| “Welcome to the Tundra”: Tanya Tagaq's creative and communicative agency as political strategy A Woloshyn Journal of Popular Music Studies 29 (4), e12254, 2017 | 21 | 2017 |
| Imogen Heap as Pop Music Cyborg: Renegotiations of Power, Gender, and Sound A Woloshyn Journal on the Art of Record Production, 2009 | 15 | 2009 |
| Electroacoustic Voices: Sounds Queer, and Why it Matters A Woloshyn Tempo 71 (280), 68-79, 2017 | 11 | 2017 |
| Hearing urban indigeneity in Canada: Self-determination, community formation, and kinaesthetic listening with A Tribe Called Red A Woloshyn American Indian Culture and Research Journal 39 (3), 2015 | 9 | 2015 |
| The recorded voice and the mediated body in contemporary Canadian electroacoustic music AL Woloshyn University of Toronto (Canada), 2012 | 7 | 2012 |
| A Tribe Called Red’s Halluci Nation: Sonifying Embodied Global Allegiances, Decolonization, and Indigenous Activism A Woloshyn Intersections 36 (2), 101-109, 2016 | 6 | 2016 |
| Reclaiming the ‘Contemporary’in Indigeneity: The Musical Practices of Cris Derksen and Jeremy Dutcher A Woloshyn Contemporary Music Review 39 (2), 206-230, 2020 | 5 | 2020 |
| Unsettling Sounds of Indigeneity: Reckoning with the White Possessive and Building Anti-/De-colonial Solidarity in Popular Music Research A Woloshyn MUSICultures 49, 225-240, 2022 | 4 | 2022 |
| Decolonizing desires and unsettling musicology: A settler’s personal story of researching and teaching Indigenous music at an American university A Woloshyn Intersections 39 (1), 41-55, 2019 | 4 | 2019 |
| Wallace Berry’s Structural Processes and Electroacoustic Music: A Case Study Analysis of Robert Normandeau’s Onomatopoeias Cycle, A Woloshyn eContact! 13 (3), 2011 | 4* | 2011 |
| Sounding the Halluci Nation: Decolonizing Race, Masculinity, and Global Solidarities with A Tribe Called Red A Woloshyn Popular Music and the Politics of Hope, 151-172, 2019 | 3 | 2019 |
| Playing with the Voice and Blurring Boundaries in Hildegard Westerkamp’s MotherVoiceTalk A Woloshyn eContact! 14 (4), 2012 | 3 | 2012 |
| Onomatopoeias and Robert Normandeau’s sonic world of Baobabs: transformation, adaptation, and evocation A Woloshyn Circuit 24 (2), 67-87, 2014 | 2 | 2014 |
| An Orchestra at My Fingertips: A History of the Canadian Electronic Ensemble A Woloshyn McGill-Queen's Press-MQUP, 2023 | | 2023 |
| Hungry Listening: Resonant Theory for Indigenous Sound Studies A Woloshyn Wicazo Sa Review 35 (1/2), 119-123, 2020 | | 2020 |
| Materializing Identity in the Recording Studio A Woloshyn The Bloomsbury Handbook of Music Production, 249, 2020 | | 2020 |
| SOUNDING THE HALLUCI NATION A Woloshyn Popular Music and the Politics of Hope: Queer and Feminist Interventions, 2019 | | 2019 |
| Brandon LaBelle, Sonic Agency: Sound and Emergent Forms of Resistance. London: Goldsmiths Press, 2018. 224 pp. ISBN: 978-1-906-89751-2. A Woloshyn Organised Sound 23 (3), 308-309, 2018 | | 2018 |
| Ralf von Appen, André Doehring, Dietrich Helms, and Allan F. Moore, editors, Song Interpretation in 21st-Century Pop Music Ashgate Popular and Folk Music … A Woloshyn Journal of Musicological Research 35 (4), 353-355, 2016 | | 2016 |
| Norma Beecroft. 2015. Conversations with Post World War II Pioneers of Electronic Music. Self-published with assistance from the Canadian Music Centre. E-book A Woloshyn Intersections: Canadian Journal of Music/Intersections: revue canadienne de …, 2016 | | 2016 |
