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
RETRACTED ARTICLE: A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream by Ivana S3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
Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music3
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
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
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
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
0.14621496200562