auckland, January, 1979.

Digital Performance Instruments International Society for Contemporary Music Symposium; Stockholm, Sweden, May, l978.

Report from Dartmouth International UNESCO Summer Workshop in Computer Music, Aarhus, Denmark, August, 1978.

Studio Report 1977 International Computer Music Conference, University of California at San Diego, October, 1977.

Composer's Languages vs. Real-Time Synthesis Conference on Computing in the Arts and Humanities, New York University, October, 1977.

Computer-Based Music Instruction National Association of Schools of Music, Chicago, 1977.

Computer Languages vs. Real-Time Improvisation in Electronic Music Music Educators National Conference, Chicago, April, 1978.

Problems of Designing a Composer's Language for Digital Synthesis Audio Engineering Society, 57th Convention, May, 1977.

Teaching Tape Studio Techniques for Music Synthesis Acoustical Society of America, 85th Meeting, April, 1973.

Contemporary Composition - A Means of Evaluation College Music Society National Meeting, November, 1972.

Re-evaluating the Principle of Expectation in Electronic Music Akademie der Kunste, Technische Universitat Berlin, October, 1968.

The Graveyard of the Neo-Past American Musicological Society, Northwest Chapter, January, 1964.