Sounds, Soundscapes, and Sound Art.” Proceedings of the INTER-NOISE 2019 Conference (June 2019).

Musical Performances Are (Not) Artistic Research.IMPAR 1/1 (December 2017): pp. 5-15.

Improvising (with) Sounds: A Sonic Postcard from Belgrade.New Sound 50 (2017): pp. 269-284.

Noise, Sounding Art, and Urban Ecology” Proceedings of the INTER-NOISE 2017 Conference (August 2017).

Towards a’New’ Sonic Ecology.” Inaugural lecture, Leiden University (2016).

Dialogue on Improvisation, Composition, and Performance: On Singularity, Complexity, and Context.” (co-author R. Costa). Revista Música 15/1 (2015).

Reflexiones sobre entornos sonorous.” (co-author V. Meelberg, trans. Iván Ordóñez) (June 2013).

“Towards a Material Spirituality (and Beyond).” Die Tonkunst Heft 4 (October 2012): pp. 430-438.

Reflections on Sonic Environments.” (co-author V. Meelberg). Journal of Sonic Studies 1/1 (October 2011).

The Field of Musical Improvisation.Konturen: Interdisciplinary Journal for German Cultural Analysis 2 (May 2010).

Defending the Uncanny. On the Postmodern, the Art World, and the Turn towards Complexity.” (May 2009).

Introduction.New Sound 32 (December 2008): pp. 5-7.

Improvisation. An Annotated Inventory.New Sound 32 (December 2008): pp. 9-22.

Improvisation: Between the Musical and the Social.Dutch Journal of Music Theory 14/1 (February 2008): pp. 48-55.

Het “Grote Luisteren” ontluisterd. Unpublished text (2007).

Music and Spirituality – 13 Meditations Around George Crumbs Black AngelsCR: The New Centennial Review 7.1 (2007): pp. 181-211.

The Trojan Horse. Epistemological Explorations Concerning Practice Based Research.Dutch Journal of Music Theory 12/1 (February 2007): pp. 18-33.

In(-)formations. The Meaning of Paratextual Elements in Debussy’s Syrinx.Musicological Annual volume XLI/2 (2005): pp. 55-70.

Noise and Ethics: Alain Badiou and Evan Parker.Culture, Theory and Critique 46/1 (April 2005): pp. 29-42.

Ethics and/in/as Silence.Ephemera 3/4 (November 2003).

Music and Deconstruction. The Jacques Derrida – Gerd Zacher Encounter.New Sound 21 (May 2003): pp. 45-55.

De ethiek van jazz” [The Ethics of Jazz]. Nederlandse Jazzdienst (2003).

Between Self and Other – A Deconstructive Sea.” (2003).

John Zorn’s muziek bestaat niet” [John Zorn’s Music Doesn’t Exist]. Holland Festival Program (2003): pp. 1-2.

Creativity and Ethics – in Deconstruction – in Music. Intermezzo.” (co-author G. Finn). Echo 4/2 (2002).

Music and Ethics.Dutch Journal for Music Theory 7/3 (November 2002).

Seven Times Around a Future of Musicology. Seven Times Around Music and EthicsDutch Journal of Music Theory 7/3 (2002): pp. 159-164.

Verkenningen van/in een muzikale ruimte. Over Peter Sloterdijk en Edwin van der Heide” [Explorations of/in a Musical Space]. Interacta 5 (September 2002): pp. 208-211.

Dutch Ensemble Culture.New Sound 15 (April 2000): pp. 33-44.

“Met zinnen spelen: verdeel en heers? Over intermedialiteit” [Playing With Sen(ten)ses: Divide and Rule? On Intermediality]. Interacta 2 (2000): pp. 70-91.

“Deconstruction and Comprovisation.” New Sound 13/14 (April 1999): pp. 41-49.

Naar een Centrum voor Actuele Muziek in Rotterdam. Idealisme versus pragmatisme” [Towards A Center For Contemporary Music In Rotterdam. Idealism vs. Pragmatics]. Centrum voor Filosofie en Kunst (1999).

Rereading Howard Becker’s Art Worlds. Unpublished text (1998).

Dionysos’ dans in Blauwbaards Burcht” [Dionysus’ Dance In Bluebeard’s Castle]. Jonas 3 (1996): pp. 16-17.

Een intellectueel Disneyland. Postmodernisme als kritisch pluralisme” [An Intellectual Disneyland. Postmodernism as Critical Pluralism]. Mens en Melodie (June 1996): pp. 284-288.

“Postmoderne muziek: kritisch pluralisme en positieve aandacht voor de geschiedenis.” Mens en Melodie (June 1996).

De terreur van het oog” [The Terror of the Eye]. De Groene Amsterdammer (January 1996): pp. 18-19.

“Habermas als Scheidsrechter van de postmoderne muziek” [Habermas As the Arbiter of Postmodern Music]. Mens en Melodie (January 1996): pp. 18-23.

Deconstructie in hedendaagse muziek” [Deconstruction In Contemporary Music]. Rumor Reader 3 (July 1994).

“Acceptatie van nieuwe kunstvormen.” Opossum 3 (Septem­ber 1991).