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 2022-05-01 to 2026-05-01.)

Article	Citations
RETRACTED ARTICLE: A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream	6
Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music	6
The Compositional Process in Diaries: On the Notes in György Kurtág’s Sketches	5
Serbian Musical Identity: An Introduction	4
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music	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
Presence and Absence: Notes on Éliane Radigue's ARP 2500 Synthesiser Technique	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
The Extensions of Opera: Radio, Internet, and Immersion	2
Music Theory in Serbia: Tracing the Legitimation of the Disciplinary Identity	2
Building a Personal Artistic Identity as a Tribute to One ’ s ‘Heroes’: Vlastimir Trajković’s ‘Le Tombeau de la Bonne Musique’	2
Femininity in the Loop: Repetitive Music, Postdramatic Theatre, and the Construction of Meaning in Two Operas by Serbian Women Composers	2
Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices	2
The Student Cultural Center in Belgrade as a Cultural Phenomenon and a Propagator of Yugoslav Experimental Minimalism in the 1970s and 1980s	2
Heterogeneous Intertext and Creative (Re)Production in Kurtág’s Beethoven Homages	2
DJ Minimalism, Black Market Sounds, the House Revolution: Sounding Histories of Cold War Exchange	2
Problem as Possibility: A Dialogue about Performance and Analysis with Lucia Dlugoszewski’s Experimental Notation as Case Study	2
Listening to Éliane	2
Morton Feldman, the Kronos Quartet, and the Sound of Schubert	2
Queer Community Building, Academic Activism, and the Labour of Care: An Introduction	2
Things to Make and Do	2
The Cyborg Hand: Gesture, Technology, Disability and Interdisciplinarity in Whatever Weighs You Down	1
Developing Live-Interactive Approaches to New Music for Organ and Electronics Through Collaboration	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
Between Affect and a Data Driven World	1
Hindustani Dhrupad Vocal Music Pedagogy: An Ethnographic Contribution to the Digital Turn	1
All My Time: Experimental Subversions of Livestreamed Performance During the Covid-19 Pandemic	1
Sonic Pedagogies and Politics	1
Defining and Classifying Minimalism in Lithuanian Contemporary Music	1
The Performer as Posthuman Assemblage: Performer-Machine Interactions in Contemporary Music	1
The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre	1
DIY Music and Contemporary Art Spaces: Centre for Contemporary Arts, Transmission and the Art-Music Nexus in Glasgow	1
Reading Queer Continuums in Gymnopédie No. 3 : A Conversation with Satie, and Cage, and Me (and You)	1
The Phenomena of Minimalism in Hungarian Music: A Historical Overview—Creative Workshops, Composers, and Works	1
Constança Capdeville and the ColecViva Group: Alejandro Erlich Oliva in Interview with Filipa Magalhães	1
The Radiant Exterior: Lionel Marchetti performing Éliane Radigue	1
Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education	1
Queering the Padam , Embodying the Story: Performance as Method for Queer Worldings	1
The Afterlives of Indeterminacy	1
(Post)Minimalism and Postmodern Spirituality: Vuk Kulenović’s Hilandar Bells	1
On the Liberation upon Hearing in the Intermediate State	1
Reflections on a More Than 30-Year Collaboration with Kronos Quartet	1
A Retrospective Celebration of Kronos Quartet's Early Music (Lachrymæ Antiquæ)	1
The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices	1
György Kurtág at 100	1
Miguel and Paula Azguime and the New Op-Era	1
‘What's So Funny?’: Videomemes and the Circulation of Contemporary Music in Social Media	1
Sonic Directions to the Urban Student: Lyotard, the Megalopolis, and Not Listening as Pedagogy	1
Picturing Pärt: A Corpus Study of Tintinnabuli in Film	1
Nashville Opera’s One Vote Won (2020) and the Challenge of Engaged Opera Performance	1
Transaurality: On Listening to SOPHIE Against Queer Theory	1
Being a Friend with the Kronos Quartet	1
Approaches for Working with the Body in the Design of Electronic Music Performance Systems	1
Chaos Bells: Instrument Size and Entangled Music Performance	1
Legal Aliens: Serbian Composers in Western Europe Today	1
Reflections on Performing Éliane Radigue's OCCAM I	1
Stockhausen as CEO: The Executive Model of Interpretive Labour	1
Points of Balance and the Infra-thin in Éliane Radigue’s Endless Music	1
The Role of New Instruments in the Musical Works of Composers/Sound Artists in Indonesia	1
Engaging Analysis and Performance	1
Éliane Radigue at 90	1
Instrumental Interaction and Subversion in John Cage’sConcert for Piano and Orchestra	1
Companion Thinking in Improvised Musicking Practice	1
Telematic and Networked Performance During and Around the Pandemic	1
Music Gatherings Grow Strands of Connectivity	1
A Ghost in the Minimalist Machine?: Henryk Górecki and the ‘Symphony of Sorrowful Songs’	1
Radiguian Explorations	1
Re-Thinking Virtuosity for the Hybrid Era of Multifarious Approaches	1
‘ Ce désert est faux ’ : Thoughts on Restaging Constança Capdeville’s Scenic Works	1
Beyond the Audible: Éliane Radigue’s OCCAM works and Inter/Listening	1
Neoliberalism, Homophobia, and the Long Arm of the 1980s: The Second Production of Harrison Birtwistle’s The Mask of Orpheus and its Press Reception	0
Improvising Myth and Memory Downtown: Music Venues, Race, and the Potential of Place	0
Fragmentary Echoes in a Broad Stream of Neoromanticism: The Local Specificity of Minimalism in Latvian Academic Music	0

Mnemo-Acousmatic and Techno-Aesthetic Affect-between Dwelling and Sound art Works	0
Tradition in Suspension: Timbre in Contemporary Gamelan Compositions	0
Opposing Oblivion: Some Thoughts on Minimal Music in Croatia	0
Soviet Sounds, Communist Pedagogy: Lessons for Today’s Musicians, Organisers, Educators	0
Game Play and Gestalt: Analysing Christian Wolff’s Alternative Notation from the Performers’ Perspectives	0
Ligeti’s Traces in Kurtág’s String Quartet Op. 1	0
Iterative Processes: Notating, Composing, and Performing as Journey Forms	0
A Study in Developmental Mourning: Laurie Anderson and Kronos Quartet’s Landfall	0
Fin de partie : Making a Song and Dance About it	0
Making it Work: Music and Contemporary Art Spaces, Post-2008	0
Extensions and Amputations: Evaluating a Latency: Accepting Approach to Intercontinental Telematic Composition and Performance	0
Digging Through the Network of the Indonesian Noise Scene	0
ColecViva and its Collaborative Methods Viewed as an Educational Project	0
The Modernist Identity of Compositional Practice in 1960s Belgrade: Petar Osghian’s Meditations (1962), Silhouettes (1963), and	0
Navigating Technological Obsolescence: Analysis and Reconstruction of Stockhausen’s Mikrophonie I	0
Producing the Norwegian Queer Opera Singer: A Diffractive Analysis of Queer Enactments and Regulations in Opera	0
Statement of Retraction: “A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern D	0
Minimalist Orientations in Romanian Music: Corneliu Dan Georgescu and the Concept of ‘Archetypal Monotony’	0
Difficult Women: Joyce, Burns, and the Radical Passivity of Listening	0
Rajko Maksimović and the ‘Polish School’: A Case-Study of Tri Haiku	0
The South Slav ‘Golden Age’ and Gender Representation in Music	0
New Music Activity in Yogyakarta, Indonesia 2000–2020 (History and Network)	0
@Newmusic #Soundart: Contemporary Music in the Age of Social Media	0
Ergodynamics of the Open Machine : Material Engagement and Modular Synthesis Performance Practice	0
Voicing Papua: The Resonance of Rituals	0
In Conversation with Jennifer Walshe: Performing with Intelligent Machines	0
Pan-European Minimalism Beyond the Iron Curtain? Michael Fahres’s European Minimal Music Project 1980–1982	0
The Symphony in the St. Pauli Elbe Tunnel	0
Serbian Musical Identity in Sacred Music from Stevan Mokranjac to Marko Tajčević	0
The Kronos Quartet: Friends and Teachers	0
Digitally Disposed and Compromised	0
Performing Corporate Culture: Analysing Meta-Narratives and Online Interactivity Through Quigital	0
Revisiting Tomasz Sikorski: Polish Minimalism and Its Critique	0
Whither Trans/Queer Music Studies?	0
Byzantium as a Metaphor for Identity in Serbian Music	0
Translating Silence: OCCAM X as a Radical Act of Catastrophe	0
Globalisation and Musical Identity: The Reception of Serbian Émigré Composers in the United States	0
‘Newness’ Reconsidered: Reflections on New Music from Indonesia	0
Practices and Educational Affordances of Sound in the Postcolonial Hong Kong Protests	0
Pacing, Performance, and Perception in Alice Ping Yee Ho’sAngst	0
Participants, Punters or Perverts? An (Expanded) Relational Understanding of Simon Waters’ Performance Ecosystem	0
To Get into the Convolutions of the Text: A Conversation with Márta Kurtág and György Kurtág	0
Beyond the Divide: The Different New Music Festival in Belgrade (1984–1986)	0
Recording with Kronos Quartet	0
The Old Police House (TOPH): Treatise	0
Speculating on the ‘Feminist Performance Score’: Pauline Oliveros, Womens Work and Karen Barad	0
Becoming Women Composers in Contemporary Indonesia: Music and Collective in the Pandemic Era	0
What’s the Point? Balancing Purpose and Play in Rule-based Compositions	0
The Role of Smart, Haptic Wearables in the Performance of Mensura	0
Towards an Anti-Ideal: Radigue, Recording, and the Paradoxes of Representation	0
On Material Indeterminacy	0
The Kronos Quartet and the Middle East	0
The Landscapes of Yugoslav Minimalism through the Lens of the Ensemble for Different New Music (1977–1987)	0
The Meticulous Irreverence of José Lopes e Silva: Some Comments on Two Staged Works	0
Inside the Éliane Radigue Composer-Performer Circle	0
What Does ASMR Sound Like? Composing the Proxemic Intimate Zone in Contemporary Music	0
Minimalist Music in Eastern Europe: An Introduction	0
Ligatura Basiliensis: On and Around the György Kurtág Collection	0
Converging Trajectories in the Creative Practice of György Kurtág and Luigi Nono	0
An Interview with Michael Finnissy	0
Habits and Algorithms: Reconsidering Music Technologies.	0
Queering Popular Song: Jimmy Somerville and the Reclamation of Disco During the HIV/AIDS Pandemic	0
Experiencing Indeterminacy in Performance	0
Silent Towns: Telematic Media for Remote Ensemble Performance	0
Situating the Musical Work in Improvised Telematic Performances: A Philosophical Hermeneutic Perspective	0
Performing Indeterminacy	0
Soviet Minimalist Music: A Problematic Phenomenon?	0
Observing György Kurtág, and Listening to Him While He is Working on Fin de partie	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
‘Make Classical Music Great Again’: Contemporary Music, Masculinity, and Virality in Memetic Media in Online Spaces	0
International Mainstream or Vernacular Dialect? Rethinking Lithuanian (Post)Minimal Music in the Time of Post-national Condition	0
Finie la rigolade : Kurtág’s Beckettian Worldview	0
Experimental Approaches in Portuguese Music Theatre	0