Redhead, L; Kirby, Jenn and Zaldua, Alistair. 2024. what are notes anyway?. In: "Noise Floor", Escola Superior de Música de Lisboa, Portugal, 27-29 May 2024. [Performance]

Redhead, L. 2024. thinking through knowing through doing. [Audio]

Redhead, L. 2024. 54 stops, grésillement, alphabet des rauschens: collaboration and/as performance autoethnography. Deutschlandfunk Kultur. [Other]

Kanga, Zubin; Dyer, Mark; Rowley, Caitlin; Packham, Jonathan; Benjamin, Mira; Climent, Ricardo; Gioti, Artemi-Maria; Gorton, David; Hayden, Sam; Howard, Emily; Hunt, Edmund; Laidlow, Robert; McLaughlin, Scott; Nickel, Luke and Redhead, L. 2024. Technology and Contemporary Classical Music: Methodologies in Practice-Based Research. Project Report. National Centre for Research Methods, Southampton. [Report]

Redhead, L. 2024. Listening Intertextually in Beat Furrer's Music Theatre Works. Tempo, 78(307), pp. 51-61. ISSN 0040-2982 [Article]

Attah, Tom; Cavett, Esther; Dueck, Byron; Miller, Sue and Redhead, L. 2024. Teaching music theory in UK higher education today: contexts and commentaries. Music Education Research, 26(1), pp. 71-81. ISSN 1461-3808 [Article]

Redhead, L. 2023. 'The Practice of Practice Research'. In: Public Research Seminar: Dr Lauren Redhead - The Practice of Practice Research. Royal Birmingham Conservatoire, United Kingdom 21 February 2023. [Conference or Workshop Item]

Redhead, L. 2023. ‘Developing Live-interactive Approaches to New Music for Organ and Electronics Through Collaboration’. Contemporary Music Review, 42(3), pp. 339-350. ISSN 0749-4467 [Article]

Redhead, L. 2022. Music Composition and Epistemic Injustice. Tempo, 76(302), pp. 32-41. ISSN 0040-2982 [Article]

Redhead, L. 2022. 'Using Collaborative Event Ethnography to Explore Embodied Approaches to Performing Experimental Music'. In: Performance Studies Network Conference 2022. University of Surrey, United Kingdom 30 June - 3 July 2022. [Conference or Workshop Item]

Redhead, L. 2022. ‘Nothing Really Changes’: Material Processes in and as Time in hearmleoþ—gieddunga. In: Michelle Phillips and Matthew Sergeant, eds. Music and Time: Psychology, Philosophy, Practice. Woodbridge, Suffolk: Boydell & Brewer. ISBN 9781783277087 [Book Section]

Redhead, L. 2022. Creative Textual Practices as Critical Re-writings. In: "NoiseFloor 2022", Staffordshire University, United Kingdom, 12 May 2022. [Performance]

Redhead, L. 2022. Iterative Processes: Notating, Composing, and Performing as Journey Forms. Contemporary Music Review, 41(2-3), pp. 266-280. ISSN 0749-4467 [Article]

Redhead, L. 2022. hearmleoþ-gieddunga (research portfolio). pan y rosas discos, Orpheus Instituut, Boydell & Brewer. [Other]

Redhead, L. 2022. the octopus (research portfolio). pan y rosas discos, BBC. [Other]

Redhead, L. 2022. the whale: Creative Textual Practices. INMM Darmstadt, Buxton Fringe Festival. [Other]

Redhead, L. 2021. Performing ‘the radicality of unknowing who we are becoming’. [Film/Video]

Redhead, L. 2021. 'Practice Research: Accessibility and Reproducibility Enhancing searchability: archiving practice research'. In: Enhancing searchability: archiving practice research. Online workshop, United Kingdom 15 November 2021. [Conference or Workshop Item]

Redhead, L. 2021. Language as a Material Process. [Film/Video]

Redhead, L. 2020. Vibrant Echoes: A Material Semiotics of the Voice in Music by Iris Garrelfs and Marlo Eggplant. Contemporary Music Review, 39(5), pp. 564-579. ISSN 0749-4467 [Article]

Redhead, L. 2020. the octopus. [Audio]

Redhead, L. 2020. hearmleoþ-gieddunga: temporal and material layeredness. ECHO, 1, ISSN 1424-3644 [Article]

Redhead, L. 2020. Language as a Material Process. Contemporary Music Review, 39(3), ISSN 0749-4467 [Article]

Redhead, L. 2020. Introduction: Musik und Sprache: Music/Language/Speech. Contemporary Music Review, 39(3), ISSN 0749-4467 [Article]

Redhead, L, ed. 2020. Musik und Sprache: Music/Language/Speech, Contemporary Music Review, 39(3). 0749-4467 [Edited Journal]

Redhead, L and Zaldua, Alistair. 2020. vox humana. In: "vox humana", Ideas of Noise Festival, United Kingdom, February 2020. [Performance]

Redhead, L. 2019. Chris Newman’s Song to God (1994) for Solo Organ: Blurred Repetition, Visual Communication, and Embodied Information. Context, 45, pp. 19-30. [Article]

Redhead, L and Zaldua, Alistair. 2019. hearmleoþ-gieddunga: performance at Summit Salford, 26.09.19. In: "Summit No.11", Eagle Inn, Salford, United Kingdom, 26.09.2019. [Performance]

Redhead, L. 2019. The Medium is Now the Material: The ‘Folklore’ of Chris Newman and Michael Finnissy. In: I Pace and N McBride, eds. Critical Perspectives on the Music of Michael Finnissy: Bright Futures, Dark Pasts. Routledge. ISBN 9781138491977 [Book Section]

Redhead, L. 2019. The Whale. [Composition]

Redhead, L. 2019. puer natus est. [Composition]

Redhead, L and Glover, R, eds. 2018. Collaborative and Distributed Processes in Contemporary Music-Making. Newcastle: Cambridge Scholars. ISBN 978-1-5275-1398-3 [Edited Book]

Glover, R and Redhead, L. 2018. Collaborative and Distributed Processing in Contemporary Music-Making: Overview. In: L Redhead and R Glover, eds. Collaborative and Distributed Processes in Contemporary Music-Making. Newcastle: Cambridge Scholars, pp. 1-9. ISBN 978-1-5275-1398-3 [Book Section]

Redhead, L. 2018. A Common Method? Distributed Creativity in Composition and/as Practice Research. In: L Redhead and R Glover, eds. Collaborative and Distributed Processes in Contemporary Music-Making. Newcastle: Cambridge Scholars, pp. 27-44. ISBN 978-1-5275-1398-3 [Book Section]

Redhead, L; Zaldua, Alistair and Cannon, J. 2018. hearmleoþ—gieddunga. [Audio]

Mwamba, C and Redhead, L. 2018. Corey Mwamba and Lauren Redhead - Live at Contra Pop. [Audio]

Redhead, L. 2018. The Avant Garde as Exform. Tempo, 72(286), pp. 7-16. ISSN 0040-2982 [Article]

Canning, R and Redhead, L. 2018. [dis]Located Space[s] (Rob Canning). [Audio]

Redhead, L. 2018. 12 fragments for transverse flute. [Composition]

Redhead, L. 2018. humata, hukhta, huvarshta. [Composition]

Redhead, L. 2018. ijereja and entoptic landscape: Music as an Iterative Process. pan y rosas discos. [Other]

Redhead, L. 2018. ore. [Composition]

Redhead, L; Zaldua, Alistair; Gisby, S and Stone, S. 2017. Performing Temporal Processes. New Sound International Journal of Music, 50, pp. 113-127. ISSN 0354-818X [Article]

Redhead, L. 2017. a common method. [Composition]

Redhead, L. 2017. entoptic landscape and ijereja: music as an iterative process. New Sound International Journal of Music, 49, pp. 97-113. ISSN 0354-818X [Article]

Hawes, V and Redhead, L. 2016. Introduction. In: V Hawes and L Redhead, eds. Music and/as Process. Newcastle: Cambridge Scholars, pp. 1-8. ISBN 978-1-4438-9491-3 [Book Section]

Hawes, V and Redhead, L, eds. 2016. Music and/as Process. Newcastle: Cambridge Scholars. ISBN 978-1-4438-9491-3 [Edited Book]

Redhead, L. 2016. Notation as Process: 
Interpretation of Open Scores 
and the ‘Journey Form’. In: V Hawes and L Redhead, eds. Music and/as Process. Newcastle: Cambridge Scholars, pp. 116-134. ISBN 978-1-4438-9491-3 [Book Section]

Redhead, L and Zaldua, Alistair. 2016. 'The Organ as Live Interface'. In: International Conference on Live Interfaces. University of Sussex 29 June - 3 July 2016. [Conference or Workshop Item]

Redhead, L. 2016. ijereja. [Audio]

Redhead, L. 2016. Ijereja - Music as an interative process performance lecture. [Film/Video]

Redhead, L. 2016. for Luc Brewaeys. [Composition]

Redhead, L. 2015. The Beautiful and the Political. Contemporary Music Review, 34(2-3), pp. 247-255. ISSN 0749-4467 [Article]

Armstrong, R and Redhead, L. 2015. /’(h)weTH: VOICE - BREATH - BODY - FORM/S. New Sound International Journal of Music, 46, pp. 155-167. ISSN 0354-818X [Article]

Redhead, L. 2015. 'New Music' as Patriarchal Category. In: C Haworth and L Colton, eds. Gender, Age and Musical Creativity. London: Routledge, pp. 171-184. [Book Section]

Redhead, L and Zaldua, Alistair. 2015. Diapason: Music for Organ and Electronics. [Audio]

Redhead, L. 2015. boxmusic. [Composition]

Redhead, L. 2015. parergons. [Composition]

Redhead, L. 2014. False relationships: Nicola Lefanu, I am Bread. [Printed Ephemera]

ap Sion, Pwyll and Redhead, L. 2014. Introduction: Musical Borrowing and Quotation in the Twentieth and Twenty-first Centuries. Contemporary Music Review, 34(2), pp. 125-127. ISSN 0749-4467 [Article]

ap Sion, Pwyll and Redhead, L, eds. 2014. Musical Borrowing and Quotation in the Twentieth and Twenty-First Centuries, Contemporary Music Review, 33(2). 0749-4467 [Edited Journal]

Redhead, L. 2014. Quotation and Psychogeographic Experience as Repetition in the Music of Bernhard Lang and Chico Mello. Contemporary Music Review, 33(2), pp. 148-166. ISSN 0749-4467 [Article]

Redhead, L. 2014. concerto. [Audio]

Redhead, L. 2014. Sound and Space: Music for Organ and Electronics. sfzmusic. [Other]

Redhead, L. 2014. entoptic landscape. [Audio]