• Foreword to Life in the Shadows, by Sarah Lloyd, 2009
  
• Cage remembrance, short piece solicited by and written for Musicworks on "recollections of Cage"
• Introduction to Nick Didovsky's Skin scorebook, published by punos music
• 17 thoughts on "music since 1960" (in the form of a haiku), solicited by SIMS conference, australia, 1989; published in sounds australian
• Item: Lou Harrison's role as a speculative theorist. A Lou Harrison Reader. Soundings Press. 1987
•  The Unsung Malvina Reynolds, written for the Berkeley Stage Co. Newsletter, for a review of Reynolds' songs, 1983
• "It belongs to harmony to stir the passions...", experimental orchestral tuning for a piece never composed, MusicWorks/Only Paper Today, 1978
• The Art of Apostasy, J.A.C.O.B. 's Letter: The Jewish  Quarterly for the Arts for San Francisco and the Bay Area, January-March 1985, V/1
• 17 for the 36, for ocarina, soprano sax, flute (optional slide whistle, female speaker), short piece based on Scholem text, Generation Magazine, January/February, 1978
• Interval Sizes in Javanese Slendro, Balungan, Vol. 1, No. 2, February 1985
• "Comparitive Tuning Chart" and "Notes on the Tuning of Three Slendro/Pelog Pairs", Experimental Musical Instruments, Vol. V. No. 2, August 1990
• History and the Word: Form and Tonality in Schoenberg's Phantasy for Violin with Piano Accompaniment, ex tempore, 3(1): 29-40, 1985
• Unpublished paper, "The New Music Indonesia Commissioning Project: Goals and Problems in a Cross-Cultural Collaboration," delivered at UC Berkeley conference in early 1990s, about the commissioning project which resulted in the 3 Lyrichord CDs of contemporary Indonesian music
• The Mills College Center for Contemporary Music's 'Seminar in Formal Methods Series': A Documentary History of the First Five Years, with John Levin, Leonardo, 20(2): 155–163
• Interview with Larry Polansky, Evos Newsletter #9, Perth, Australia, 1989 (?)
• "The World's Longest Melody (Beta Version 1.1)," Array, Newsletter of the International Computer Music Association, 12/3, Summer, 1992.
• Letter to Recording Engineer and Producer magazine, about the future of music software, October 1987
• 4 Statements, or my own version of group statement about artistic censorship, from Telluride Composer-to-Composer, 1989
  

• The Early Works of James Tenney, monograph, published in Soundings #12, 1983.
• Divisions of the Tetrachord (John Chalmers), LP, editor. Frog Peak Music.
• Beginning Central Javanese Gender
• HMSL manuals and documentation
  

• "Depauperate Species," liner notes to Ron Nagorcka's double CD on Pogus (2014)
  
• Liner notes to David Mahler's Artifact CD of his early tape music works
• Liner notes to Sarah Cahill's New Albion CD of the piano music of Ruth Crawford Seeger and Johanna Beyer
  
• Liner notes to U Can Unlearn Guitar CD, Yelpco CDs, 2002
• Program notes for Dane Rudhyar's Chansons de Belitis, San Francisco Symphony
• Program notes for James Tenney's Three Indigeneous Songs, San Francisco Symphony (this is taken largely from the Soundings  monograph)
• Liner notes, words around rounds, to rounds CD, produced by the wulf, Wulf Records LP 001, Los Angeles, 2014
• Liner notes, draft copy, Tenney Selected Works 1961–69 CD. Artifact, and then later NWR. 1992?
  

• Confessions of a Lousy Carpenter. 1:1, Winter, 1985.
  
• Guest Editoral, second issue, 1:2, Spring 1985
• Notes on Piano Study #5 for JPR, 1:4, Autumn, 1985
• HMSL Intonation Enviroment, 3:1, Winter, 1987
• Canon for Flute, 6:2, Spring, 1990
• ii-v-i. 10:2, Fall, 1999.
• Notes on Will You Miss Me, written for 1:1, 2006 (not sure if published)

short writings in Leonardo and Leonardo Music Journal

• "17 Gloomy Sentences (and commentary) at the turn of the millenium (in the form of an editorial)," Leonardo Music Journal, 1/1, 1991
• "Interaction: New Music for Gamelan," by Jody Diamond, notes on al het, Leonardo Music Journal, 2/1, 1992
• Review of Gayle Young's The Sackbut Blues (biography of Hugh LeCaine), for Leonardo
• Comments on David Carrier's "Theoretical Perspectives on the Arts, Sciences and Technology," Leonardo, 19/2, 1986
• Reviews of News of Music and Electronic Cottage." Leonardo Music Journal. 1 (1). pp. 115–116. 1991.

• Review of Colin Mcphee biography by Carol Oja, Ethnomusicology, but with one line deleted (about Margaret Mead, line replaced here)

• how would extra-terrestrials hear music? (letter, in response to an email question)
• Recent set of notes on sonification and mapping written in response to a short essay on Tufte by Ed Childs
  
• on a similar topic to the above, an email conversation with Paul Doornbusch on algorithmic composition and mapping
• Two short interview fragments, Evos Newsletter #9, Perth, Australia, 1988 (apologies that certain attributions to Herbert Brün's ideas weren't transcribed in the print version)
• Letter about music software to Recording Engineer /Producer, October 1987
  

• "P" issue (March – April, 1983): Riley Puckette, David Pate
• "R" issue (1983): Red Clay Ramblers
• "S" issue (1983):  Stanley Bros., Shape Note Music (Sacred Harp), Gary Schmidt
• "T" issue (Nov. – Dec. 1983): Available Materials By and About James Tenney
• "U" issue (Jan. – Feb. 1984):  Interview with David Rosenboom
• reviews of recordings in OP by  Gram Parsons, Richard Povall, Larry Sparks, George Hicks, Alan Munde, Osborne Bros., Cache Valley Drifters, Rick and Lorraine Lee, Guthrie Thomas, Nashville Grass, Good Ol' Persons, Rudy Cipolla, Joe Val, Lou Harrison, Emil Barnes; 1983–4.
  
• reviews of recordings (and books) in OPtion of John McCutcheon, Buck Clayton, Chokers and Flies, Andy Statman, Pauline Oliveros, Beck and Roy, 1984–5
• "A Composers' Diary Abroad. Some Notes on New Music in Australia: Melbourne and Perth" Unpublished mss., written originally for (one of) OP's successor(s)  SoundChoice, which folded before this could be printed. Around 1989-90. Two pictures included in the article (Alistair Riddell, Roz Bandt)
  

• Bill Colvig, Option Magazine, C² Issue, 1985