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

Article	Citations
Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music	6
RETRACTED ARTICLE: A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream by Ivana S	5
Serbian Musical Identity: An Introduction	4
Performance Practices: David Burge, Robert Miller, and the Makrokosmos	3
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music	3
The World Upside Down . A Digital Assemblage for Witnessing Trauma and Political Loss	2
Listening to Éliane	2
Problem as Possibility: A Dialogue about Performance and Analysis with Lucia Dlugoszewski’s Experimental Notation as Case Study	2
The Student Cultural Center in Belgrade as a Cultural Phenomenon and a Propagator of Yugoslav Experimental Minimalism in the 1970s and 1980s	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
Isolation Journal: Remote Interactions in the Time of the COVID-19 Pandemic	2
Building a Personal Artistic Identity as a Tribute to One ’ s ‘Heroes’: Vlastimir Trajković’s ‘Le Tombeau de la Bonne Musique’	2
Music as Communal Practice and the Problem of White Joy in Caroline Shaw’s Partita for 8 Voices	2
Presence and Absence: Notes on Éliane Radigue's ARP 2500 Synthesiser Technique	2
Searching for the Unusual: New Methods of Composing for Gamelan	2
The Extensions of Opera: Radio, Internet, and Immersion	1
The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre	1
Engaging Analysis and Performance	1
The Radiant Exterior: Lionel Marchetti performing Éliane Radigue	1
Re-Thinking Virtuosity for the Hybrid Era of Multifarious Approaches	1
Miguel and Paula Azguime and the New Op-Era	1
Éliane Radigue at 90	1
Radiguian Explorations	1
‘ Ce désert est faux ’ : Thoughts on Restaging Constança Capdeville’s Scenic Works	1

Reading Queer Continuums inGymnopédie No. 3: A Conversation with Satie, and Cage, and Me (and You)	1
Music Theory in Serbia: Tracing the Legitimation of the Disciplinary Identity	1
DJ Minimalism, Black Market Sounds, the House Revolution: Sounding Histories of Cold War Exchange	1
Beyond the Audible: Éliane Radigue’s OCCAM works and Inter/Listening	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
Stockhausen as CEO: The Executive Model of Interpretive Labour	1
Telematic and Networked Performance During and Around the Pandemic	1
Defining and Classifying Minimalism in Lithuanian Contemporary Music	1
The Afterlives of Indeterminacy	1
Interviews with George Crumb 2013–2018	1
Constança Capdeville and the ColecViva Group: Alejandro Erlich Oliva in Interview with Filipa Magalhães	1
Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education	1
Music Gatherings Grow Strands of Connectivity	1
Things to Make and Do	1
The Cyborg Hand: Gesture, Technology, Disability and Interdisciplinarity in Whatever Weighs You Down	1
The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices	1
(Post)Minimalism and Postmodern Spirituality: Vuk Kulenović’s Hilandar Bells	1
Reflections on Performing Éliane Radigue's OCCAM I	1
Companion Thinking in Improvised Musicking Practice	1
Sonic Directions to the Urban Student: Lyotard, the Megalopolis, and Not Listening as Pedagogy	1
Nashville Opera’s One Vote Won (2020) and the Challenge of Engaged Opera Performance	1
Developing Live-Interactive Approaches to New Music for Organ and Electronics Through Collaboration	1
A Personal Musical Introduction to George Crumb	1
Chaos Bells: Instrument Size and Entangled Music Performance	1
Legal Aliens: Serbian Composers in Western Europe Today	1
Towards an Anti-Ideal: Radigue, Recording, and the Paradoxes of Representation	0
Game Play and Gestalt: Analysing Christian Wolff’s Alternative Notation from the Performers’ Perspectives	0
The Phenomena of Minimalism in Hungarian Music: A Historical Overview—Creative Workshops, Composers, and Works	0
Performing Corporate Culture: Analysing Meta-Narratives and Online Interactivity Through Quigital	0
The Performer as Posthuman Assemblage: Performer-Machine Interactions in Contemporary Music	0
Rajko Maksimović and the ‘Polish School’: A Case-Study of Tri Haiku	0
Soviet Sounds, Communist Pedagogy: Lessons for Today’s Musicians, Organisers, Educators	0
Practices and Educational Affordances of Sound in the Postcolonial Hong Kong Protests	0
Reflections on a More Than 30-Year Collaboration with Kronos Quartet	0
Inside the Éliane Radigue Composer-Performer Circle	0
Fragmentary Echoes in a Broad Stream of Neoromanticism: The Local Specificity of Minimalism in Latvian Academic Music	0
Between Affect and a Data Driven World	0
Heterospecific Song and Ecological Politics: Whale Song and Crumb's Vox Balaenae	0
On Material Indeterminacy	0
George Crumb's Black Angels and the Vietnam War	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
What Does ASMR Sound Like? Composing the Proxemic Intimate Zone in Contemporary Music	0
Hindustani Dhrupad Vocal Music Pedagogy: An Ethnographic Contribution to the Digital Turn	0
The South Slav ‘Golden Age’ and Gender Representation in Music	0
Making it Work: Music and Contemporary Art Spaces, Post-2008	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
Experiencing Indeterminacy in Performance	0
‘Make Classical Music Great Again’: Contemporary Music, Masculinity, and Virality in Memetic Media in Online Spaces	0
Translating Silence: OCCAM X as a Radical Act of Catastrophe	0

The Role of Smart, Haptic Wearables in the Performance of Mensura	0
Digging Through the Network of the Indonesian Noise Scene	0
Extensions and Amputations: Evaluating a Latency: Accepting Approach to Intercontinental Telematic Composition and Performance	0
DIY Music and Contemporary Art Spaces: Centre for Contemporary Arts, Transmission and the Art-Music Nexus in Glasgow	0
Pacing, Performance, and Perception in Alice Ping Yee Ho’sAngst	0
A Ghost in the Minimalist Machine?: Henryk Górecki and the ‘Symphony of Sorrowful Songs’	0
Soviet Minimalist Music: A Problematic Phenomenon?	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
All My Time: Experimental Subversions of Livestreamed Performance During the Covid-19 Pandemic	0
What’s the Point? Balancing Purpose and Play in Rule-based Compositions	0
Points of Balance and the Infra-thin in Éliane Radigue’s Endless Music	0
New Music Activity in Yogyakarta, Indonesia 2000–2020 (History and Network)	0
International Mainstream or Vernacular Dialect? Rethinking Lithuanian (Post)Minimal Music in the Time of Post-national Condition	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
Navigating Technological Obsolescence: Analysis and Reconstruction of Stockhausen’s Mikrophonie I	0
The Kronos Quartet: Friends and Teachers	0
Globalisation and Musical Identity: The Reception of Serbian Émigré Composers in the United States	0
Beyond the Divide: The Different New Music Festival in Belgrade (1984–1986)	0
Iterative Processes: Notating, Composing, and Performing as Journey Forms	0
‘Newness’ Reconsidered: Reflections on New Music from Indonesia	0
In Conversation with Jennifer Walshe: Performing with Intelligent Machines	0
The Meticulous Irreverence of José Lopes e Silva: Some Comments on Two Staged Works	0
Minimalist Music in Eastern Europe: An Introduction	0
Revisiting Tomasz Sikorski: Polish Minimalism and Its Critique	0
Mnemo-Acousmatic and Techno-Aesthetic Affect-between Dwelling and Sound art Works	0
Habits and Algorithms: Reconsidering Music Technologies.	0
The Modernist Identity of Compositional Practice in 1960s Belgrade: Petar Osghian’s Meditations (1962), Silhouettes (1963), and	0
ColecViva and its Collaborative Methods Viewed as an Educational Project	0
Participants, Punters or Perverts? An (Expanded) Relational Understanding of Simon Waters’ Performance Ecosystem	0
Approaches for Working with the Body in the Design of Electronic Music Performance Systems	0
Situating the Musical Work in Improvised Telematic Performances: A Philosophical Hermeneutic Perspective	0
Picturing Pärt: A Corpus Study of Tintinnabuli in Film	0
Minimalist Orientations in Romanian Music: Corneliu Dan Georgescu and the Concept of ‘Archetypal Monotony’	0
Instrumental Interaction and Subversion in John Cage’sConcert for Piano and Orchestra	0
Improvising Myth and Memory Downtown: Music Venues, Race, and the Potential of Place	0
The Role of New Instruments in the Musical Works of Composers/Sound Artists in Indonesia	0
Producing the Norwegian Queer Opera Singer: A Diffractive Analysis of Queer Enactments and Regulations in Opera	0
Ligeti’s Traces in Kurtág’s String Quartet Op. 1	0
On the Liberation upon Hearing in the Intermediate State	0
Difficult Women: Joyce, Burns, and the Radical Passivity of Listening	0
Opposing Oblivion: Some Thoughts on Minimal Music in Croatia	0
The Landscapes of Yugoslav Minimalism through the Lens of the Ensemble for Different New Music (1977–1987)	0
Ergodynamics of the Open Machine : Material Engagement and Modular Synthesis Performance Practice	0
Performing Indeterminacy	0
Voicing Papua: The Resonance of Rituals	0
Digitally Disposed and Compromised	0
The Symphony in the St. Pauli Elbe Tunnel	0
Tradition in Suspension: Timbre in Contemporary Gamelan Compositions	0
Serbian Musical Identity in Sacred Music from Stevan Mokranjac to Marko Tajčević	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
Ligatura Basiliensis: On and Around the György Kurtág Collection	0
@Newmusic #Soundart: Contemporary Music in the Age of Social Media	0
Experimental Approaches in Portuguese Music Theatre	0
The Old Police House (TOPH): Treatise	0