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 2021-02-01 to 2025-02-01.)

Article	Citations
Milton Babbitt’s E-type All-Combinatorial Hexachord and its Applications to Jazz	3
Improvising with Arrays	3
New Music Activity in Yogyakarta, Indonesia 2000–2020 (History and Network)	3
Serbian Musical Identity in Sacred Music from Stevan Mokranjac to Marko Tajčević	3
Developing Live-Interactive Approaches to New Music for Organ and Electronics Through Collaboration	2
Music Theory in Serbia: Tracing the Legitimation of the Disciplinary Identity	2
Ergodynamics of the Open Machine : Material Engagement and Modular Synthesis Performance Practice	2
Things to Make and Do	2
Serbian Musical Identity: An Introduction	2
Re-Thinking Virtuosity for the Hybrid Era of Multifarious Approaches	2
ColecViva and its Collaborative Methods Viewed as an Educational Project	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
Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music	2
Beyond the Audible: Éliane Radigue’s OCCAM works and Inter/Listening	1
Are Classical Musicians Excluded from Improvisation? Cultural Hegemony and the Effects of Ideology on Musicians’ Attitudes Towards Improvisation	1
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	1
The Radiant Exterior: Lionel Marchetti performing Éliane Radigue	1
DIY Music and Contemporary Art Spaces: Centre for Contemporary Arts, Transmission and the Art-Music Nexus in Glasgow	1
What Dreams May Come: Art Synthesis in Vladan Radovanović’s Radiophonic Work Small Eternal Lake (1984)	1
Approaches for Working with the Body in the Design of Electronic Music Performance Systems	1
George Crumb's Black Angels and the Vietnam War	1
Tradition in Suspension: Timbre in Contemporary Gamelan Compositions	1
How Did the Archaic Become the Avant-Garde? The Case of Ljubica Marić (1909–2003) Through the Prism of Contemporary Sources	1
‘What's So Funny?’: Videomemes and the Circulation of Contemporary Music in Social Media	1
Towards an Anti-Ideal: Radigue, Recording, and the Paradoxes of Representation	1

Performance Practices: David Burge, Robert Miller, and the Makrokosmos	1
Chaos Bells: Instrument Size and Entangled Music Performance	1
Playing with Babbitt in the 1980s: Guest Appearances at the New York Philharmonic and Bang on a Can	1
Shaping Babbitt's Semi-Simple Variations	1
Reflections on Performing Éliane Radigue's OCCAM I	1
Legal Aliens: Serbian Composers in Western Europe Today	1
Stockhausen as CEO: The Executive Model of Interpretive Labour	1
Soviet Sounds, Communist Pedagogy: Lessons for Today’s Musicians, Organisers, Educators	1
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	1
Mapping Participation: Lawrence Halprin's RSVP Cycles Meets Richard Barrett's fOKT	1
The Cyborg Hand: Gesture, Technology, Disability and Interdisciplinarity in Whatever Weighs You Down	1
Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education	1
Improvising Folk Songs: An Inclusive Indeterminacy	1
Constança Capdeville and the ColecViva Group: Alejandro Erlich Oliva in Interview with Filipa Magalhães	0
Nashville Opera’s One Vote Won (2020) and the Challenge of Engaged Opera Performance	0
‘ Ce désert est faux ’ : Thoughts on Restaging Constança Capdeville’s Scenic Works	0
Searching for the Unusual: New Methods of Composing for Gamelan	0
Performing Indeterminacy	0
Temporality and Texture in the Performance of George Crumb’sMusic for a Summer Evening	0
Babbitt Jazzed: The Bad Plus’s Jazz Trio Arrangement of Semi-Simple Variations	0
Navigating Technological Obsolescence: Analysis and Reconstruction of Stockhausen’s Mikrophonie I	0
Serbian Late Twentieth-Century Neo-Avant-Garde: Minimalist Music by Vladimir Tošić and Miroslav Miša Savić	0
All My Time: Experimental Subversions of Livestreamed Performance During the Covid-19 Pandemic	0
Translating Silence: OCCAM X as a Radical Act of Catastrophe	0
Participants, Punters or Perverts? An (Expanded) Relational Understanding of Simon Waters’ Performance Ecosystem	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
Presence and Absence: Notes on Éliane Radigue's ARP 2500 Synthesiser Technique	0
The South Slav ‘Golden Age’ and Gender Representation in Music	0
Music as Communal Practice and the Problem of White Joy in Caroline Shaw’s Partita for 8 Voices	0
On the Liberation upon Hearing in the Intermediate State	0
The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices	0
@Newmusic #Soundart: Contemporary Music in the Age of Social Media	0
Improvising Myth and Memory Downtown: Music Venues, Race, and the Potential of Place	0
The Modernist Identity of Compositional Practice in 1960s Belgrade: Petar Osghian’s Meditations (1962), Silhouettes (1963), and	0
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music	0
The Extensions of Opera: Radio, Internet, and Immersion	0
Instrumental Interaction and Subversion in John Cage’sConcert for Piano and Orchestra	0
Engaging Analysis and Performance	0
Difficult Women: Joyce, Burns, and the Radical Passivity of Listening	0
Pacing, Performance, and Perception in Alice Ping Yee Ho’sAngst	0
An Overabundance of Signifiers: Derridean Play in Hans-Joachim Hespos’ Weiβschatten	0
Speculating on the ‘Feminist Performance Score’: Pauline Oliveros, Womens Work and Karen Barad	0
What’s the Point? Balancing Purpose and Play in Rule-based Compositions	0
The Private and Public Lives of a Lost Concerto: Milton Babbitt’s Concerti for Violin, Orchestra, and Synthesized Sound	0
A Short History of Babbaptations	0
‘Make Classical Music Great Again’: Contemporary Music, Masculinity, and Virality in Memetic Media in Online Spaces	0
Music in Vladan Radovanović’s ‘Art Synthesis’ Works	0
Performing Corporate Culture: Analysing Meta-Narratives and Online Interactivity Through Quigital	0
On Material Indeterminacy	0
Pulling a Fast More-Than-One: Milton Babbitt’s Time-point Practice	0

Isolation Journal: Remote Interactions in the Time of the COVID-19 Pandemic	0
Improvisation, Indeterminacy, and Ontology: Some Perspectives on Music and the Posthumanities	0
Experiencing Indeterminacy in Performance	0
In Conversation with Jennifer Walshe: Performing with Intelligent Machines	0
‘Androgynous Music’: Pauline Oliveros’s Early Cybernetic Improvisation	0
The Old Police House (TOPH): Treatise	0
Beyond the Divide: The Different New Music Festival in Belgrade (1984–1986)	0
Inside the Éliane Radigue Composer-Performer Circle	0
Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb	0
The Role of New Instruments in the Musical Works of Composers/Sound Artists in Indonesia	0
A Conversation with Milton Babbitt and Robert Taub about Performing the West Coast Premiere of Preludes, Interludes, and Postlude	0
Éliane Radigue at 90	0
Building a Personal Artistic Identity as a Tribute to One ’ s ‘Heroes’: Vlastimir Trajković’s ‘Le Tombeau de la Bonne Musique’	0
Rajko Maksimović and the ‘Polish School’: A Case-Study of Tri Haiku	0
Digging Through the Network of the Indonesian Noise Scene	0
Interviews with George Crumb 2013–2018	0
Miguel and Paula Azguime and the New Op-Era	0
Experimental Approaches in Portuguese Music Theatre	0
Two Modes of the Avant-Garde’s Disintegration in Twenty-First-Century Serbian Music	0
What Does ASMR Sound Like? Composing the Proxemic Intimate Zone in Contemporary Music	0
Rethinking Babbitt’s ‘Serious’ Music as Play	0
Listening to Éliane	0
Problem as Possibility: A Dialogue about Performance and Analysis with Lucia Dlugoszewski’s Experimental Notation as Case Study	0
Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices	0
Between Innocence and Experience: How Analysis Might or Might Not Have Affected My Hearing of Milton Babbitt’s Music	0
Byzantium as a Metaphor for Identity in Serbian Music	0
Sonic Directions to the Urban Student: Lyotard, the Megalopolis, and Not Listening as Pedagogy	0
Heterospecific Song and Ecological Politics: Whale Song and Crumb's Vox Balaenae	0
Three String Quartets by Ivana Stefanović—Three Aspects of Serbian Music in the Second Half of the Twentieth Century	0
Making it Work: Music and Contemporary Art Spaces, Post-2008	0
The Meticulous Irreverence of José Lopes e Silva: Some Comments on Two Staged Works	0
The Role of Smart, Haptic Wearables in the Performance of Mensura	0
The Afterlives of Indeterminacy	0
Practices and Educational Affordances of Sound in the Postcolonial Hong Kong Protests	0
The Cage Effect from a Serbian Perspective	0
A Discussion of Strategies for recording Babbitt’s Composition for Twelve Instruments	0
The Musical Force of the Magnetic Field: On the Latest Creative Phase in the Works of Jasna Veličković	0
INTRODUCTIONOn Milton Babbitt: Progressive Artistic Research, Decorous Pranks, and Pig-Stand Jazz	0
Radiguian Explorations	0
Hearing Compositional Play in Babbitt’s Arrays	0
Becoming Women Composers in Contemporary Indonesia: Music and Collective in the Pandemic Era	0
A Personal Musical Introduction to George Crumb	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
Iterative Processes: Notating, Composing, and Performing as Journey Forms	0
Points of Balance and the Infra-thin in Éliane Radigue’s Endless Music	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
Globalisation and Musical Identity: The Reception of Serbian Émigré Composers in the United States	0
Learning, Performing, and Recording Post-Partitions and other Babbitt piano works	0
Companion Thinking in Improvised Musicking Practice	0
The Performer in the Music of Milton Babbitt	0
Improvisation/Indeterminacy	0
The Performer as Posthuman Assemblage: Performer-Machine Interactions in Contemporary Music	0
Game Play and Gestalt: Analysing Christian Wolff’s Alternative Notation from the Performers’ Perspectives	0
Reading Queer Continuums inGymnopédie No. 3: A Conversation with Satie, and Cage, and Me (and You)	0
‘Newness’ Reconsidered: Reflections on New Music from Indonesia	0
Breaking Babb: Discovery and Process in Learning Babbitt’s Philomel: A Conversation between a Rock Star and a Screecher	0
The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre	0
INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction	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
Voicing Papua: The Resonance of Rituals	0
Words About Thinking in Music About Music: References in Call It What You Will	0
Concerti e Concerti: Babbitt’s Mysterious Bedfellows	0