“Composing With Eyes Open: A Discussion of Commissions and Contracts,” American Comps. Forum, Sounding Board 1, 6-7 (Oct.-Nov.-Dec. 2010).
“Anything Goes? Composition at the Turn of the Century,” College Music Society (Jan. & May 1999).
A critique of contemporary Western classical composition, with responses.
“In Memorium: Jacob Druckman,” 20th-Century Music (July 1996)
“Arvo Part – Notes From Oregon,” Society of Composers, vol. 24:4 (Apr. 1995).
“In The Shadow of Rimsky-Korsakov,” Minn. Comps. Forum (Oct.-Nov. 1994)
“A Current Perspective: Pierre Boulez,” ComposerUSA (Summer, 1993)
“Speaking of Music and the Counterpoint of Copyright: Addressing the Legal and Ethical Concerns in Making Oral History Available to the Public,” 2011 Duke L. & Tech. Rev. 005.
Co-authored with Libby Van Cleve, Director of Oral History of American Music at Yale University Library.
“Register This Warning, Copyright Holders: Get Claims on File or Lose Infringement Actions on Summary Judgment,” K.B.A. Pub. Bench & Bar (Sept. 2009).
“Dodging Left and Right: The Emerging Use of a Qualified Associational Privilege in IP Litigation,” A.B.A. Sec. Pub. Intell. Prop. Litig. 20/1 (Fall 2008).
Discusses freedom of association and limits on discovery in copyright and trademark litigation.
“Music Composition, Sound Recordings and Digital Sampling in the 21st Century: A Legislative and Legal Framework to Balance Competing Interests,” 13 UCLA Ent. L. Rev. 1 (2005).
This article won Second Prize in the 2005 Santa Clara Computer & High Tech. L.J. Comment Contest. It has been cited in other law review articles and in an amicus brief before the U.S. Supreme Court in Golan v. Holder (2011).
“Discovering the Composer Within,” Teaching Music, 8/4, Feb. 2001: 54-57.