Electric Circus analogous. (1968). (New York: Electric Circus).
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Program notes for an Electric Ear Concert: Hiller, Reynolds, Subotnick, Martin, & Martirano. (1968). (New York: Electric Circus).
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Saturation in multi–media. (1968). The Continuum, I(3). Urbana, IL: Association of Independent Composers and Performers.
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...The future of art and power. for the last several million years.... (1970). The Composer, I(4). Redondo Beach, CA: Composers Autograph Publications.
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In support of a systems theoretical approach to art media. (1970). In Proceedings, 1970 (pp. 56–68). New York: American Society Of University Composers/American Music Center.
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Notes on Morton Subotnick's 'Laminations' and William Bergsma's 'Violin Concerto'. (1971). (Record liner notes). New York: VOX Records.

Method of producing sounds or light flashes with alpha brain waves for artistic purposes. (1972). Leonardo 5(1). In Malina, F.J. (ed.). (1973). Kinetic Art (pp. 152–156). New York: Dover Pub. Japanese translation. (1974). Space Design, 10. Tokyo: Kajima Institute Pub. Co.

Three day biofeedback learning experience for Brown University. (1973). (Japanese translation). Transonic, 3. Tokyo: Zen–On Music Co.

Vancouver piece. (1973). (Description of biofeedback installation piece). In Grayson, J. (ed.). Sound Sculpture (pp. 128–131). Vancouver: Aesthetic Research Centre of Canada Publications.

Rosenblueth and Halacy: a joint review. (1973). (Book review). Leonardo, 6, 267–268.
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A model for detection and analysis of information processing modalities of the nervous system through an adaptive, interactive, computerized, electronic music instrument. (1975). In Proceedings of the Second Annual Music Computation Conference, Part 4, Information Processing Systems (pp. 54–78). Urbana, IL: Office of Continuing Education in Music, University of Illinois.

Churchman and Valenstein: a critical review. (1977). (Book reviews.)
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Prolegomenon to extended musical interface with the human nervous system: an outline mandala of electro–cortical forms observable through point consciousness. (1976). In Byron, M. (ed.). Pieces: A Second Anthology (pp. 105–114). Toronto: Michael Byron Pub., also Musicworks, 28, (1984), ( pp. 10-13), Toronto: Music Gallery.

Maple Sugar. (1977). With Humbert, J. (Description of performance art project). In Parallelogram Retrospective 1976 1977 (pp. 138–139). Montreal: Association of Non–Profit Artists' Centers.

Programmer's notes on FOIL (Far Out Instrument Language). (1980). Berkeley, CA: Buchla and Associates.

User's guide to playing Touché and programming with FOIL. (1980). Berkeley, CA: Buchla and Associates.

FOIL source listings. (1980). Berkeley, CA: Buchla and Associates.

FOIL–83 source listings. (1983). Santa Clarita, CA: David Rosenboom Publishing.

On Being Invisible: I. The qualities of change (1977), II. On being invisible (1978), III. Steps towards transitional topologies of musical form (1982). Musicworks, 28, 10-13, (1984). Toronto: Music Gallery.
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Artificial intelligence and art education. (1982).
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Towards a language for self–directed learning by computer facilitated interaction with large visual knowledge bases. (1982).
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Symposium on composition with computers. With Roads, C. (Ed.), Battier, M., Barlow, C., Bischoff, J., Brün, H., Chadabe, J., et. al. (1986). Computer Music Journal, 10(1), 40–63.

HMSL (Hierarchical Music Specification Language) a real–time environment for formal, perceptual and compositional experimentation. With Polansky, L. (1985). In Proceedings of the International Computer Music Conference 1985 (pp. 243–250). San Francisco: International Computer Music Association (ICMA).

Studio report: recent developments at the Center for Contemporary Music 1981– Mills College. With Polansky, L. (1985). In Proceedings of the International Computer Music Conference 1985 (pp. 419–424). San Francisco: International Computer Music Association (ICMA).

FOIL–85 and Meta–FOIL source listings. (1985). Santa Clarita, CA: David Rosenboom Publishing.

Barry Truax: Sequence of Earlier Heaven. (1987). (A review). Computer Music Journal, 11(2), 71–72.

Cognitive modeling and musical composition in the Twentieth–Century: a prolegomenon. (1987). Perspectives Of New Music, 25(1&2), 439–446.

A program for the development of performance oriented electronic music instrumentation in the coming decades: 'what you conceive is what you get'. (1987). Perspectives Of New Music, 25(1&2), 569–583.

Frames for future music (six composition lessons). (1987). Leonardo, 20(4), 363–365.

HMSL: overview (version 3.1) and notes on intelligent instrument design. With Polansky, L. and Burk, P. (1987). In Proceedings Of The 1987 International Computer Music Conference, (pp. 220–227). San Francisco: International Computer Music Association (ICMA).

Maple Sugar and James Tenney. (1987). Perspectives Of New Music, 25(1 & 2 ), 562–563.

A tribute to James Tenney. (1987). In Polansky, L. and Rosenboom, D. (Guest eds. for special issue). Perspectives Of New Music, 25(1 & 2), 434–591.

Extended musical interface with the human nervous system: assessment and prospectus. (1988). (Abstract of talk given to First International Symposium On Electronic Art, Utrecht, Holland). Leonardo, Electronic Art Supplemental Issue, 121.

HMSL (Hierarchical Music Specification Language): a theoretical overview. With Polansky, L. & Burk, P., lead authors. (1990). Perspectives Of New Music, 28(2), 136–178.

The performing brain. (1990). Computer Music Journal, 14(1), 48–66. [Includes accompanying sound sheet with two recorded excerpts from On Being Invisible with printed notes.]

Complex adaptive systems in music. (1992, October). (Abstract for a talk.) The Journal of the Acoustical society of America, 92(4)(2), 2403.

Music notation and the search for extra–terrestrial intelligence. (1992). In Scholz, C. (ed.). Frog Peak Anthology. (Hanover, NH: Frog Peak Music). Also in (1993) Leonardo, 6(4), 273–274.

Music composition, scoring a painting. (1991). In Sound & Images, Conference Report, Program For Art On Film (pp. 22–23). New York: The Metropolitan Museum of Art and the J. Paul Getty Trust.

Parsing real–time musical inputs and spontaneously generating musical forms: Hierarchical Form Generator (HFG). (1992). In Proceedings Of The 1992 International Computer Music Conference. San Francisco: International Computer Music Association (ICMA).

Interactive music with intelligent instruments–a new, "propositional music?". (1992). In Brooks, I. (Ed.). New Music Across America (pp. 66–70). Valencia and Santa Monica, CA: California Institute of the Arts and High Performance Books.
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Center for Experiments in Art Information and Technology (CEAIT ): studio report. With Coniglio, M. and Subotnick, M. (1995). In Proceedings Of The 1992 International Computer Music Conference. San Francisco: International Computer Music Association (ICMA).

B.C.–A.D. and Two Lines, two ways of making music while exploring instability, in tribute to Salvatore Martirano. (1996). Perspectives Of New Music, 34(1), 210–226.

Improvisation and composition–synthesis and integration into the music curriculum. (1996). In Proceedings, The 71st Annual Meeting, 1995 (pp. 19–31). Reston, VA: National Association of Schools of Music.
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Propositional music: on emergent properties in morphogenesis and the evolution of music; part I: essays, propositions and commentaries. (1997). Leonardo, 30(4), 291–297.

Propositional music: on emergent properties in morphogenesis and the evolution of music; part II: imponderable forms and compositional methods. (1997). Leonardo Music Journal, 7, 35–39.

Propositional music: on emergent properties in morphogenesis and the evolution of music; essays, propositions, commentaries, imponderable forms and compositional methods. (2001). In Zorn, J. (Ed.). Arcana: Musicians on Music (pp. 203–232). New York: Hips Road and Granary Books.

Propositional music and transformation in the new millennium–a chord is a verb, not a noun. (2001, January–February). New Music LA. American Composers Forum, Los Angeles Chapter.

Pleasure has an opposite, or somewhere over whose rainbow? (2002). Leonardo Music Journal, 12, 73–78.

Lejaren Hiller: a true American musical experimentalist. (2004). Preface in Bohn, J. M. The Music of American Composer Lejaren Hiller and an Examination of His Early Works Involving Technology (pp. i-xix). Lewiston, NY: Edwin Mellen Press.

Open to hearing: interstellar message composition as interspecies collaboration. (in press). In Vakoch, D. (ed.). Between Worlds, the Art and Science of Interstellar Message Composition. Cambridge, MA: The MIT Press.

Propositional music from extended musical interface with the human nervous system. (2003). In Avanzini, G., Faienza, C., Lopez, L., Majno, M., and Minciacchi, D. (Eds.). The Neurosciences and Music, Volume 999 of the Annals of the New York Academy of Sciences, 1-9. New York: NYAS. [Also published in Annals Online.

The imperative of co–creation in interstellar communication: lessons from experimental music. (2003). Leonardo Electronic Almanac, 11, 7. Cambridge, MA: The MIT Press. [Online distribution.]