SELECTED
please also see https://nyu.academia.edu/ElizabethHoffman
Hoffman, E. and Elizabeth Frickey, 2024 [2020], “Electroacoustic Practices of Radical Play and Resonance: Stuart Dempster’s Use of Laughter, Illusion, and Environmental Homage,” in Journal SEAMUS 30/1-2 [Spring/Fall 2020]: 23-33. Article link
Hoffman, E. 2019.
When Composers Draw: Personalized Music, Formalized Thought DOI: 10.7757/persnewmusi.57.1-2.0149
(in Perspectives of New Music journal, Vol. 57, No. 1-2, Winter/Summer 2019: 149-190).
Hoffman, E. 2017.
What is at Stake in the Politics of Digital Music Archive Access Policies? http://computermusic.org/page/29/
(in Array Journal, Fall 2017: 47-52).
Hoffman, E. 2016.
Letter to Editor, for HDLA Forum, Computer Music Journal, Vol 41/1, Spring 2017: 11-12.
Hoffman, E. 2013.
The Music of Ellen C. Covito: an Interview with You Nakai
(in Perspectives of New Music, 51/1, 2013: 5-20).
Hoffman, E. 2013.
On Performing Electroacoustic Musics: a non-idiomatic case study for Adorno’s theory of musical reproduction
(in Organized Sound journal, Volume 18, April 2013, pp. 60-70) link to article
Hoffman, E. 2012.
I-Tunes: Multiple Subjectivities and Narrative Method in Computer Music
(in Computer Music Journal, 36/4, Winter 2012, pp. 40-58) link to article
Hoffman, E. 2011. Contemporary Electroacoustic Music’s Discourse: considering chosen aesthetic languages as socio-cultural interventions (Proceedings of the EMS Conference, Sforzando!, New York City, June 2011) link to paper
Hoffman, E. 2008.
Review of everglade ‘re[mix]’ DVD
(in Computer Music Journal, Summer 2008, 32/2)
Hoffman, E. 2005.
Textural Klangfarben in James Dillon’s “La femme invisible”(1989):
an Explanatory Model
(in Perspectives of New Music, 43/1, Winter 2005: 4-33)
Hoffman, E. 2005.
Review of ‘Microsound'(2001) by Curtis Roads.
(in Music Theory Spectrum, Vol. 27, no. 2, Fall 2005: 328-335)