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 2021-05-01 to 2025-05-01.)

Article	Citations
Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music	3
RETRACTED ARTICLE: A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream by Ivana S	3
Serbian Musical Identity: An Introduction	3
Music as Communal Practice and the Problem of White Joy in Caroline Shaw’s Partita for 8 Voices	3
The World Upside Down . A Digital Assemblage for Witnessing Trauma and Political Loss	2
Building a Personal Artistic Identity as a Tribute to One ’ s ‘Heroes’: Vlastimir Trajković’s ‘Le Tombeau de la Bonne Musique’	2
A Discussion of Strategies for recording Babbitt’s Composition for Twelve Instruments	2
Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices	2
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music	2
‘Androgynous Music’: Pauline Oliveros’s Early Cybernetic Improvisation	2
Performance Practices: David Burge, Robert Miller, and the Makrokosmos	2
Listening to Éliane	2
Presence and Absence: Notes on Éliane Radigue's ARP 2500 Synthesiser Technique	2
The Cyborg Hand: Gesture, Technology, Disability and Interdisciplinarity in Whatever Weighs You Down	1
The Afterlives of Indeterminacy	1
The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices	1
Radiguian Explorations	1
Nashville Opera’s One Vote Won (2020) and the Challenge of Engaged Opera Performance	1
Constança Capdeville and the ColecViva Group: Alejandro Erlich Oliva in Interview with Filipa Magalhães	1
Things to Make and Do	1
The Extensions of Opera: Radio, Internet, and Immersion	1
Problem as Possibility: A Dialogue about Performance and Analysis with Lucia Dlugoszewski’s Experimental Notation as Case Study	1
Isolation Journal: Remote Interactions in the Time of the COVID-19 Pandemic	1
‘ Ce désert est faux ’ : Thoughts on Restaging Constança Capdeville’s Scenic Works	1
Engaging Analysis and Performance	1

Interviews with George Crumb 2013–2018	1
A Personal Musical Introduction to George Crumb	1
Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education	1
Music Theory in Serbia: Tracing the Legitimation of the Disciplinary Identity	1
Learning, Performing, and Recording Post-Partitions and other Babbitt piano works	1
Words About Thinking in Music About Music: References in Call It What You Will	1
Chaos Bells: Instrument Size and Entangled Music Performance	1
Pulling a Fast More-Than-One: Milton Babbitt’s Time-point Practice	1
Two Modes of the Avant-Garde’s Disintegration in Twenty-First-Century Serbian Music	1
Improvisation, Indeterminacy, and Ontology: Some Perspectives on Music and the Posthumanities	1
Concerti e Concerti: Babbitt’s Mysterious Bedfellows	1
Reading Queer Continuums inGymnopédie No. 3: A Conversation with Satie, and Cage, and Me (and You)	1
Legal Aliens: Serbian Composers in Western Europe Today	1
Searching for the Unusual: New Methods of Composing for Gamelan	1
The Radiant Exterior: Lionel Marchetti performing Éliane Radigue	0
Inside the Éliane Radigue Composer-Performer Circle	0
Ergodynamics of the Open Machine : Material Engagement and Modular Synthesis Performance Practice	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
Translating Silence: OCCAM X as a Radical Act of Catastrophe	0
Improvising with Arrays	0
Serbian Late Twentieth-Century Neo-Avant-Garde: Minimalist Music by Vladimir Tošić and Miroslav Miša Savić	0
ColecViva and its Collaborative Methods Viewed as an Educational Project	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
Approaches for Working with the Body in the Design of Electronic Music Performance Systems	0
The Cage Effect from a Serbian Perspective	0
A Conversation with Milton Babbitt and Robert Taub about Performing the West Coast Premiere of Preludes, Interludes, and Postlude	0
The Private and Public Lives of a Lost Concerto: Milton Babbitt’s Concerti for Violin, Orchestra, and Synthesized Sound	0
Making it Work: Music and Contemporary Art Spaces, Post-2008	0
Shaping Babbitt's Semi-Simple Variations	0
What Does ASMR Sound Like? Composing the Proxemic Intimate Zone in Contemporary Music	0
How Did the Archaic Become the Avant-Garde? The Case of Ljubica Marić (1909–2003) Through the Prism of Contemporary Sources	0
Improvising Myth and Memory Downtown: Music Venues, Race, and the Potential of Place	0
The Meticulous Irreverence of José Lopes e Silva: Some Comments on Two Staged Works	0
Difficult Women: Joyce, Burns, and the Radical Passivity of Listening	0
The Performer in the Music of Milton Babbitt	0
Navigating Technological Obsolescence: Analysis and Reconstruction of Stockhausen’s Mikrophonie I	0
What’s the Point? Balancing Purpose and Play in Rule-based Compositions	0
Éliane Radigue at 90	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
Byzantium as a Metaphor for Identity in Serbian Music	0
Miguel and Paula Azguime and the New Op-Era	0
The Old Police House (TOPH): Treatise	0
Hearing Compositional Play in Babbitt’s Arrays	0
Re-Thinking Virtuosity for the Hybrid Era of Multifarious Approaches	0
@Newmusic #Soundart: Contemporary Music in the Age of Social Media	0
Breaking Babb: Discovery and Process in Learning Babbitt’s Philomel: A Conversation between a Rock Star and a Screecher	0
Beyond the Audible: Éliane Radigue’s OCCAM works and Inter/Listening	0
The South Slav ‘Golden Age’ and Gender Representation in Music	0
Improvisation/Indeterminacy	0
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	0

Experiencing Indeterminacy in Performance	0
‘What's So Funny?’: Videomemes and the Circulation of Contemporary Music in Social Media	0
Mapping Participation: Lawrence Halprin's RSVP Cycles Meets Richard Barrett's fOKT	0
The Modernist Identity of Compositional Practice in 1960s Belgrade: Petar Osghian’s Meditations (1962), Silhouettes (1963), and	0
Towards an Anti-Ideal: Radigue, Recording, and the Paradoxes of Representation	0
Rethinking Babbitt’s ‘Serious’ Music as Play	0
Soviet Sounds, Communist Pedagogy: Lessons for Today’s Musicians, Organisers, Educators	0
Performing Corporate Culture: Analysing Meta-Narratives and Online Interactivity Through Quigital	0
Telematic and Networked Performance During and Around the Pandemic	0
Three String Quartets by Ivana Stefanović—Three Aspects of Serbian Music in the Second Half of the Twentieth Century	0
Globalisation and Musical Identity: The Reception of Serbian Émigré Composers in the United States	0
The Symphony in the St. Pauli Elbe Tunnel	0
Points of Balance and the Infra-thin in Éliane Radigue’s Endless Music	0
Rajko Maksimović and the ‘Polish School’: A Case-Study of Tri Haiku	0
Iterative Processes: Notating, Composing, and Performing as Journey Forms	0
New Music Activity in Yogyakarta, Indonesia 2000–2020 (History and Network)	0
Temporality and Texture in the Performance of George Crumb’sMusic for a Summer Evening	0
Music in Vladan Radovanović’s ‘Art Synthesis’ Works	0
Game Play and Gestalt: Analysing Christian Wolff’s Alternative Notation from the Performers’ Perspectives	0
The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre	0
Beyond the Divide: The Different New Music Festival in Belgrade (1984–1986)	0
A Short History of Babbaptations	0
Between Innocence and Experience: How Analysis Might or Might Not Have Affected My Hearing of Milton Babbitt’s Music	0
Experimental Approaches in Portuguese Music Theatre	0
Companion Thinking in Improvised Musicking Practice	0
In Conversation with Jennifer Walshe: Performing with Intelligent Machines	0
An Overabundance of Signifiers: Derridean Play in Hans-Joachim Hespos’ Weiβschatten	0
The Performer as Posthuman Assemblage: Performer-Machine Interactions in Contemporary Music	0
Performing Indeterminacy	0
The Role of New Instruments in the Musical Works of Composers/Sound Artists in Indonesia	0
Reflections on Performing Éliane Radigue's OCCAM I	0
On Material Indeterminacy	0
Are Classical Musicians Excluded from Improvisation? Cultural Hegemony and the Effects of Ideology on Musicians’ Attitudes Towards Improvisation	0
What Dreams May Come: Art Synthesis in Vladan Radovanović’s Radiophonic Work Small Eternal Lake (1984)	0
INTRODUCTIONOn Milton Babbitt: Progressive Artistic Research, Decorous Pranks, and Pig-Stand Jazz	0
Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb	0
Digging Through the Network of the Indonesian Noise Scene	0
Serbian Musical Identity in Sacred Music from Stevan Mokranjac to Marko Tajčević	0
Becoming Women Composers in Contemporary Indonesia: Music and Collective in the Pandemic Era	0
DIY Music and Contemporary Art Spaces: Centre for Contemporary Arts, Transmission and the Art-Music Nexus in Glasgow	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
George Crumb's Black Angels and the Vietnam War	0
Babbitt Jazzed: The Bad Plus’s Jazz Trio Arrangement of Semi-Simple Variations	0
Stockhausen as CEO: The Executive Model of Interpretive Labour	0
‘Newness’ Reconsidered: Reflections on New Music from Indonesia	0
Playing with Babbitt in the 1980s: Guest Appearances at the New York Philharmonic and Bang on a Can	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
INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction	0
Tradition in Suspension: Timbre in Contemporary Gamelan Compositions	0
Improvising Folk Songs: An Inclusive Indeterminacy	0
Practices and Educational Affordances of Sound in the Postcolonial Hong Kong Protests	0
Instrumental Interaction and Subversion in John Cage’sConcert for Piano and Orchestra	0
Heterospecific Song and Ecological Politics: Whale Song and Crumb's Vox Balaenae	0
Sonic Directions to the Urban Student: Lyotard, the Megalopolis, and Not Listening as Pedagogy	0
Participants, Punters or Perverts? An (Expanded) Relational Understanding of Simon Waters’ Performance Ecosystem	0
Pacing, Performance, and Perception in Alice Ping Yee Ho’sAngst	0
The Role of Smart, Haptic Wearables in the Performance of Mensura	0
The Musical Force of the Magnetic Field: On the Latest Creative Phase in the Works of Jasna Veličković	0
‘Make Classical Music Great Again’: Contemporary Music, Masculinity, and Virality in Memetic Media in Online Spaces	0
Developing Live-Interactive Approaches to New Music for Organ and Electronics Through Collaboration	0
Speculating on the ‘Feminist Performance Score’: Pauline Oliveros, Womens Work and Karen Barad	0
All My Time: Experimental Subversions of Livestreamed Performance During the Covid-19 Pandemic	0
Milton Babbitt’s E-type All-Combinatorial Hexachord and its Applications to Jazz	0
Voicing Papua: The Resonance of Rituals	0
On the Liberation upon Hearing in the Intermediate State	0