Contemporary Music Review

Article	Citations
Sounding the Arcane: Contemporary Music, Gender and Reproduction	11
TikTok, Twitter, and Platform-Specific Technocultural Discourse in Response to Taylor Swift’s LGBTQ+ Allyship in ‘You Need to Calm Down’	10
Are You Ready for It? Re-Evaluating Taylor Swift	6
Love and Business: Taylor Swift as Celebrity, Businesswoman, and Advocate	5
Who Needs to Calm Down? Taylor Swift and Rainbow Capitalism	5
Taylor Swift and the Work of Songwriting	3
Contemporary Music and Its Futures	2
Sound’s Matter: ‘Deleuzian Sound Studies’ and the Problems of Sonic Materialism	2
Legal Aliens: Serbian Composers in Western Europe Today	2
The Role of the Third Program of Radio Belgrade in the Presentation, Promotion, and Expansion of Serbian Avant-Garde Music in the 1960s and 1970s	2
I Don’t Give a Damn About Your Bad Reputation: Taylor Swift, Beyoncé Knowles, and Performance	2
Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music	2
‘What's So Funny?’: Videomemes and the Circulation of Contemporary Music in Social Media	2
INTRODUCTIONMusical Materialisms (Plural)	2
INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction	2
ColecViva and its Collaborative Methods Viewed as an Educational Project	2
Categorising Electronic Music	2
Are Classical Musicians Excluded from Improvisation? Cultural Hegemony and the Effects of Ideology on Musicians’ Attitudes Towards Improvisation	1
Vibrant Echoes: A Material Semiotics of the Voice in Music by Iris Garrelfs and Marlo Eggplant	1
The Cage Effect from a Serbian Perspective	1
@Newmusic #Soundart: Contemporary Music in the Age of Social Media	1
Building a Personal Artistic Identity as a Tribute to One’s ‘Heroes’: Vlastimir Trajković’s ‘Le Tombeau de la Bonne Musique’	1
On Material Indeterminacy	1
The Enabling Instrument: Milton Babbitt and the RCA Synthesizer	1
All My Time: Experimental Subversions of Livestreamed Performance During the Covid-19 Pandemic	1

Probing Gordon Mumma's Studio Heuristic through a Digital Recreation of Mesa (1966)	1
‘Music and Language Tilt into Each Other’: Annette Schmucki Interviewed by Alistair Zaldua	1
Reclaiming the ‘Contemporary’ in Indigeneity: The Musical Practices of Cris Derksen and Jeremy Dutcher	1
Volker Müller & Co.: Electronic Music and Sound Engineering at the WDR	1
Conversations with Tom Johnson	1
The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices	1
The South Slav ‘Golden Age’ and Gender Representation in Music	1
Hearing Compositional Play in Babbitt’s Arrays	1
‘Androgynous Music’: Pauline Oliveros’s Early Cybernetic Improvisation	1
Music in Vladan Radovanović’s ‘Art Synthesis’ Works	1
Out of Touch? Challenges in Reconnecting Bodies with Instruments ‘of the Future’	1
Re-Thinking Virtuosity for the Hybrid Era of Multifarious Approaches	1
The Cyborg Queen: Lip-Syncing and Posthumanism in ShayShay’s ‘Mutual Core’	1
Between Innocence and Experience: How Analysis Might or Might Not Have Affected My Hearing of Milton Babbitt’s Music	1
A Connected History and Geography of Studios	1
Serbian Late Twentieth-Century Neo-Avant-Garde: Minimalist Music by Vladimir Tošić and Miroslav Miša Savić	1
‘Make Classical Music Great Again’: Contemporary Music, Masculinity, and Virality in Memetic Media in Online Spaces	1
Improvisation, Indeterminacy, and Ontology: Some Perspectives on Music and the Posthumanities	1
Beyond the Divide: The Different New Music Festival in Belgrade (1984–1986)	1
What Does ASMR Sound Like? Composing the Proxemic Intimate Zone in Contemporary Music	1
(Re-)Assembling Notations in the Performance of Early Music	1
Opera in Portugal in the Last Quarter of the Twentieth Century: A Reflection on the Theatrical and Musical Issues in Creating Music Theatre	0
Game Play and Gestalt: Analysing Christian Wolff’s Alternative Notation from the Performers’ Perspectives	0
A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream by Ivana Stefanović	0
Improvising Myth and Memory Downtown: Music Venues, Race, and the Potential of Place	0
Iterative Processes: Notating, Composing, and Performing as Journey Forms	0
Words About Thinking in Music About Music: References in Call It What You Will	0
Lyrics not Available. Listening to Voice in Peter Ablinger’s ‘The Real as Imaginary’	0
Practices and Educational Affordances of Sound in the Postcolonial Hong Kong Protests	0
The Performer in the Music of Milton Babbitt	0
‘ Ce désert est faux ’ : Thoughts on Restaging Constança Capdeville’s Scenic Works	0
The Role of Smart, Haptic Wearables in the Performance of Mensura	0
Tom Johnson Discography	0
Spoken Music in the Field of Spanish Experimental Music	0
Heterospecific Song and Ecological Politics: Whale Song and Crumb's Vox Balaenae	0
Miguel and Paula Azguime and the New Op-Era	0
Playing with Babbitt in the 1980s: Guest Appearances at the New York Philharmonic and Bang on a Can	0
Participants, Punters or Perverts? An (Expanded) Relational Understanding of Simon Waters’ Performance Ecosystem	0
Pacing, Performance, and Perception in Alice Ping Yee Ho’s Angst	0
George Crumb's Black Angels and the Vietnam War	0
The Musical Force of the Magnetic Field: On the Latest Creative Phase in the Works of Jasna Veličković	0
Mapping Participation: Lawrence Halprin's RSVP Cycles Meets Richard Barrett's fOKT	0
The Afterlives of Indeterminacy	0
Tom Johnson at 80	0
Improvising Folk Songs: An Inclusive Indeterminacy	0
A Discussion of Strategies for recording Babbitt’s Composition for Twelve Instruments	0
Improvisation/Indeterminacy	0
Soviet Sounds, Communist Pedagogy: Lessons for Today’s Musicians, Organisers, Educators	0
Nashville Opera’s One Vote Won (2020) and the Challenge of Engaged Opera Performance	0
Sonic Directions to the Urban Student: Lyotard, the Megalopolis, and Not Listening as Pedagogy	0

How Did the Archaic Become the Avant-Garde? The Case of Ljubica Marić (1909–2003) Through the Prism of Contemporary Sources	0
A Personal Musical Introduction to George Crumb	0
Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb	0
Two Modes of the Avant-Garde’s Disintegration in Twenty-First-Century Serbian Music	0
Serbian Musical Identity: An Introduction	0
The Performer as Posthuman Assemblage: Performer-Machine Interactions in Contemporary Music	0
Approaches for Working with the Body in the Design of Electronic Music Performance Systems	0
Problem as Possibility: A Dialogue about Performance and Analysis with Lucia Dlugoszewski’s Experimental Notation as Case Study	0
Milton Babbitt’s E-type All-Combinatorial Hexachord and its Applications to Jazz	0
Experiencing Indeterminacy in Performance	0
Globalisation and Musical Identity: The Reception of Serbian Émigré Composers in the United States	0
‘Mother Nature Had Been Digitalized’: Collecting Sounds and Naturalising Interior Soundscapes	0
Improvising with Arrays	0
Making it Work: Music and Contemporary Art Spaces, Post-2008	0
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music	0
List of Writing by and about Tom Johnson	0
Tom Johnson: An Annotated Worklist	0
Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices	0
Interviews with George Crumb 2013–2018	0
The Meticulous Irreverence of José Lopes e Silva: Some Comments on Two Staged Works	0
‘It’s Basically the Same Practice to Organise an Exhibition of Work as it is to Put on a Gig’: Music and Art Sharing DIY Spaces in Scotland	0
A Conversation with Milton Babbitt and Robert Taub about Performing the West Coast Premiere of Preludes, Interludes, and Postlude	0
Playing Babbitt by Ear: How I Composed More Semi-Simple Variations, Intermezzo, and Fugue on a Theme by Milton Babbitt for Piano Four-Hands	0
‘Come. Open Your Eyes. Listen … I Hear Another Voice’: The Voice, Time and Memory in Luciano Berio’sAltra Voce(1999)	0
Music’s Powers: Embodiment & Flourishing with Taylor Swift	0
Shaping Babbitt's Semi-Simple Variations	0
Byzantium as a Metaphor for Identity in Serbian Music	0
Materiality, Contingency and Emergence of Compositional Material	0
DIY Music and Contemporary Art Spaces: Centre for Contemporary Arts, Transmission and the Art-Music Nexus in Glasgow	0
Three String Quartets by Ivana Stefanović—Three Aspects of Serbian Music in the Second Half of the Twentieth Century	0
Rajko Maksimović and the ‘Polish School’: A Case-Study of Tri Haiku	0
INTRODUCTIONOn Milton Babbitt: Progressive Artistic Research, Decorous Pranks, and Pig-Stand Jazz	0
Rethinking Babbitt’s ‘Serious’ Music as Play	0
Ergodynamics of the Open Machine : Material Engagement and Modular Synthesis Performance Practice	0
Michael Blake in Conversation with Tom Johnson in 2018	0
Learning, Performing, and Recording Post-Partitions and other Babbitt piano works	0
Music Theory in Serbia: Tracing the Legitimation of the Disciplinary Identity	0
An Overabundance of Signifiers: Derridean Play in Hans-Joachim Hespos’ Weiβschatten	0
The Old Police House (TOPH): Treatise	0
Things to Make and Do	0
The Grammatical Structures of Process Music: Exploring the Music of Tom Johnson Through Combinatory Patterns in Sound Poetry	0
Chaos Bells: Instrument Size and Entangled Music Performance	0
On the Liberation upon Hearing in the Intermediate State	0
Musik und Sprache: Music/Language/Speech	0
Temporality and Texture in the Performance of George Crumb’sMusic for a Summer Evening	0
Difficult Women: Joyce, Burns, and the Radical Passivity of Listening	0
Engaging Analysis and Performance	0
Serbian Musical Identity in Sacred Music from Stevan Mokranjac to Marko Tajčević	0
Instrumental Interaction and Subversion in John Cage’s Concert for Piano and Orchestra	0
Music as Communal Practice and the Problem of White Joy in Caroline Shaw’s Partita for 8 Voices	0
The Modernist Identity of Compositional Practice in 1960s Belgrade: Petar Osghian’s Meditations (1962), Silhouettes (1963), and Sigogis (1967)	0
An Ecology of Time Traces in Extinction Events and Dawn Chorus	0
Experimental Approaches in Portuguese Music Theatre	0
‘I opened the door to develop kuduro at JUPSON:’ Music Studios as Spaces of Collective Creativity in the Context of Electronic Dance Music in Angola	0
Pulling a Fast More-Than-One: Milton Babbitt’s Time-point Practice	0
Reading Queer Continuums inGymnopédie No. 3: A Conversation with Satie, and Cage, and Me (and You)	0
Language as a Material Process	0
Concerti e Concerti: Babbitt’s Mysterious Bedfellows	0
Performing Corporate Culture: Analysing Meta-Narratives and Online Interactivity Through Quigital	0
Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education	0
Constança Capdeville and the ColecViva Group: Alejandro Erlich Oliva in Interview with Filipa Magalhães	0
Companion Thinking in Improvised Musicking Practice	0
Music and Language	0
The Private and Public Lives of a Lost Concerto: Milton Babbitt’s Concerti for Violin, Orchestra, and Synthesized Sound	0
What Dreams May Come: Art Synthesis in Vladan Radovanović’s Radiophonic Work Small Eternal Lake (1984)	0
Performing Indeterminacy	0
Babbitt Jazzed: The Bad Plus’s Jazz Trio Arrangement of Semi-Simple Variations	0
Performance Practices: David Burge, Robert Miller, and the Makrokosmos	0
Navigating Technological Obsolescence: Analysis and Reconstruction of Stockhausen’s Mikrophonie I	0
The Extensions of Opera: Radio, Internet, and Immersion	0
Developing Live-Interactive Approaches to New Music for Organ and Electronics Through Collaboration	0
A Short History of Babbaptations	0
In Conversation with Jennifer Walshe: Performing with Intelligent Machines	0
The Polish School, Johann Sebastian Bach, and The Gospel According to St. John in an Avant-Garde Synergy: Music of Becoming (1965) by Serbian Composer Rajko Maksimović	0
Breaking Babb: Discovery and Process in Learning Babbitt’s Philomel: A Conversation between a Rock Star and a Screecher	0
Speculating on the ‘Feminist Performance Score’: Pauline Oliveros, Womens Work and Karen Barad	0
Stockhausen as CEO: The Executive Model of Interpretive Labour	0
Electronic Music, Sampling, and the Tape Snippet: How the Experimental Studio of Polish Radio Made Itself Useful	0
The Cyborg Hand: Gesture, Technology, Disability and Interdisciplinarity in Whatever Weighs You Down	0
The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre	0

Sounds of the Cold War Acropolis: Halim El-Dabh at the Columbia-Princeton Electronic Music Center	0
What’s the Point? Balancing Purpose and Play in Rule-based Compositions	0