Black Music Research Unit

Boon, H. 2025. Not From Round Here – Racial Framing and the Paradox of Choice. National Identities . https://doi.org/10.1080/14608944.2025.2497405

Boon, H., Christodoulou, C., Toppin, J. and Riley, M. 2025. Bridging Gaps in Black Music Research: A Conversation on Experimental Sound by the BMRU. Organised Sound. Advanced online publication. https://doi.org/10.1017/S1355771825000032

Boon, H. 2025. The Sweeney – Library Music Use, Re-use and Cultural Association in the British TV Police Procedural. in: Nessa Johnston, Jamie Sexton and Elodie A. Roy (ed.) Anonymous Sounds: Library Music and Screen Cultures in the 1960s and 1970s London Bloomsbury Academic.

Boon, H. 2024. The Old, The New, And The Dangerous. Commercial Electronic Musical Instruments in 21st Century Music Practice. University of West London 09 - 10 Sep 2024

Boon, H. 2024. The Old, The New, And The Dangerous - [PRESENTATION] - 2024. London

Boon, H. 2024. Single Tonality Chord Songwriting. Innovation in Music Conference 2024. Kristiania University College, Oslo 21 - 23 Jun 2024

Boon, H. 2024. AI Music Arts and Creativity - [PRESENTATION] - 2024.

Boon, H. 2024. Electronic Music Production: Kate Bush Running up that Hill. Change and Continuity: Traditions, Tensions and Transformations in Music Production - SMPR Conference 2024. Leeds Beckett University, Leeds School of Arts 12 - 14 Sep 2024

Boon, H. 2024. Solving What Problem: AI’s Reconfiguring Music Production Practices. Critical & Creative Digital Dynamics: A Symposium on AI & Digital Innovations for Inter-art Chamber Music Practices. Senate House, Malet Street, London WC1E 7HU 24 Jun 2024

Boon, H. 2024. An introduction to neo-Riemannian operations and their application in music production. in: Chapkanov, B. (ed.) Transformational analysis in practice: Music-analytical studies on composers and musicians from around the world Delaware, United States Vernon Press. pp. 301-320

Boon, H. 2024. Two Production Strategies for Music Synchronisation As Speculative Entrepreneurship. in: Gullo, J.O., Hepworth-Sawyer, R., Paterson, J., Toulson, R., Hook, D. and Marrington, M. (ed.) Innovation in Music: Cultures and Contexts Focal Press.

Boon, H. 2023. The Implications of Loraine James’s Production Approach as Real-time Production Performance Practice. Practice Research in 21st Century Music. University of West London 20 May 2023

Boon, H. 2023. In The Future.

Boon, H. 2023. Artificial Intelligence and Music Ecosystem. Pulse: the Journal of Science and Culture. 10, pp. 1-4. https://doi.org/10.5281/zenodo.12600925

Boon, H. 2023. Suzanne Ciani – The Diva of the Diode. Technoetic Arts: A Journal of Speculative Research. Volume 21 (Issue 2, Women in Art and Science), pp. 193-209. https://doi.org/10.1386/tear_00116_1

Boon, H. 2023. Sonic Futures: Short Fiction Storytelling: Artificial Intelligence in Popular Music Studies . Westminster Annual learning and Teaching Symposium 2023. Marylebone 04 Sep 2023

Boon, H. 2023. Deliberate Practice and Unintended Consequences in Music Production as Practice and Pedagogy. Innovation In Music Conference 2023. Edinburgh Napier University 30 Jun - 02 Jul 2023

Boon, H. 2023. Exploring Art Schema and their Relevance to DAW Teaching and Pedagogy – Examples of Artistic Practice in the Field of Music Production. Journal of Popular Music Education. 7 (3), pp. 285-302. https://doi.org/10.1386/jpme_00126_1

Boon, H. 2023. Live Coding and Music Production as Hybrid Practice. Organised Sound. 28 (2), pp. 253-263. https://doi.org/10.1017/S1355771823000419

Boon, H. 2023. Writing Popular Music Fiction. Short Fiction in Theory & Practice. 13 (1), pp. 37-51. https://doi.org/10.1386/fict_00072_1

Boon, H. 2022. Working for the AI Man: Algorithmic Rents, Accumulation by Dispossession and Alien Power. London

Boon, H. 2022. Working for the AI Man: Algorithmic Rents, Accumulation by Dispossession and Alien Power. DMRN+17: Digital Music Research Network One-day Workshop 2022. Queen Mary University London 20 - 20 Dec 2022

Boon, H. 2022. Cyborg Composers: AI as Collaborative Assistant, as Creator and as Competitor. Library Music in Audiovisual Media - RMA. University of Leeds 15 - 16 Sep 2022

Boon, H. 2022. Cyborg Composers: AI as Collaborative Assistant, as Creator and as Competitor. London

Boon, H. 2022. Learning and Designing Sound Based Music: Enhancing Music Production Pedagogy in HE - Video. London

Boon, H. 2022. Music Income, Self Authoring and the Digitally Mediated Career - Video. London

Boon, H. 2022. Student and Tutor Life Worlds and Impossible Standards in Higher Popular Music Education. in: Powell, B. and Smith, G.D. (ed.) Places and Purposes of Popular Music Education: Perspectives from the Field Bristol Intellect. pp. 261-266

Boon, H. 2022. Learning and Designing Sound Based Music: Enhancing Music Production Pedagogy in HE . Equalise. The Institute of Contemporary Music Performance, London 08 Sep 2022

Boon, H. 2022. In The Future . RIFFS Journal. Special Issue – Riffs ft. IASPM Canada.

Boon, H. 2022. Music Income, Self Authoring and the Digitally Mediated Career. Music and the University - History, Models, Prospects. City University 07 - 09 Jul 2022

Boon, H. 2022. Two Production Strategies for Music Synchronisation As Speculative Entrepreneurship. InMusic2022. Royal College of Music Stockholm 24 - 26 Mar 2022

Riley, M. 2021. Jazz Jamaica All Stars: The Trojan Story - Live Event. Royal Festival Hall, London

Boon, H. 2021. Using DAWs as modelling tools for learning design sound-based applications in education. Journal of Music, Technology & Education. 13 (2-3), pp. 305-322. https://doi.org/10.1386/jmte_00028_1

Riley, M. and Fully Focused 2019. Bass Culture film.

Riley, M. 2018. Bass Culture 70/50. Ambika P3 25 Oct - 22 Nov 2018

Riley, M. 2017. Ticket Master State of Play Grime Report. Online Ticket Master.

Riley, M. 2017. Basscultureduk.com. Westminster School of Arts - DCDI.

Riley, M. 2014. Bass Culture. University of Westminster. https://doi.org/10.34737/qqvqz

Riley, M. 2014. Bass Culture: an alternative sound track to Britishness. in: Stratton, J. and Zuberi, N. (ed.) Black Popular Music in Britain since 1945 Farnham Ashgate. pp. 101-114