Marcus Schmickler is a German composer, sound artist and writer working in the field of contemporary, electronic and computer-based music. His work is marked by a close connection between artistic practice and theoretical reflection, and operates at the intersection of psychoacoustics, algorithmic composition and research into auditory perception. Schmickler's compositional output encompasses electroacoustic, instrumental and hybrid formats that interweave digital technologies with live performance. At its core lies the investigation of phenomena of auditory perception, among them spectral illusions, Shepard tones and techniques of data sonification. His works are distinguished by a precise organisation of sound and by a conceptual depth that translates scientific questions into spaces of aesthetic experience.
His compositions have been performed internationally by leading ensembles of contemporary music, including Neue Vocalsolisten, Zafraan Ensemble, Ensemble Recherche, Lucerne Festival Ensemble, Yarn/Wire, Ensemble Musikfabrik, Zeitkratzer and the WDR Big Band. These collaborations underline how readily his oeuvre connects both with new music and with experimental and interdisciplinary contexts.
Performances of his compositions have taken place at major international festivals and institutions. Among the most notable are the Lucerne Festival, the Donaueschinger Musiktage, La Biennale di Venezia, Ars Electronica Linz, CTM Festival Berlin, the Centre Georges Pompidou in Paris, ZKM Karlsruhe and the Unsound Festival in Kraków and New York. This presence on central platforms of contemporary music and media art attests to the international relevance of his work.
Alongside his compositional activity, Schmickler has established himself as a writer, publishing regularly on computer music, digital sound processing and media theory. His texts address both the technical and the epistemological dimensions of listening and contribute to the theoretical grounding of electronic music practices.
In an academic context he has taught at internationally respected institutions, including Bard College, the California Institute of the Arts (CalArts), the Robert Schumann Hochschule Düsseldorf and the Institute of Electronic Music and Acoustics (IEM) in Graz. His teaching is characterised by an experimental, research-oriented approach that encourages students towards independent artistic and theoretical work.
His work has received numerous awards, among them the prestigious Rome Prize of the German Academy Rome Villa Massimo. These distinctions recognise his innovative combination of artistic research and compositional practice.
Marcus Schmickler lives and works in Cologne and Vienna. His practice makes a substantial contribution to the development of contemporary sound art in the context of digital technologies and interdisciplinary research.
Foto © Albrecht Fuchs Foto © Niklas Weber Foto © Björn Gottstein © Patrick Hürlimann / Lucerne Festival
1993-1999 Hochschule für Musik Köln & Tanz (Cologne University of Music), Diploma in Composition with Prof. Johannes Fritsch (Composition) and Prof. Hans-Ulrich Humpert (Electronic Composition)
1992-1993 University of Cologne, studies in Musicology
1986–1988 Rheinische Musikschule, tuition in conducting, piano, guitar, drums
1976–1989 Classical guitar and jazz, private tuition with various teachers, including Paul Shigihara
AWARDS / FELLOWSHIPS
2022 Rome Prize of the German Academy, Villa Massimo
2021 Fellowship of the Ministry of Culture and Science of the State of North Rhine-Westphalia
2021 Musikfonds project grant
2021 Research grant, City of Cologne
2020 NRW Artist's Fellowship
2021 Grimme Award for “Der Ast auf dem ich sitze”, documentary, Bildersturm
2011 Grimme Award for “Die Anwälte”, documentary
2009 Grimme Award for “Der große Ausverkauf”, documentary score
2002 Advancement Fellowship of the State of North Rhine-Westphalia
2001 Bernd Alois Zimmermann Prize of the City of Cologne
2000 Honorary Mention in Digital Musics, Ars Electronica, Linz
1998 DAAD scholarship, master class with Nicolaus A. Huber, Mozarteum Salzburg
_Takten von Masse (Studies in Timing Spectra), premiere Musikprotokoll, Graz, 2026
_Gendyn ∂ Institute, premiere Dom im Berg, Graz, 2025
_Glockenbuch IV — Spectre Maria dei Carmini, premiere Biennale Musica di Venezia, 2024
_Glockenbuch II — Spektren von Welten, premiere Klangkunstraum Krems, 2022
_Sky Dice (Mapping the Studio), for Arp 2500, Publison H89B and computer, premiere Donaueschingen, 2018
_Mind(?)Reader, based on C. Shannon's algorithm of the same name, premiere CTM Berlin, 2018
_Fortuna Ribbon, electronic music, premiere HAU2 Berlin, 2015
_Copula E — Laboratory of Language, semantic computer music, speech synthesis, premiere 2014, commissioned by WDR, Cologne
_Particle/Matter-Wave/Energy, dynamic system simulation, Kompakt, 2012–2019
_Bari Workshop, generative granular synthesis, Presto!?, 2011
_Palace of Marvels [Queered Pitch], computer music, Editions Mego, 2010
_Politiken der Frequenz, sonification of modern mathematics with choir, commissioned by WDR, Tochnit Aleph / Editions Mego, 2014
_Bonner Durchmusterung, 33'00", sonification of astrophysical data, commissioned by the International Year of Astronomy and the German Music Council, 2009
_Altars of Science, 38'12", computer music, Editions Mego, 2008
ELECTROACOUSTIC COMPOSITION (excerpt)
_New Work (premiere) for EMS Synthi AKS and computer, premiere Donaueschingen, 2021
_ATA OTO for the robot ensemble of the Logos Foundation Ghent, premiere Berlin, 2017
_Sator Rotas, 44'16", electronic music, a-Musik, 1999
_Wabi Sabi, 33'01", electroacoustic music, a-Musik, 1996
// OPERA / MUSIC THEATRE / PERFORMANCE
- _The Great Wayfinders (Höhlenmusik I-IV) , Kunstmuseum Stuttgart 2025
_Schreber Songs_, feat. Daniel Gloger, Ensemble Ruhr, Kölner Vokalsolisten, AchtBrücken Köln, 2022
_Ludwig van, Kraftwerk, eine kritische Diskothek_, UAkademie der Künste Berlin, 2020
_Sweat for Crackers_ mit Brock Enright, Vilma Gold London, 2006, WORM Rotterdam, 2009
„E-UROPAS_ Musiktheater, Radialsystem Berlin 2006
„Die Räuber Short Circuits_, Konzept, Musik / Regie DNT Weimar, 2005
_Marc Ushmi meets Reverend Galloway_, DDR-Arbeiterlieder/ House-Music Performances, 2003
_Selten gehörte Musik_ with Oswald Wiener, Millowitschtheater Köln, 2002
_Nomadischer Rundfunk_ FM-Transmitter Performance WDR Köln, 2002
_a=a_ Performance St. Aposteln, Köln 1999
- // INSTRUMENTAL COMPOSITION WITH ELECTRONICS (excerpt)
-
_Entwurf einer Rheinlandschaft for spatially distributed ensembles and electronics, premiere Monheim Triennale, 2022
_Glockenbuch I [20/1000 Aposteln], 7 saxophones + 8 loudspeakers, premiere Zivilisation der Liebe, 2020
_Could You Patent the Sun?, brass quartet, voices, electronics, premiere Monheim, 2020
_RICHTERS PATTERNS, chamber ensemble, electronics and film, premiere Cologne Philharmonic, 2016
_Too Long in This Condition, for bagpipes and computer, premiere Ultraschall Berlin, 2015
_Fokker Bifurcations, for 2 microtonal keyboards and 2 percussionists, premiere New York City, 2014
_KEMP ECHOES, large chamber ensemble with electronics, premiere Cologne Philharmonic, 2013
_Rule of Inference, percussion quartet, a-Musik, 2011
_Symposion for large string orchestra, a-Musik, 2009
_Gesualdo Transcriptions for clarinet quintet, a-Musik, 2009
_E-UROPAS, 58'00", speaker, ensemble, radios, computer, video, Radialsystem, 2008
_DEMOS for choir, chamber ensemble and electronics, a-Musik, 2006
_Solo and Accompaniment for cello with accompanied playback, Aulos, 2006
_Amazing Daze for bagpipes, shō and computer, Häpna, 2005
_Param, ca. 40 min., collection of chamber works, a-Musik, 2000:
_ Atman for organ
_Param for chamber ensemble
_Friedl. Krieger for saxophone and prepared piano
_aS/N for chamber ensemble
_>22 Gliders<-Rule for string quartet and electronics
_Cue for wind quintet and electronics
_RAVE in the Style of GM Koenig (Bucklige Welt), solo exhibition, JUBG Gallery, Cologne, 2024
_Glockenbuch II (Spektren von Welten), 3 + 3×1-channel sound installation, Klangkunstraum Krems, 2022
_Soundtracks, 48-channel sound installation, Heinrich-Heine-Allee underground station, premiere 2022, Düsseldorf
_Treppauf, Treppab (Situated Now, Donna Haraway), 48 + 3-channel sound installation, Heinrich-Heine-Allee underground station, premiere 2019, Düsseldorf
_Revolving Realities Redux, objects, light, sound, Arne Jacobsen Foyer, Kunstfestspiele Herrenhausen, premiere 2017, Hanover
_Cubical Quad, Counting Lattice, objects, sound, KunstWerke, premiere 2015, Berlin
_Copula E / Semiotic Chora, sound installation on the façade of the Cologne Philharmonic, premiere 2014, Cologne
_In Every Dream Home a Heartache, music for Phil Collins, Museum Ludwig, Cologne, 2013
_Revolving Realities, Passagen Köln, 2010
_Pure Umbra, sound sculpture, 5-channel, Bat Yam Museum, Tel Aviv, 2009
Composition for Theatre
- „Dreigroschenoper“ additional music, Klangregie / Regie Claudia Meyer/ DNT Weimar, 2009
- „Don Carlos“, Musik / Regie Felix Ensslin / DNT Weimar, 2009
- „Hamletmaschine“, Musik / Regie Claudia Meyer/ DNT Weimar, 2008
- „Die Räuber“, Musik / Regie Felix Ensslin / DNT Weimar, 2005
- „Maria Stuart“, Musik / Regie Stephan Märki / DNT Weimar, 2004
- „Durch einen Spiegel ein dunkles Bild“, Musik / Regie Felix Ensslin / DNT Weimar, 2004
Composition for Film
- “Der Illusionist”, (Documentary), Director: Birgt Schulz
- „Träum Weiter“, (Documentary), Director: Valentin Thurn
- „Der Ast auf dem ich Sitze“, (Documentary), Director Luzia Schmid, Grimme Prize
- „Krieg und Spiele“, (Documentary), Director: Karin Jurschick
- „Domian, Interview mit dem Tod“, (Documentary), Director: Birgit Schulz, Filmmusik
- „Die Anwälte- Eine deutsche Geschichte“, (Documentary, Director: Birgit Schulz, Grimme Prize
- „The Big Sellout“, (Documentary), Director: Florian Opitz, Filmmusik, - Grimme Preis
- „Taste the Waste“ (Documentary), Director: Valentin Thurn, Filmmusik
- „Was bin ich wert?“ (Documentary), Director: Peter Scharf, Produktion
- „Allah in Ehrenfeld“, (Documentary), Director: Birgit Schulz, Filmmusik
- „Bosch- eine Deutsche Geschichte“, (Documentary), Director Birgit Schulz, Filmmusik
- „All You Can Eat“, (Shortfilm), Director: Klaas Wollstein,
- WDR TV Redesign, Soundconcept, Composition and Production 2002
- VIVA+ Redesign Soundconcept, Composition und Production 2001
- „Baby I Will make You sweat“, (Experimental Film), Director: Birgit Hein, 1995
Tonstudio Piethopraxis
ist das 1999 von Marcus Schmickler gegründete Studio im Zentrum Kölns. Das Studio ist komplett vom Gebäude entkoppelt und besteht aus 4 Räumen. Der Regieraum ist mit einer 12.2 Kanal Abhöre von Martion Audio ausgestattet, sowie ausgewählter Hardware u.a. von Weiss, Manley, Focusrite, Tascam, Lexicon und EMT Hallgeräten und Brauner- und Neumann Mikrofonen.
Performances /Ensemble (selects)
Lucerne Festival Ensemle (CH), Neue Vocalsolisten Stuttgart, Ensemble Recherche (D), yarn/wire (US), University of Tennessee Percussion Ensemble (US), Ensemble Classica, Tchelyabinsk (RU), RSAMD Chamber Choir (UK), Paragon Ensemble (UK), Ensemble Musikfabrik, Schlagquartett Köln, Kölner Kurrende, Staatskapelle Weimar, Philharmonischer Chor Weimar, WDR Rundfunk Chor, WDR Rundfunk Orchester, WDR Bigband, Zeitkratzer (DE), Kölner Vokalsolisten, Ensemble Ruhr.
PERFORMANCES — PRESENTERS AND VENUES (selection)
Lucerne Festival, TIMF Tongyeong, La Biennale di Venezia, Musik der Jahrhunderte Stuttgart, Présences GRM/Radio France, PACT Zollverein, Donaueschinger Musiktage, Tempo Reale, CTM, Recombinant Media Labs, Alur Bunyi Jakarta, Alte Schmiede Vienna, Albertinum Dresden, Cologne Philharmonic, MMCA Seoul, Sator Acousmonium Milan, ZKM Karlsruhe, TIMF Kaohsiung, Ultraschall Berlin, CTM HAU1 and HAU2 Berlin, Goethe-Institut Los Angeles, Kölnischer Kunstverein, Issue Project Room, Moers Festival, CCRMA Stanford, Chelyabinsk Theatre, Graham Foundation Chicago, Muziekgebouw, Brown University, Museum Ludwig Cologne, Musikprotokoll im Steirischen Herbst, Café Oto London, Lovebytes Sheffield, Fylkingen Stockholm, All Ears Oslo, Bavarian State Opera Munich, Unsound Festival Kraków and New York, Wrocław Philharmonic, Klangraum Krems, Academy of Media Arts Cologne, REDCAT / Roy and Edna Disney CalArts Theater Los Angeles, MUMUTH Graz, Musiktriennale Köln, TU Berlin, FGNM Frankfurt, Bundeskunsthalle Bonn, University of Edinburgh, No Fun Fest NYC, Bat Yam Museum Tel Aviv, Yokohama Triennale, Liquid Architecture Australia, Volksbühne Berlin, Lampo Chicago, CCA Glasgow, Radialsystem Berlin, Fondation Cartier Paris, Musrara College Jerusalem, DNT Weimar, Roskilde Festival Denmark, Institut für Neue Musik und Musikerziehung Darmstadt, Mills College Oakland, Mutek Festival Montreal, Centre Georges Pompidou Paris, Experimental Intermedia NYC, Harvard University Boston, KGNM Brückenkonzert Cologne, Princeton University, CCA, Sonic Acts Amsterdam, Tage für Neue Kammermusik Witten, Jeunesse Musicale Vienna, Klangscape Brazil, Phonotaktik Vienna, Amplify Festival Tokyo, Schirn Kunsthalle Frankfurt, Schauspielhaus Köln, Siemens Arts Program Munich, Ars Electronica Linz, Musik der Jahrhunderte / ECLAT
ENSEMBLES / IMPROVISATION (released)
Kontakta (1991–1995)
Electroacoustic ensemble based on self-built instruments, picked up and transformed via contact microphones. Members: Marcus Schmickler, C-Schulz, Hajsch, Monika Westphal, Georg Odijk, Frank Dommert.
Brüsseler Platz 10-a-Musik (1995–2000)
Electroacoustic live performances based on playback media. Marcus Schmickler (tape machine), Georg Odijk (turntables), Jan St. Werner (CD player).
Pluramon (1996–2008)
Experimental pop music project electric guitar and electronics in a club context. Releases on Mille Plateaux and Karaoke Kalk.
Music In Movement Electronic Orchestra / MIMEO (1999–2011)
International 11-piece electroacoustic/electronic ensemble: Kaffe Matthews, Jérôme Noetinger, Keith Rowe, Rafael Toral, Phil Durrant, Pita, Fennesz, Thomas Lehn, Marcus Schmickler, Gert-Jan Prins and Cor Fuhler.
IMPROVISATION WITH COMPUTER (releases, selection)
with John Tilbury
_Timekeepers, a-Musik, 2015
_Variety, a-Musik, 2005
with Thomas Lehn
_Neue Bilder, Mikroton, 2017
_Live Double Séance [Antaa Kalojen Uida], Editions Mego, 2011
_Navigation im Hypertext, a-Musik, 2008
_Kölner Kranz, a-Musik, 2008
_Bart, Erstwhile, 2000
_Rabbit Run, Erstwhile, 2003
with Music In Movement Electronic Orchestra
_Wigry, Bolt, 2011
_Sight, Cathnor, 2007
_Lifting Concrete Lightly, Serpentine Gallery, 2004
_The Hands of Caravaggio, Erstwhile Records, 2002
with Brüsseler Platz 10a
_Brüsseler Platz 10a-Musik (s/t), Sieben
_Wittener Tage, WDR
_Agentur Bilwet — 1000 Fehler, Supposé, 1998
with others
_Gratkowski/Nabatov — Deployment, Leo Records, 2010
_Kontakta — s/t, Odd Size, 1992
_2:3 — Oswald Wiener zum 65. Geburtstag, Supposé
_Prix Ars Electronica Cyber Arts 2000, Ars Electronica Center
_Frequencies [Hz], Raster-Noton, 1999
_Soundcultures, Mille Plateaux / Suhrkamp, 1999
ACADEMIC ACTIVITY
_2025 Professor h.c. for Hybrid Sound Composition / Komposition and Mediale Zeitformen
_WS 2025/26 Lectureship in "Sound Design", Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts Graz (KUG), 2 contact hours/week
_WS 2024 Lectureship in "Computer Music Today", Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts Graz (KUG), 2 contact hours/week
_Since 2017 Lectureship in Time-Based Media Forms, MA programme "Sound and Reality", Institute for Music and Media, Robert Schumann Hochschule Düsseldorf, 2 contact hours/week
_Since 2016 Lectureship in Composition, "Visual Music" specialisation, Institute for Music and Media, Robert Schumann Hochschule Düsseldorf, 4 contact hours/week
_Since 2015 Lectureship in Extended Systems / Hybrid Composition, "Music Informatics" specialisation, Institute for Music and Media, Robert Schumann Hochschule Düsseldorf, 4 contact hours/week
_2014 Visiting Professorship in Composition and Experimental Sound Practices, CalArts, Valencia, California
_2010–18 Faculty, MFA Music/Sound, Bard College, Annandale-on-Hudson, NY
Co-conception of the STUDIO FÜR TRANSMEDIALE FORMEN (Studio for Transmedial Forms) at the Institute for Music and Media, Robert Schumann Hochschule Düsseldorf. Principal responsibility there for the planning of the Dante audio infrastructure, 16-channel sound reinforcement, and specialised transducers and interfaces. Successful funding application completed 2020.
Co-conception and project management of STUDIO KLANG UND REALITÄT (Studio Sound and Reality) at the Institute for Music and Media, Robert Schumann Hochschule Düsseldorf; completed 2022.
- RESEARCH / AREAS OF FOCUS
- Space and spatialisation (Ambisonics, WFS, 3D audio)
- Sonification and epistemics as an artistic-scientific method
- Musiquantik, psychoacoustics, microtonality
- Algorithmic instruments (SuperCollider)
- Improvisation and live electronics
- Studio techniques (microphone technique, surround mixing, mastering, transducers)
- Historical electroacoustic and electronic music — "non-standard" techniques
- Sound in the context of visual music and the visual arts
LECTURES / WORKSHOPS
2025
- Genesis of a Music — Composing with Harry Partch (lecture/performance), The Atlas, Vienna
- The Experimental in Electronic Music, mdw Vienna
2024
- Composers' Meeting: talk with Marcus Schmickler and Robert HP Platz, hosted by the German Composers' Association (DKV)
- Glockenbuch — On Standards (in Electronic Composition), IEM Graz
2023
- Spatialisation, Institute for Music and Media, Düsseldorf
2022
- Xenakis In My Life, Belvedere 21, Vienna
- Algorithmic Spatialisation: Sound Field and Point, workshop, Institute for Music and Media, Düsseldorf
2020
- Ludwig Van, Kraftwerk — A Critical Record Collection, Akademie der Künste, Berlin
- Improvisation — Beyond "Call and Response", IMM Düsseldorf
2019
- Laptop Improvisation between Abstraction and Concreteness, Bonn
2018
- Schloss Solitude, Dealing with History as Everyday Practice, Stuttgart
- CREATE lecture, UCSB, Santa Barbara
- Bard College, artist talk, Annandale-on-Hudson, NY
2017
- Goethe-Institut, Third Ears: Modes of Listening, workshop, Jakarta
2016
- ZKM, Strömungen conference: Sonification in the Arts, Karlsruhe
- Onassis Cultural Center, lecture on Politics of Frequency, Athens
- ZHdK, Sonification and Composition, Zurich
2015
- Goethe-Institut, Politics of Frequency, lecture, Los Angeles
- Institute for Music and Media, Robert Schumann Hochschule Düsseldorf
2014
- Hochschule für Musik und Tanz, Departure 7, Cologne
- KunstWerke, Politics of Frequency, Berlin
- CCRMA lecture, Stanford University, Stanford
- CREATE lecture, UCSB, Santa Barbara
- CalArts, Philosophy of the Voice, Santa Clarita
2013
- Brown University, Providence, RI
- Hochschule für Musik und Tanz Köln, lecture, Cologne
- Institute for Music and Media, Robert Schumann Hochschule Düsseldorf
2012
- Hochschule für Musik und Darstellende Kunst, Politics of Frequency, lecture with Julian Rohrhuber, Frankfurt
- Institute for Music and Media, Robert Schumann Hochschule Düsseldorf
2010
- IEM, Science by Ear 2 conference/workshop, Graz
- Pforzheim University (Bonner Durchmusterung), lecture
2009
- University of Edinburgh (Music and Language), workshop
- Bridge the Gap 6, lecture/workshop, Venice
- Landesmuseum Bonn (sonification), lecture
2008
- CCA, artist talk, Kitakyushu, Japan
2006
- KHM, Academy of Media Arts (aesthetics), lecture, Cologne
- Musrara School of Photography, Media and New Music, lecture, Jerusalem
2005
- Institute for Music and Media, Robert Schumann Hochschule Düsseldorf
2004
- Hamburg University of Applied Sciences (Sound Concepts for Music TV), lecture
- IMG Fachhochschule Mainz (Sound Concepts for Music TV), lecture
2003
- Goethe-Institut, Lima (20th-century musics), lecture
- Teatro Colón, Bogotá (20th-century musics), lecture
2002
- Bunkier Sztuki, Kraków, Poland (Music and Language), workshop
- University of Bolzano, Italy (20th-century musics), lecture
2001
- Filmakademie Baden-Württemberg, Ludwigsburg (Film and Sound), lecture
1998
- STEIM Studio for Electro Instrumental Music, Amsterdam, workshop
PANELS / CONSULTING
2025–27 Member of the Board of Trustees, Akademie Schloss Solitude
2020 Panel, Unsound Festival: Online/Offline — Hybrid Possibilities — online
2017 Panel Audible Data Streams, Sonification–Composition, Villa Elisabeth, Berlin
2016 Haus der Kulturen der Welt, Technosphere conference, Berlin
2015 CTM, Psychoacoustics in Artistic Practice, panel with Prof. Dr. Alberto de Campo and Prof. Dr. Stefan Weinzierl, Berlin
2011 Panel on the future of the WDR Studio for Electronic Music, Cologne
2010 Panel Höre mit Schmerzen, HAU, Berlin
2007 Panel on the internet and authorship, c/o pop, Cologne
2007 Consultancy on the design of the Music Informatics specialisation, Institute for Music and Media, Robert Schumann Hochschule Düsseldorf
2004 Consultancy on the Electronic Music degree programme, HfMT Cologne
JURY SERVICE
2025–27 Board of Trustees, Schloss Solitude
2023 Santa Cecilia Composition Competition, Rome
2017–20 Music/sound juror for studio fellowships, Akademie Schloss Solitude, Stuttgart
2011–15 Member of the Federal Advisory Committee for New Music
2011 Kölnischer Kunstverein, studio fellowships
2004–10 Konzert des Deutschen Musikrats, Bonn
2005 FCA Foundation for Contemporary Arts, New York; VJ competition, c/o pop, Cologne
2003 Digital Musics, Ars Electronica, Linz
2002 Bernd Alois Zimmermann Fellowship, City of Cologne
CURATORIAL WORK
2018 Schwingende Elektronen, High/Zero, Baltimore
2009 Musiques Noires, Akademie der Künste, Berlin
2007 Zwischen zwei Toden, concert programme, ZKM, Karlsruhe
1995 Co-founder of "A-Musik", label and record shop in Cologne
BIBLIOGRAPHY (selection)
2024 Schreber Songs Reader, Villa Massimo
2022 Flux, Flow and Transition, Monheim Papers
2021 Agency der Musikalität: Abstraktion, Improvisation und maschinelles Hören in der Computermusik, MusikTexte #168
2020 Politiken der Frequenz, in: Ultrablack of Music, Frankfurt am Main
2017 C-Schulz — 10. Hose Horn, liner commentary, Unseen Worlds
2016 We Love Too Late, in: www.lateral-editions.com
2015 Hard Edged Adagios: Zum Begriff der Konzeptmusik, in MusikTexte
2013 Sonifikation als Methode von Komposition, in MusikTexte
2011 Sound Workshop, Substancials #4, CCA Kitakyushu (JP)
2009 Nomadischer Rundfunk, in: Liebe deine Stadt, Greven Verlag
2008 Wie die Zeit vergeht. Zum Tod von Karlheinz Stockhausen, in Positionen
2007 Black Holes, White Noise, in Positionen. Texte zur aktuellen Musik, Berlin; and in: Between Two Deaths, ZKM / Hatje Cantz
2006 Kunst und Kausalität, in KunstMusik #7, World Edition