OOIR: Observatory of International Research

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 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RETRACTED ARTICLE: A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream	6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
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
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music	3
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
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
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
Engaging Analysis and Performance	1
The Role of New Instruments in the Musical Works of Composers/Sound Artists in Indonesia	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
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
Sonic Pedagogies and Politics	1
All My Time: Experimental Subversions of Livestreamed Performance During the Covid-19 Pandemic	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
A Retrospective Celebration of Kronos Quartet's Early Music (Lachrymæ Antiquæ)	1
Reflections on a More Than 30-Year Collaboration with Kronos Quartet	1