Contemporary Music Review, Volume 35, Issue 4-5, Special Issue: “Gesture Technology Interactions in Contemporary Music”


Zubin Kanga, ‘Performing WIKI-PIANO.NET: Strategies for realising Alexander Schubert’s ever-changing internet-composed piano work’ (forthcoming 2020, accepted April 2020) Leonardo Music Journal.

Zubin Kanga, ‘WIKI-PIANO: examining the crowdsourced composition of a continuously changing internet-based score (forthcoming 2020, accepted January 2020)’, TEMPO.

Zubin Kanga, ‘Through the Screen: The Collaborative Creation of Works for Piano and Video’, Contemporary Music Review, Vol 35, Issue 4-5, 2016, 423-449.

Zubin Kanga and Alexander Schubert, ‘Flaws in the Body and How We Work with Them: An Interview with Composer Alexander Schubert’, Contemporary Music Review, Vol 35 Issue 4-5, 2016, 535-553.

Zubin Kanga, ‘Introduction: Gesture-Technology Interactions in Contemporary Music’, Contemporary Music Review, Vol 35 Issue 4-5, 2016, 375-378.

Callis, Sarah, Zubin Kanga, Neil Heyde and Olivia Sham, ‘Resistance as a Performative Tool’, Music and Practice, vol. 2, 2015.

Zubin Kanga, ‘Not Music Yet: Graphic Notation as a Catalyst for Collaborative Metamorphosis’, Eras Journal, vol. 16, no.1, 2014, pp.37-58.

Robert Ratcliffe, Jon Weinel and Zubin Kanga,  ‘Mutations (megamix): Exploring Notions of the “DJ set”, “Mashup” and “Remix” through Live Piano-based Performance’, eContact!, Vol. 13, No. 2, 2011.


Zubin Kanga, Anne Veinberg, Maria Kallionpää, Adrian Hazzard, Chris Greenhalgh, Steve Benford, ‘Deus ex Disklavier: Subjectivity and technological resistance in the performance of Maria Kallionpää’s, Climb! for Disklavier and Electronics’. Music and Subjectivity ed. Catherine Laws (Ghent: Leuven University Press, accepted September 2019, publication due 2020).

Zubin Kanga, ‘New Gestural Innovations in Works for Piano and Technology 2005-2015’, Composing Gesture, ed. Nicolas Donin, IRCAM (accepted March 2016, publication due 2021).

Zubin Kanga, ‘The Pianist’s Body as Instrument: Performer-controlled electronics as collaborative catalyst in Patrick Nunn’s Morphosis’, New Thoughts on Piano Performance, (London: International Piano Symposium, 2018).

Zubin Kanga, ‘Multiple roles and multiple entertainments in the multimedia music of Adam de la Cour’, in New Perspectives on Music and Process, ed. Lauren Redhead (Cambridge: Cambridge Scholars, 2018).

Zubin Kanga, ‘”Building an instrument” in the collaborative composition and performance of works for piano and live electronics’ in Perspectives on Artistic Research, ed. Robert Burke and Andrys Onsman (London: Lexington, 2016), 103-118.

Zubin Kanga and David Gorton, “Risky Business: negotiating virtuosity in the collaborative creation of Orfordness for solo piano” in Music and/as Process, ed. Lauren Redhead and Vanessa Hawes (Cambridge: Cambridge Scholars, 2016) 97-115.


Adrian Hazzard, Christopher Greenhalgh, Zubin Kanga, Maria Kallionpaa, Steve Benford, Anne Veinberg, & Andrew McPherson 2019, ‘Failing with Style: Designing for Aesthetic Failure in Interactive Performance’, Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems (CHI 2019), pp. 1- 30, doi:10.1145/3290605.3300260.


PhD Thesis: (Royal Academy of Music, London): “Inside the Collaborative Process: Realising New Works for Piano” download here

MMus Thesis (Royal Academy of Music, London): “They’re Writing Songs of Love But Not for Me: Queer Narratives, Strategies and Identities in the Gershwin Arrangements of Michael Finnissy”

BA (Hons I) Thesis: “Listening to the Landscape: The Influence of Nature in the Music of David Lumsdaine”


2019: Keynote Lecture and Concert ‘Interpreting the WIKI-PIANO’, Technology in Musical Performance conference, Birmingham Conservatoire, 3 December 2019.


2019: Zubin Kanga, ‘WIKI-PIANO: realising an internet-composed solo piano work by Alexander Schubert’, Tracking the Creative Process in Music Conference, Nova FSCH University, Lisbon, Portugal 10 October 2019.

2019: Zubin Kanga, ‘The soloist has many faces: Examining the expanding skillset of the modern freelance musician’, RMA Study Day, The Classical Musician in the 21st Century, 23 May 2019.

2019: Zubin Kanga, ‘WIKI-PIANO: a work composed by the internet’, Getting it Right? New Music/New Technologies conference, Guildhall School of Music and Drama and the London Symphony Orchestra, 20 March 2019.

2018: Zubin Kanga, ‘“This is about the future”: voiceover, gesture and the subversion/perversion of virtuosity in 2018 for piano and multimedia by Neil Luck’, Music and/as Process conference, Edinburgh Napier University, 2 July 2018.

2016: “Through the Silver Screen: Film as Collaborative Catalyst in the Creation and Performance of Transplant the Movie! by Adam de la Cour”, 4th Annual Music and/as Process conference, Bath Spa University, UK, 2 July 2016.

2015: “Choreographing the Pianist: The Collaborative Creation of Gestural Innovations”, MANCA Festival/CIRM Study Day, Nice, France, 24 November 2015.

2015: “Sounding Bodies: Embodiment and Gesture in the collaborative creation of works for Piano and Electronics”, Tracking the Creative Process in Music conference, IRCAM, Paris, 8-10 October 2015.

2015: ‘“Building an instrument” in the collaborative composition and performance of works for piano and live electronics’, Perspectives on Artistic Research conference, University of Monash, 24-25 July 2015.

2015: “Building virtual instruments: case studies of gestural innovation in works for piano and electronics”, Inventing Gestures Study Day, Manifeste Festival, IRCAM, Paris, 8 June 2015.

2015: “The Pianist’s Body as Instrument: Performer-controlled electronics as collaborative catalyst in Patrick Nunn’s Morphosis”, London International Piano Symposium, Royal College of Music, London.

2014: “Filling in the Gaps: Notational Games in Michael Finnissy’s Z/K” at “The Charisma of Dissonance”  Musicological Society of Australia National Conference, University of Melbourne.

2014: “Filling in the Gaps: Notational Porosity as Collaborative Strategy in Michael Finnissy’s Z/K”, “Limits of Control” international conference at the Orpheus Institute, Ghent, Belgium.

2013: “Creative Resistance: towards a performative understanding of ‘distributed creativity’” (co-written with Sarah Callis, Neil Heyde and Olivia Sham), CMPCP Performance Studies Network Conference, University of Cambridge.

2013: “‘Not Music Yet’: Graphic Notation as a Catalyst for Collaborative Experimentation”, presented at the PhD research projects conference, Bartlett School of Architecture, University College, London, the Music and/as Process Symposium, University of Huddersfield the Notation in Contemporary Music Symposium, Goldsmiths, University of London, and the Musicological Society of Australia National Conference, Brisbane, Australia.

2011: “Negotiating Authority, Sharing Authorship: An exploration of Integrative Composer-Performer collaboration in Alex Pozniak’s Interventions”, presented at the MSA National Conference, Perth, WA, Australia.

2011: “Collaboration Case Study: Michael Cryne’s Broken Clockwork”, co-presented with Michael Cryne, 2nd Annual Composer-Performer Conference, Athens, Greece.

2011: “Collaborating in Virtuosity: An Agent for Re-Imagining the Creative Process”, co-presented with David Gorton at the Tracking the Creative Process Conference, Lille, France.

2006: “Listening to the Landscape: The influence of birdsong and nature in David Lumsdaine’s Flights (1967)”, presented at the MSA National Conference, Armidale, NSW, Australia.