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 2021-11-01 to 2025-11-01.)

Article	Citations
Serbian Musical Identity: An Introduction	5
Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music	5
RETRACTED ARTICLE: A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream by Ivana S	5
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music	4
Performance Practices: David Burge, Robert Miller, and the Makrokosmos	4
Femininity in the Loop: Repetitive Music, Postdramatic Theatre, and the Construction of Meaning in Two Operas by Serbian Women Composers	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	3
The Student Cultural Center in Belgrade as a Cultural Phenomenon and a Propagator of Yugoslav Experimental Minimalism in the 1970s and 1980s	2
Problem as Possibility: A Dialogue about Performance and Analysis with Lucia Dlugoszewski’s Experimental Notation as Case Study	2
Presence and Absence: Notes on Éliane Radigue's ARP 2500 Synthesiser Technique	2
The Extensions of Opera: Radio, Internet, and Immersion	2
Things to Make and Do	2
Listening to Éliane	2
Building a Personal Artistic Identity as a Tribute to One ’ s ‘Heroes’: Vlastimir Trajković’s ‘Le Tombeau de la Bonne Musique’	2
Searching for the Unusual: New Methods of Composing for Gamelan	2
Isolation Journal: Remote Interactions in the Time of the COVID-19 Pandemic	2
Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices	2
DJ Minimalism, Black Market Sounds, the House Revolution: Sounding Histories of Cold War Exchange	2
Chaos Bells: Instrument Size and Entangled Music Performance	1
Legal Aliens: Serbian Composers in Western Europe Today	1
‘ Ce désert est faux ’ : Thoughts on Restaging Constança Capdeville’s Scenic Works	1
Éliane Radigue at 90	1
(Post)Minimalism and Postmodern Spirituality: Vuk Kulenović’s Hilandar Bells	1
Reflections on Performing Éliane Radigue's OCCAM I	1

Miguel and Paula Azguime and the New Op-Era	1
Defining and Classifying Minimalism in Lithuanian Contemporary Music	1
Two Modes of the Avant-Garde’s Disintegration in Twenty-First-Century Serbian Music	1
Nashville Opera’s One Vote Won (2020) and the Challenge of Engaged Opera Performance	1
A Personal Musical Introduction to George Crumb	1
The Cyborg Hand: Gesture, Technology, Disability and Interdisciplinarity in Whatever Weighs You Down	1
Music Theory in Serbia: Tracing the Legitimation of the Disciplinary Identity	1
The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices	1
Interviews with George Crumb 2013–2018	1
The Radiant Exterior: Lionel Marchetti performing Éliane Radigue	1
Re-Thinking Virtuosity for the Hybrid Era of Multifarious Approaches	1
Companion Thinking in Improvised Musicking Practice	1
Sonic Directions to the Urban Student: Lyotard, the Megalopolis, and Not Listening as Pedagogy	1
Music Gatherings Grow Strands of Connectivity	1
Radiguian Explorations	1
Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education	1
Reading Queer Continuums inGymnopédie No. 3: A Conversation with Satie, and Cage, and Me (and You)	1
Engaging Analysis and Performance	1
Stockhausen as CEO: The Executive Model of Interpretive Labour	1
Opera in Portugal in the Last Quarter of the Twentieth Century: A Reflection on the Theatrical and Musical Issues in Creating Music Theatre	1
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	1
Beyond the Audible: Éliane Radigue’s OCCAM works and Inter/Listening	1
The Musical Force of the Magnetic Field: On the Latest Creative Phase in the Works of Jasna Veličković	1
Developing Live-Interactive Approaches to New Music for Organ and Electronics Through Collaboration	1
The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre	1
The Afterlives of Indeterminacy	1
Constança Capdeville and the ColecViva Group: Alejandro Erlich Oliva in Interview with Filipa Magalhães	1
Serbian Late Twentieth-Century Neo-Avant-Garde: Minimalist Music by Vladimir Tošić and Miroslav Miša Savić	0
A Ghost in the Minimalist Machine?: Henryk Górecki and the ‘Symphony of Sorrowful Songs’	0
Heterospecific Song and Ecological Politics: Whale Song and Crumb's Vox Balaenae	0
Telematic and Networked Performance During and Around the Pandemic	0
Pacing, Performance, and Perception in Alice Ping Yee Ho’sAngst	0
Instrumental Interaction and Subversion in John Cage’sConcert for Piano and Orchestra	0
Minimalist Orientations in Romanian Music: Corneliu Dan Georgescu and the Concept of ‘Archetypal Monotony’	0
The Role of Smart, Haptic Wearables in the Performance of Mensura	0
Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb	0
Temporality and Texture in the Performance of George Crumb’sMusic for a Summer Evening	0
Tradition in Suspension: Timbre in Contemporary Gamelan Compositions	0
Points of Balance and the Infra-thin in Éliane Radigue’s Endless Music	0
Globalisation and Musical Identity: The Reception of Serbian Émigré Composers in the United States	0
Ergodynamics of the Open Machine : Material Engagement and Modular Synthesis Performance Practice	0
The Cage Effect from a Serbian Perspective	0
Pan-European Minimalism Beyond the Iron Curtain? Michael Fahres’s European Minimal Music Project 1980–1982	0
‘What's So Funny?’: Videomemes and the Circulation of Contemporary Music in Social Media	0
Voicing Papua: The Resonance of Rituals	0
Becoming Women Composers in Contemporary Indonesia: Music and Collective in the Pandemic Era	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
Navigating Technological Obsolescence: Analysis and Reconstruction of Stockhausen’s Mikrophonie I	0
Practices and Educational Affordances of Sound in the Postcolonial Hong Kong Protests	0
Translating Silence: OCCAM X as a Radical Act of Catastrophe	0

The Symphony in the St. Pauli Elbe Tunnel	0
The Old Police House (TOPH): Treatise	0
Experimental Approaches in Portuguese Music Theatre	0
‘Make Classical Music Great Again’: Contemporary Music, Masculinity, and Virality in Memetic Media in Online Spaces	0
Towards an Anti-Ideal: Radigue, Recording, and the Paradoxes of Representation	0
Beyond the Divide: The Different New Music Festival in Belgrade (1984–1986)	0
Picturing Pärt: A Corpus Study of Tintinnabuli in Film	0
Game Play and Gestalt: Analysing Christian Wolff’s Alternative Notation from the Performers’ Perspectives	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
Soviet Sounds, Communist Pedagogy: Lessons for Today’s Musicians, Organisers, Educators	0
Rajko Maksimović and the ‘Polish School’: A Case-Study of Tri Haiku	0
The Landscapes of Yugoslav Minimalism through the Lens of the Ensemble for Different New Music (1977–1987)	0
All My Time: Experimental Subversions of Livestreamed Performance During the Covid-19 Pandemic	0
George Crumb's Black Angels and the Vietnam War	0
On the Liberation upon Hearing in the Intermediate State	0
Improvising Myth and Memory Downtown: Music Venues, Race, and the Potential of Place	0
Digitally Disposed and Compromised	0
Music in Vladan Radovanović’s ‘Art Synthesis’ Works	0
What’s the Point? Balancing Purpose and Play in Rule-based Compositions	0
Making it Work: Music and Contemporary Art Spaces, Post-2008	0
Three String Quartets by Ivana Stefanović—Three Aspects of Serbian Music in the Second Half of the Twentieth Century	0
How Did the Archaic Become the Avant-Garde? The Case of Ljubica Marić (1909–2003) Through the Prism of Contemporary Sources	0
Byzantium as a Metaphor for Identity in Serbian Music	0
Experiencing Indeterminacy in Performance	0
New Music Activity in Yogyakarta, Indonesia 2000–2020 (History and Network)	0
Participants, Punters or Perverts? An (Expanded) Relational Understanding of Simon Waters’ Performance Ecosystem	0
Opposing Oblivion: Some Thoughts on Minimal Music in Croatia	0
Habits and Algorithms: Reconsidering Music Technologies.	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
In Conversation with Jennifer Walshe: Performing with Intelligent Machines	0
‘Newness’ Reconsidered: Reflections on New Music from Indonesia	0
@Newmusic #Soundart: Contemporary Music in the Age of Social Media	0
What Dreams May Come: Art Synthesis in Vladan Radovanović’s Radiophonic Work Small Eternal Lake (1984)	0
Extensions and Amputations: Evaluating a Latency: Accepting Approach to Intercontinental Telematic Composition and Performance	0
Approaches for Working with the Body in the Design of Electronic Music Performance Systems	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
The Phenomena of Minimalism in Hungarian Music: A Historical Overview—Creative Workshops, Composers, and Works	0
Soviet Minimalist Music: A Problematic Phenomenon?	0
The Performer as Posthuman Assemblage: Performer-Machine Interactions in Contemporary Music	0
INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction	0
Fragmentary Echoes in a Broad Stream of Neoromanticism: The Local Specificity of Minimalism in Latvian Academic Music	0
The Role of New Instruments in the Musical Works of Composers/Sound Artists in Indonesia	0
Iterative Processes: Notating, Composing, and Performing as Journey Forms	0
Serbian Musical Identity in Sacred Music from Stevan Mokranjac to Marko Tajčević	0
International Mainstream or Vernacular Dialect? Rethinking Lithuanian (Post)Minimal Music in the Time of Post-national Condition	0
What Does ASMR Sound Like? Composing the Proxemic Intimate Zone in Contemporary Music	0
The Modernist Identity of Compositional Practice in 1960s Belgrade: Petar Osghian’s Meditations (1962), Silhouettes (1963), and	0
Inside the Éliane Radigue Composer-Performer Circle	0
The Meticulous Irreverence of José Lopes e Silva: Some Comments on Two Staged Works	0
Minimalist Music in Eastern Europe: An Introduction	0
Difficult Women: Joyce, Burns, and the Radical Passivity of Listening	0
On Material Indeterminacy	0
Revisiting Tomasz Sikorski: Polish Minimalism and Its Critique	0
Performing Indeterminacy	0
Digging Through the Network of the Indonesian Noise Scene	0
The South Slav ‘Golden Age’ and Gender Representation in Music	0
Speculating on the ‘Feminist Performance Score’: Pauline Oliveros, Womens Work and Karen Barad	0
ColecViva and its Collaborative Methods Viewed as an Educational Project	0