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 2021-02-01 to 2025-02-01.)
ArticleCitations
New Music Activity in Yogyakarta, Indonesia 2000–2020 (History and Network)3
Serbian Musical Identity in Sacred Music from Stevan Mokranjac to Marko Tajčević3
Milton Babbitt’s E-type All-Combinatorial Hexachord and its Applications to Jazz3
Improvising with Arrays3
Serbian Musical Identity: An Introduction2
Re-Thinking Virtuosity for the Hybrid Era of Multifarious Approaches2
ColecViva and its Collaborative Methods Viewed as an Educational Project2
The Role of the Third Program of Radio Belgrade in the Presentation, Promotion, and Expansion of Serbian Avant-Garde Music in the 1960s and 1970s2
Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music2
Developing Live-Interactive Approaches to New Music for Organ and Electronics Through Collaboration2
Music Theory in Serbia: Tracing the Legitimation of the Disciplinary Identity2
Ergodynamics of the Open Machine : Material Engagement and Modular Synthesis Performance Practice2
Things to Make and Do2
How Did the Archaic Become the Avant-Garde? The Case of Ljubica Marić (1909–2003) Through the Prism of Contemporary Sources1
‘What's So Funny?’: Videomemes and the Circulation of Contemporary Music in Social Media1
Towards an Anti-Ideal: Radigue, Recording, and the Paradoxes of Representation1
Performance Practices: David Burge, Robert Miller, and the Makrokosmos1
Chaos Bells: Instrument Size and Entangled Music Performance1
Playing with Babbitt in the 1980s: Guest Appearances at the New York Philharmonic and Bang on a Can1
Shaping Babbitt's Semi-Simple Variations1
Reflections on Performing Éliane Radigue's OCCAM I1
Legal Aliens: Serbian Composers in Western Europe Today1
Stockhausen as CEO: The Executive Model of Interpretive Labour1
Soviet Sounds, Communist Pedagogy: Lessons for Today’s Musicians, Organisers, Educators1
RETRACTED ARTICLE: A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream by Ivana S1
Mapping Participation: Lawrence Halprin's RSVP Cycles Meets Richard Barrett's fOKT1
The Cyborg Hand: Gesture, Technology, Disability and Interdisciplinarity in Whatever Weighs You Down1
Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education1
Improvising Folk Songs: An Inclusive Indeterminacy1
Beyond the Audible: Éliane Radigue’s OCCAM works and Inter/Listening1
Are Classical Musicians Excluded from Improvisation? Cultural Hegemony and the Effects of Ideology on Musicians’ Attitudes Towards Improvisation1
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 Maksimović1
The Radiant Exterior: Lionel Marchetti performing Éliane Radigue1
DIY Music and Contemporary Art Spaces: Centre for Contemporary Arts, Transmission and the Art-Music Nexus in Glasgow1
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 Systems1
George Crumb's Black Angels and the Vietnam War1
Tradition in Suspension: Timbre in Contemporary Gamelan Compositions1
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