OOIR: Observatory of International Research

Papers

(The median citation count of Contemporary Music Review is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2020-11-01 to 2024-11-01.)

Article	Citations
TikTok, Twitter, and Platform-Specific Technocultural Discourse in Response to Taylor Swift’s LGBTQ+ Allyship in ‘You Need to Calm Down’	15
Are You Ready for It? Re-Evaluating Taylor Swift	8
Who Needs to Calm Down? Taylor Swift and Rainbow Capitalism	7
Love and Business: Taylor Swift as Celebrity, Businesswoman, and Advocate	6
Taylor Swift and the Work of Songwriting	5
Serbian Late Twentieth-Century Neo-Avant-Garde: Minimalist Music by Vladimir Tošić and Miroslav Miša Savić	3
INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction	3
The Cage Effect from a Serbian Perspective	3
Legal Aliens: Serbian Composers in Western Europe Today	3
Beyond the Divide: The Different New Music Festival in Belgrade (1984–1986)	2
What Does ASMR Sound Like? Composing the Proxemic Intimate Zone in Contemporary Music	2
ColecViva and its Collaborative Methods Viewed as an Educational Project	2
All My Time: Experimental Subversions of Livestreamed Performance During the Covid-19 Pandemic	2
‘What's So Funny?’: Videomemes and the Circulation of Contemporary Music in Social Media	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
‘Make Classical Music Great Again’: Contemporary Music, Masculinity, and Virality in Memetic Media in Online Spaces	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
The Radiant Exterior: Lionel Marchetti performing Éliane Radigue	1
Are Classical Musicians Excluded from Improvisation? Cultural Hegemony and the Effects of Ideology on Musicians’ Attitudes Towards Improvisation	1
Volker Müller & Co.: Electronic Music and Sound Engineering at the WDR	1
On the Liberation upon Hearing in the Intermediate State	1
The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices	1
Translating Silence: OCCAM X as a Radical Act of Catastrophe	1
The Enabling Instrument: Milton Babbitt and the RCA Synthesizer	1

On Material Indeterminacy	1
Listening to Éliane	1
Probing Gordon Mumma's Studio Heuristic through a Digital Recreation of Mesa (1966)	1
Reflections on Performing Éliane Radigue's OCCAM I	1
Re-Thinking Virtuosity for the Hybrid Era of Multifarious Approaches	1
Between Innocence and Experience: How Analysis Might or Might Not Have Affected My Hearing of Milton Babbitt’s Music	1
Points of Balance and the Infra-thin in Éliane Radigue’s Endless Music	1
Building a Personal Artistic Identity as a Tribute to One ’ s ‘Heroes’: Vlastimir Trajković’s ‘Le Tombeau de la Bonne Musique’	1
Radiguian Explorations	1
‘Androgynous Music’: Pauline Oliveros’s Early Cybernetic Improvisation	1
Hearing Compositional Play in Babbitt’s Arrays	1
Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices	1
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music	1
Beyond the Audible: Éliane Radigue’s OCCAM works and Inter/Listening	1
A Connected History and Geography of Studios	1
@Newmusic #Soundart: Contemporary Music in the Age of Social Media	1
‘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	1
The South Slav ‘Golden Age’ and Gender Representation in Music	1
Presence and Absence: Notes on Éliane Radigue's ARP 2500 Synthesiser Technique	1
Improvisation, Indeterminacy, and Ontology: Some Perspectives on Music and the Posthumanities	1
Byzantium as a Metaphor for Identity in Serbian Music	1
Music in Vladan Radovanović’s ‘Art Synthesis’ Works	1
A Short History of Babbaptations	0
Concerti e Concerti: Babbitt’s Mysterious Bedfellows	0
Ergodynamics of the Open Machine : Material Engagement and Modular Synthesis Performance Practice	0
Improvisation/Indeterminacy	0
Breaking Babb: Discovery and Process in Learning Babbitt’s Philomel: A Conversation between a Rock Star and a Screecher	0
Experiencing Indeterminacy in Performance	0
Music Theory in Serbia: Tracing the Legitimation of the Disciplinary Identity	0
Éliane Radigue at 90	0
Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb	0
Globalisation and Musical Identity: The Reception of Serbian Émigré Composers in the United States	0
Improvising with Arrays	0
The Old Police House (TOPH): Treatise	0
Iterative Processes: Notating, Composing, and Performing as Journey Forms	0
Digging Through the Network of the Indonesian Noise Scene	0
Experimental Approaches in Portuguese Music Theatre	0
Shaping Babbitt's Semi-Simple Variations	0
Problem as Possibility: A Dialogue about Performance and Analysis with Lucia Dlugoszewski’s Experimental Notation as Case Study	0
Becoming Women Composers in Contemporary Indonesia: Music and Collective in the Pandemic Era	0
Playing with Babbitt in the 1980s: Guest Appearances at the New York Philharmonic and Bang on a Can	0
Two Modes of the Avant-Garde’s Disintegration in Twenty-First-Century Serbian Music	0
Pulling a Fast More-Than-One: Milton Babbitt’s Time-point Practice	0
Pacing, Performance, and Perception in Alice Ping Yee Ho’sAngst	0
Interviews with George Crumb 2013–2018	0
Chaos Bells: Instrument Size and Entangled Music Performance	0
The Role of Smart, Haptic Wearables in the Performance of Mensura	0
Inside the Éliane Radigue Composer-Performer Circle	0
Mapping Participation: Lawrence Halprin's RSVP Cycles Meets Richard Barrett's fOKT	0
The Musical Force of the Magnetic Field: On the Latest Creative Phase in the Works of Jasna Veličković	0

Participants, Punters or Perverts? An (Expanded) Relational Understanding of Simon Waters’ Performance Ecosystem	0
RETRACTED ARTICLE: A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream by Ivana S	0
The Private and Public Lives of a Lost Concerto: Milton Babbitt’s Concerti for Violin, Orchestra, and Synthesized Sound	0
Navigating Technological Obsolescence: Analysis and Reconstruction of Stockhausen’s Mikrophonie I	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
The Afterlives of Indeterminacy	0
Things to Make and Do	0
Rethinking Babbitt’s ‘Serious’ Music as Play	0
Voicing Papua: The Resonance of Rituals	0
Heterospecific Song and Ecological Politics: Whale Song and Crumb's Vox Balaenae	0
Sounds of the Cold War Acropolis: Halim El-Dabh at the Columbia-Princeton Electronic Music Center	0
Miguel and Paula Azguime and the New Op-Era	0
A Personal Musical Introduction to George Crumb	0
Difficult Women: Joyce, Burns, and the Radical Passivity of Listening	0
Serbian Musical Identity in Sacred Music from Stevan Mokranjac to Marko Tajčević	0
‘Newness’ Reconsidered: Reflections on New Music from Indonesia	0
Instrumental Interaction and Subversion in John Cage’sConcert for Piano and Orchestra	0
Rajko Maksimović and the ‘Polish School’: A Case-Study of Tri Haiku	0
New Music Activity in Yogyakarta, Indonesia 2000–2020 (History and Network)	0
Sonic Directions to the Urban Student: Lyotard, the Megalopolis, and Not Listening as Pedagogy	0
A Conversation with Milton Babbitt and Robert Taub about Performing the West Coast Premiere of Preludes, Interludes, and Postlude	0
Speculating on the ‘Feminist Performance Score’: Pauline Oliveros, Womens Work and Karen Barad	0
Improvising Myth and Memory Downtown: Music Venues, Race, and the Potential of Place	0
George Crumb's Black Angels and the Vietnam War	0
Engaging Analysis and Performance	0
Temporality and Texture in the Performance of George Crumb’sMusic for a Summer Evening	0
Words About Thinking in Music About Music: References in Call It What You Will	0
‘ Ce désert est faux ’ : Thoughts on Restaging Constança Capdeville’s Scenic Works	0
Approaches for Working with the Body in the Design of Electronic Music Performance Systems	0
Isolation Journal: Remote Interactions in the Time of the COVID-19 Pandemic	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
DIY Music and Contemporary Art Spaces: Centre for Contemporary Arts, Transmission and the Art-Music Nexus in Glasgow	0
Performing Corporate Culture: Analysing Meta-Narratives and Online Interactivity Through Quigital	0
Constança Capdeville and the ColecViva Group: Alejandro Erlich Oliva in Interview with Filipa Magalhães	0
Performance Practices: David Burge, Robert Miller, and the Makrokosmos	0
Three String Quartets by Ivana Stefanović—Three Aspects of Serbian Music in the Second Half of the Twentieth Century	0
Statement of Retraction: “A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream , b	0
Towards an Anti-Ideal: Radigue, Recording, and the Paradoxes of Representation	0
A Discussion of Strategies for recording Babbitt’s Composition for Twelve Instruments	0
How Did the Archaic Become the Avant-Garde? The Case of Ljubica Marić (1909–2003) Through the Prism of Contemporary Sources	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
Nashville Opera’s One Vote Won (2020) and the Challenge of Engaged Opera Performance	0
The Meticulous Irreverence of José Lopes e Silva: Some Comments on Two Staged Works	0
Developing Live-Interactive Approaches to New Music for Organ and Electronics Through Collaboration	0
The Extensions of Opera: Radio, Internet, and Immersion	0
An Overabundance of Signifiers: Derridean Play in Hans-Joachim Hespos’ Weiβschatten	0
What’s the Point? Balancing Purpose and Play in Rule-based Compositions	0
Serbian Musical Identity: An Introduction	0
Learning, Performing, and Recording Post-Partitions and other Babbitt piano works	0
Electronic Music, Sampling, and the Tape Snippet: How the Experimental Studio of Polish Radio Made Itself Useful	0
Reading Queer Continuums inGymnopédie No. 3: A Conversation with Satie, and Cage, and Me (and You)	0
Milton Babbitt’s E-type All-Combinatorial Hexachord and its Applications to Jazz	0
In Conversation with Jennifer Walshe: Performing with Intelligent Machines	0
The Performer as Posthuman Assemblage: Performer-Machine Interactions in Contemporary Music	0
Music as Communal Practice and the Problem of White Joy in Caroline Shaw’s Partita for 8 Voices	0
‘Mother Nature Had Been Digitalized’: Collecting Sounds and Naturalising Interior Soundscapes	0
Opera in Portugal in the Last Quarter of the Twentieth Century: A Reflection on the Theatrical and Musical Issues in Creating Music Theatre	0
The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre	0
Making it Work: Music and Contemporary Art Spaces, Post-2008	0
Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education	0
Game Play and Gestalt: Analysing Christian Wolff’s Alternative Notation from the Performers’ Perspectives	0
Practices and Educational Affordances of Sound in the Postcolonial Hong Kong Protests	0
The Performer in the Music of Milton Babbitt	0
The Cyborg Hand: Gesture, Technology, Disability and Interdisciplinarity in Whatever Weighs You Down	0
Searching for the Unusual: New Methods of Composing for Gamelan	0
The Modernist Identity of Compositional Practice in 1960s Belgrade: Petar Osghian’s Meditations (1962), Silhouettes (1963), and	0
What Dreams May Come: Art Synthesis in Vladan Radovanović’s Radiophonic Work Small Eternal Lake (1984)	0
Companion Thinking in Improvised Musicking Practice	0
The Role of New Instruments in the Musical Works of Composers/Sound Artists in Indonesia	0
Improvising Folk Songs: An Inclusive Indeterminacy	0
Music’s Powers: Embodiment & Flourishing with Taylor Swift	0
INTRODUCTIONOn Milton Babbitt: Progressive Artistic Research, Decorous Pranks, and Pig-Stand Jazz	0
Stockhausen as CEO: The Executive Model of Interpretive Labour	0
Performing Indeterminacy	0
Soviet Sounds, Communist Pedagogy: Lessons for Today’s Musicians, Organisers, Educators	0
Babbitt Jazzed: The Bad Plus’s Jazz Trio Arrangement of Semi-Simple Variations	0