Articles and Papers

2021. ‘Using North Indian Vocal Exercises for Aural Training in the Globalized Classroom’. In Listening Across Borders Musicology in the Global Classroom, edited by James A. Davis and Christopher Lynch. New York: Routledge, Taylor and Francis.

2020. ‘Drumming and Dancing in Mahābhārata Performances of the Himalayas: Possession as Transitional States’. Yearbook for Traditional Music 52: 169-185.

2019. ‘Expressing Sonic Theology: Understanding Ritual Action in a Himalayan Festival’. Ethnomusicology Forum 29(3): 321-37.

2018. ‘Iconic Imagination: Listening to, and Looking Back at, the Piano in Early Hindi Cinema’. Studies in South Asian Film and Media 9(1): 3-20.

2018. (with Noé Dinnerstein), ‘Introduction: Popular Music Across the Himalayas’. Himalaya 38(1): 68-70.

2018. ‘Encoding Spatial Experience in Garhwali Popular Music Cassettes’. Himalaya 38(1): 71-80.

2018. ‘Recasting Lok and Folk in Uttarakhand: Etymologies, Religion and Regional Musical Practice’. South Asia: Journal of South Asian Studies 40(2).

2017. ‘Ethiopian Sounds: The Influence of National Spaces and Global Imagination on Vectors of Circulation in the World Music Industry’. Musicology Australia 39 (1): 15-28.

2015. ‘Re-examining the Legacy of Garhwali Cassettes’, presented at the Nehru Memorial and Museum Library Conference titled ‘Tracing Mountain Landscapes: Connecting Himalayan Cultures, September.

2015. (with Denis Crowdy and Steve Collins), ‘Technology and Ownership amongst “World Music” Practitioners: Ongoing Debates in a Globalizing World’, Introduction: Technology and Ownership amongst “World Music” Practitioners: Ongoing Debates in a Globalizing World special issue of the Journal of World Popular Music. 2(1):8-18.

2014. ‘Bhankora’, Dhol’, ‘Damaun’, ‘Hurki’, ‘Mashak’, ‘Murcang’, ‘Ransingha’, ‘Nagara’, and ‘Thali’, in The New Grove Dictionary of Musical Instruments, ed. L. Laurence et al. London: MacMillan. – nine articles on musical instruments from India.

2014. Review of Ros Dunlop, Sounds of the Soul: The Traditional Music of East Timor [Lian Husi Klamar: Músika tradisionál Hus Timor-Leste]. Rozelle, NSW: Tekee Media Inc. 2012.

2013. (with Brent Keogh), ‘Some Preliminary Thoughts on Patterns of Programming in Australia’s World Music and Folk Festivals’. In Oli Wilson and Sarah Attfield (eds), Proceedings of the 2012 ANZ-IASPM Conference.

2013. ‘Borrowing and Reversioning: Some Examples from Contemporary Sundanese-Australian Gamelan Collaboration’, presented at the Global Musician Colloquium, Macquarie University, December.

2013. ‘The Musicological in World Music Hybridity: Problems in Identifying and Analyzing Global Plurality, a Case Study from Australia’, presented at the PopMac Conference at the University of Liverpool, July.

2013. ‘National and Global Spaces at World Music Festivals: Celebrating Plurality in a Global Village’, presented at the Arts in Society Conference, Budapest, June.

2012. ‘Flutes, Sprites and Mountainous Geographies’, European Bulletin for Himalayan Research. 40: 9-26. (see Chapter 5 of Mountainous Sound Spaces)

2012. ‘Locality, Globality and Schizophonic Musical Webs: An Example of Ethiopian Transculturalism in Australia’, presented at the Australian Musicological Society Conference, Canberra, December.

2011. ‘Controlling Time in Epic Performances: A Comparison of Mahabharata in the Central Himalayas and Indonesia’ Ethnomusicology Forum 20 (1): 55-78.

2010. ‘Drum Repertoire in the Pāṅḍavalīlā of Garhwal, North India’, paper presented at the Launch Seminar Series of the Macquarie India Research Centre, November.

2009. ‘Himalayan Area’. In Knut A. Jacobsen (ed.) Brill’s Encyclopedia of Hinduism. Vol. 1, Regions, Pilgrimage, Deities, pp. 71-83. Leiden: Brill.

2009. ‘The Significance of Tantric Sects for Drum Practice in the Central Himalayas’, Yearbook for Traditional Music. 24, 19-30. (see Chapter 7 in Moutainous Sound Spaces)

2009. ‘Some Theoretical Perspectives on the Study of Music and Migration as Applied to the Study of Himalayan Drum Ensembles’, key note address at the New Zealand Musicological Society, Christchurch, November.

2009. ‘Gesture in Hindustani Vocal Music’, paper presented at the ‘Performer’s Voice’ conference held at the Yeong Siew Toh Conservatorium of Music, Singapore, November.

2009. ‘The Surf Sound in Early 1960s Australia: Borrowing and Influence in the Music of “The Atlantics”,’ paper presented at the Musicological Society of Australia National Conference, Newcastle, September.

2009. ‘Personal Artistic Pathways and the Contemporary Intercultural Musical Condition: A Reassessment of Terminology and Concepts’, paper presented at the Musicological Society of Australia National Conference, Newcastle, September.

2008. Review of Goddess: Divine Energy, Music from India, (Tucson, Arizona: Celestial Harmonies, 13266-2, in association with Rundfunk Berlin-Brandenburg, 2006). Review in The Asia Pacific Journal of Anthropology, IX(4).

2008. Review of In Praise of the Goddess: Devotional Songs from North India, (Tucson, Arizona: Celestial Harmonies, 13267-2, in co-production with Rundfunk Berlin-Brandenburg, 2006). Review in The Asia Pacific Journal of Anthropology, IX(4).

2008. Review of Sudha Chandola, Entranced by the Goddess: Folklore in North Indian Religion 2007. Review in South Asia, XXXI(2)

2006. ‘Issues and Practices in Cross-Cultural Fusion in Gamelan Swara Naga’s Recent Recordings’, paper delivered at the Musicological Society of Australia’s National Conference, University of New England, Armidale, September.

2006. ‘From Saraswati to Benzaiten: the Transformation of a Musical Goddess’, paper delivered at the National Gallery of NSW in conjunction with the exhibition Goddesses, August.

2006. ‘Fusing Musical Worlds in Australia: Musical Milestones on the Road to Cross-Cultural Performance’, paper presented at the International Conference for the Arts in Society held in conjunction with the Edinburgh Arts Festival at the University of Edinburgh, August.

2005. Review of Susan S. Wadley, Raja Nal and the Goddess, 2004. Review in South Asia, XXVIII(3).

2005. Review of Jiwan Pani, Back to the Roots: Essays on Performing Arts in India, 2004. Review in South Asia. XXVIII(2).

2004. ‘Playing History: Music’s Agency in the Creation of Historical and Sacred Realms during a Central Himalayan Festival’. South Asia. XXVII(3): 359-378. (see Chapter 9 in Mountainous Sound Spaces).

2004 (With Adrian McNeil). ‘Introduction’. South Asia, Special Issues: Indic Musicology. XXVII(3): 285-288.

2003. ‘Dhol Sagar: Aspects of Drum Knowledge amongst Musicians in Garhwal, North India’. European Bulletin for Himalayan Research XXIV(Spring): 63-76.

2000. ‘Institutional Music Education in North India’. In Alison Arnold et al (eds.) South Asia, vol. 5 of the Garland Encyclopaedia of World Music, pp. 442-448. Garland Publishing.

1998. ‘Negotiating Identity in the Garhwali Cassette Industry’. South Asia. XXI(1): 109-122.

1997/98. ‘Bagpipes in the Himalayas: Syncretic Processes in a North Indian Regional Music Tradition’. Asian Music. XXIX(1), 1-16. (see Chapter 1 in Mountainous Sound Spaces)

1997. ‘Key Processes in the Oral Transmission of Hindustani Vocal Music’. Journal of the Musicological Society of Australia. XX: 61-83.

1994. ‘Gurus, Shishyas and Educators: Adaptive Strategies in Post-Colonial North Indian Music Institutions’. In S. Blum and M. J. Kartomi (eds.) Music-Cultures in Contact: Convergences and Collisions, pp. 158-68. Sydney: Gordon & Breach/Currency Press.