resources for composers
Khaen: The Bamboo Free-Reed Mouth Organ of Laos and Northeast Thailand: Notes for Composers. Download PDF. (2020)
scholarly articles
“Aeneas in the Underworld.” In Music in the Apocalyptic Mode, Lorenzo DiTomasso, and Colin McAllister, eds. Brill (2023), pp. 363-372.
Christopher Adler and Jean-Paul Allouche. “Finite self-similar sequences, permutation cycles, and music composition.” Journal of Mathematics and the Arts 16 (2022).
“Zaum Box: New Music for Speaking Percussionist,” Malaysian Journal of Music 9 (2020), pp. 55-64.
“Contemporary cross-cultural composition for the free-reed mouth organ khaen,” in Patricia Matusky and Wayland Quintero, eds., Proceedings of the 4th Symposium of the ICTM Study Group on Performing Arts of Southeast Asia. University Sains Malaysia (2017), pp. 41-44.
“Mathematics, Automation and Intuition in Signals Intelligence for Percussion”, in Sonic Ideas 4:1 (2012). Print edition available from CMMAS. Read the paper on Academia.edu.
“The Calcuated Groove of Postminimal Percussion.” Lecture/Recital with Andrew Bliss, presented at the LIVEWIRE Conference, University of Maryland Baltimore County (October 28-30, 2010). Read it on Academia.edu.
Reflections on Cross-Cultural Composition, in Arcana II: Musicians on Music, edited by John Zorn, Hips Road/Tzadik, 2007.
In this article, I survey my cross-cultural compositions from 1996-2006 and discuss my relationship to traditional Southeast Asian musics and the evolution of my thinking about methodology, ethics and aesthetics.
“Drone Placement and Fingering in Traditional and Contemporary Music for Khaen”, The Free-Reed Journal 3 (2001)
“Cross-cultural Hybridity in Music Composition: Southeast Asia in three works from America”, unpublished, 1998.
This is an unpublished manuscript about cross-cultural hybridity in contemporary musical composition, with analyses of works by Chinary Ung, Michael Tenzer and Evan Ziporyn, written in 1998. The full text, without figures, is available here.