Contemporary Music Review

Papers
(The TQCC of Contemporary Music Review is 1. 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.)
ArticleCitations
Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music3
RETRACTED ARTICLE: A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream by Ivana S3
Serbian Musical Identity: An Introduction3
Music as Communal Practice and the Problem of White Joy in Caroline Shaw’s Partita for 8 Voices3
The World Upside Down . A Digital Assemblage for Witnessing Trauma and Political Loss2
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 Instruments2
Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices2
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music2
‘Androgynous Music’: Pauline Oliveros’s Early Cybernetic Improvisation2
Performance Practices: David Burge, Robert Miller, and the Makrokosmos2
Listening to Éliane2
Presence and Absence: Notes on Éliane Radigue's ARP 2500 Synthesiser Technique2
Nashville Opera’s One Vote Won (2020) and the Challenge of Engaged Opera Performance1
Constança Capdeville and the ColecViva Group: Alejandro Erlich Oliva in Interview with Filipa Magalhães1
Things to Make and Do1
The Extensions of Opera: Radio, Internet, and Immersion1
Problem as Possibility: A Dialogue about Performance and Analysis with Lucia Dlugoszewski’s Experimental Notation as Case Study1
Isolation Journal: Remote Interactions in the Time of the COVID-19 Pandemic1
‘ Ce désert est faux ’ : Thoughts on Restaging Constança Capdeville’s Scenic Works1
Engaging Analysis and Performance1
Interviews with George Crumb 2013–20181
A Personal Musical Introduction to George Crumb1
Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education1
Music Theory in Serbia: Tracing the Legitimation of the Disciplinary Identity1
Learning, Performing, and Recording Post-Partitions and other Babbitt piano works1
Words About Thinking in Music About Music: References in Call It What You Will1
Chaos Bells: Instrument Size and Entangled Music Performance1
Pulling a Fast More-Than-One: Milton Babbitt’s Time-point Practice1
Two Modes of the Avant-Garde’s Disintegration in Twenty-First-Century Serbian Music1
Improvisation, Indeterminacy, and Ontology: Some Perspectives on Music and the Posthumanities1
Concerti e Concerti: Babbitt’s Mysterious Bedfellows1
Reading Queer Continuums inGymnopédie No. 3: A Conversation with Satie, and Cage, and Me (and You)1
Legal Aliens: Serbian Composers in Western Europe Today1
Searching for the Unusual: New Methods of Composing for Gamelan1
The Cyborg Hand: Gesture, Technology, Disability and Interdisciplinarity in Whatever Weighs You Down1
The Afterlives of Indeterminacy1
The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices1
Radiguian Explorations1
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