Organised Sound

Papers
(The median citation count of Organised Sound 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 2020-03-01 to 2024-03-01.)
ArticleCitations
Design Considerations for Real-Time Collaboration with Creative Artificial Intelligence20
Digital Musical Instruments as Probes: How computation changes the mode-of-being of musical instruments13
Idiomatic Patterns and Aesthetic Influence in Computer Music Languages12
From Artificial to Extended Intelligence in Music Composition10
Timelines in Spectral Composition: A cognitive approach to musical creativity8
Reclaiming and Preserving Traditional Music: Aesthetics, ethics and technology7
Radical Creative Semantic Anchoring: Creative-action metaphors and timbral interaction6
Evaluating Digital Games for Competitive Music Composition6
The Early Stage of Perception of Contemporary Art Music: A matter of time6
Postcritical Listening: Political affordances in participatory sound art5
Using a Sonic Time-Lapse Method as a Compositional Tool5
Resistance, Mastery, Agency: Improvising with the feedback-actuated augmented bass4
From Physical to Spiritual: Defining the practice of embodied sonic meditation4
Designing Musical Games for Electroacoustic Improvisation4
Aesthetics, Interaction and Machine Improvisation3
Anacoustic Modes of Sound Construction and the Semiotics of Virtuality3
Timescales and the Factors Influencing Time Perception3
Sonic Collaborations between Humans, Non-human Animals and Artificial Intelligences: Contemporary and future aesthetics in more-than-human worlds3
Compositional Procedures in Electronic Music and the Emergence of Time Continuum3
Distributed Participatory Design: The challenges of designing with physically disabled musicians during a global pandemic3
The Future is Graphic: Animated notation for contemporary practice3
The Visual Representation of Timbre2
The Acousmatic Gap as a Flexile Path to Self-Understanding: A case for experiential listening2
A Space for Making: Collaborative composition as social participation2
Fusion and Application of Chinese Ethnic Elements in Electroacoustic Music in Mist on a Hill2
Ambiguous Devices: Improvisation, agency, touch and feedthrough in distributed music performance2
On Designing, Composing and Performing Networked Collective Interactions2
Pop Materialising: Layers and topological space in digital pop music2
Soundscapes of Resistance: Amplifying social justice activism and aural counterpublics through field recording-based sound practices2
Shanshui-thought in Experimental Music Practices: China and beyond2
Elaborating Analogies of Time Perception2
Flows of Inhomogeneous Matter: Improvising an augmented violin1
ScreenPlay: A topic-theory-inspired interactive system1
Crafting the Language of Robotic Agents: A vision for electroacoustic music in human–robot interaction1
Material Sources, Lack of Notation and the Presence of Collaborators: The case of Double by Constança Capdeville1
A Temporal Framework for Electroacoustic Music Exploration1
Polite Applause: The sonic politics of ‘Clap for Carers’1
Exploring Temporality in Horacio Vaggione’s Compositional Thought1
The Politics of Aesthetic Preference in Participatory Music1
Listening and Recording In Situ: Entanglement in the sociopolitical context of place1
Web-based Form as Expression of Networked Sociality in the Community-based Piano Piece Wiki-Piano.Net1
Hacking the Medium: Shaping the creative constraints of network architectures in multiplicitous media artworks1
Fostering Social Interaction Through Sound Feedback: Sentire1
Computational Designing of Sonic Morphologies1
Lo-fi Today1
Acid Patterns: How people are sharing a visual notation system for the Roland TB-303 to create and recreate acid house music1
Using Spiritual Intelligence as a Framework to Link Electroacoustic Music and Spirituality1
Memory, Expectation and the Temporal Flux of Acousmatic Music1
OSO volume 28 issue 2 Cover and Front matter1
Experiences of Time and Timelessness in Electroacoustic Music1
Donohue+: Developing performer-specific electronic improvisatory accompaniment for instrumental improvisation1
Editorial: Time in Electroacoustic Music1
The North Indian Sarode and Questions Concerning Technology1
Editorial: Socially engaged sound practices1
Editorial: Collective and networked sound practices1
Analytical Approaches to Electroacoustic Music Improvisation1
‘We Cross Examine with Old Sonic DNA’: King Britt and Tara Rodgers in conversation on Blacktronika, music technology and pedagogy1
Material Media Sonification: Sounding the visibly present artefact0
Live Coding and Music Production as Hybrid Practice0
instance: Soma-based multi-user interaction design for the telematic sonic arts0
The Prisoner: A missing link in England’s history of electronic music0
Swamp, Sound, Sign: Reflections on interspecies difference in compositional practice0
Algorave Music Practice in Indonesia: Paguyuban Algorave0
On Phonosophy0
Compositional Techniques and Sound Spatialisation in Shanghai-Based Electronic Music since 20000
OSO volume 26 issue 1 Cover and Front matter0
On the Use of Field Recordings on Radio: A history of the beginnings0
Sine Wave in Music and Sound Art: A typology of artistic approaches0
Acouscapes: A software for ecoacoustic education and soundscape composition in primary and secondary education0
Musical Live Coding in Relation to Interactivity Variations0
OSO volume 27 issue 2 Cover and Back matter0
The Unknowing Side of the Algorithm: Decolonising live coding from Latin America0
Sonic Sentimentality and the Unification of the Listening Space: Exploring the intersections of oral history and sonic art0
Sound and video examples – issue 27 (2)0
OSO volume 26 issue 2 Cover and Back matter0
The Aesthetics of Musical Complex Systems0
OSO volume 28 issue 1 Cover and Front matter0
Improvising Inside a House of Cards: New performance and music-making through a collective networked instrument0
Introducing the Networked Music Performance Library0
Free Improvisation as Experience: A pragmatic insight into improvisational gesture0
Ecomprovisation: Project Markarian 3350
Editorial: Live Coding Sonic Creativities0
Jennifer Iverson, Electronic Inspirations – Technologies of the Cold War Musical Avant-Garde. New York: Oxford University Press, 2019. ISBN: 9780190868192.0
Alternative Approaches to Chinese Imagery: Audiovisual aesthetics in A Reflection in the Brook0
B. Ellison and T. B. W. Bailey, Sonic Phantoms: Composition with Auditory Phantasmatic Presence. New York: Bloomsbury, 2020. ISBN: 9781501347023.0
Non-Mathematical Musings on Information Theory and Networked Musical Practice0
Reframing Sound Shapes in Spectromorphological Composition: Notating perspectival space through spherical, Euclidean and Cartesian-coordinate systems0
Peter Manning 1948–20220
Alan F. Blackwell, Emma Cocker, Geoff Cox, Alex McLean and Thor Magnusson, Live Coding: A User’s Manual. Cambridge, MA: MIT Press, 2022. ISBN: 9780262544818. doi: https://doi.org/10.7551/mitpress/13770
OSO volume 27 issue 1 Cover and Front matter0
From Site-Specific Sampling to Gamification: An exploration of performative engagement with the environment0
Thirty Years of Sound Hacking: From freeware to Eurorack0
Telematic Sound Body: A trajectory of intimacy and defiance0
OSO volume 25 issue 1 Cover and Back matter0
OSO volume 26 issue 1 Cover and Back matter0
Sound and Video Examples – Issue 28(3)0
OSO volume 27 issue 3 Cover and Front matter0
Jane Grant , John Matthias and David Prior (eds.), The Oxford Handbook of Sound Art. Oxford: Oxford University Press, 2021. ISBN: 9780190274054.0
OSO volume 26 issue 2 Cover and Front matter0
Spaces for People: Technology, improvisation and social interaction in the music of Pauline Oliveros0
Crossing Lines: Stylistic gradients in Chinese electroacoustic music0
Creative Agencies in Participatory Sound Art: Two case studies0
Editorial: The sonic and the electronic in improvisation0
Flexibility Conceiving Relationships between Timbres Revealed by Network Analysis0
A Symphony of Sound Images: Spatial composition strategies in Zhang Xiaofu’sYarlung Zangbo0
OSO volume 25 issue 1 Cover and Front matter0
Simon Emerson (ed.), The Routledge Research Companion to Electronic Music: Reaching out with Technology. Abingdon: Routledge, 2018. ISBN: 9781472472915 (hardback).0
Localising Acoustic Ecology: A critique towards a relational collaborative paradigm0
Gesture and Texture in the Electroacoustic Improvised Music of Jin Sangtae, Hong Chulki and Tetuzi Akiyama0
OSO volume 25 issue 2 Cover and Front matter0
OSO volume 26 issue 3 Cover and Back matter0
Sound and Video Examples – Issue 27(3)0
Towards Deconstructivist Music: Reconstruction paradoxes, neural networks, concatenative synthesis and automated orchestration in the creative process0
Live Coding Patterns and a Toolkit for Pure Data0
Improvisational Listening:Audiowalk – St Enda’s Park0
Liubai Technique in the Real-time Electroacoustic Chinese Art Song ‘Lang Tao Sha’ (浪淘沙)0
Cathy Lane and Angus Carlyle (eds.), Sound Arts Now. Axminster: Uniformbooks, 2021. ISBN: 9781910010266.0
‘Mixed Blood’ and Aesthetic Evolution in China’s Electroacoustic Music Today0
Livecoderas Latinoamericanas: Diversity, educational access and musicking networks in live coding in Latin America0
Radio: An instrument in art – with reference to selected works by Polish artists0
Sound and video examples – issue 26(2)0
‘Making Life Lively’: Co-estrangement in live electroacoustic improvisation0
Music Thinking Process: Unfolding the creation of the pieceRésonances manifestes0
Neural Synthesis as a Methodology for Art-Anthropology in Contemporary Music0
An Exploratory Inquiry into the Relationship between Temporality and Composition0
OSO volume 27 issue 2 Cover and Front matter0
A Phenomenological Approach to Wearable Technologies and Viscerality: From embodied interaction to biophysical music performance0
Editorial: Commercial music and the electronic music studio – influence, borrowings and language0
Debris: Machine learning, archive archaeology, digital audio waste0
Distributing Authorship at a Localised Scale: Developing public engagement in sound mapping0
OSO volume 25 issue 3 Cover and Front matter0
OSO volume 28 issue 3 Cover and Back matter0
Between Computer Automation, Voltage Control and Literature: A portrait of Peter Zinovieff0
Ears to the Ground: Socially engaged sound art as learning in process0
More Than an Instrument: Improvising with failing playback media0
OSO volume 28 issue 3 Cover and Front matter0
Discovering Creative Commons Sounds in Live Coding0
Sound and video examples – issue 28 (2)0
Electroacoustic Improvisation and Life Nourishment0
Sound and Video Examples – Issue 27(1)0
Sound and Video examples from this issue 26(3)0
Electroacoustic Improvisation and the Metaphysical Imaginary0
Experiencing Sound Installations: A conceptual framework0
Sound and video examples – issue 28 (1)0
Thor Magnusson, Sonic Writing: Technologies of Material, Symbolic, and Signal Inscriptions. New York: Bloomsbury Academic, 2019. ISBN: 9781501313851. DOI: https://doi.org/10.5040/97815013138990
Diverse Sound Practices: An exploration of experimental electronic music in regional Australia0
A Sound Artist’s Breakdown of Field Recording over History0
OSO volume 26 issue 3 Cover and Front matter0
Towards a Practice of Palimpsestic Listening0
Editorial: Computation in the Sonic Arts0
Sounds of Aliyah: A journey towards a sonic methodology for diaspora studies0
OSO volume 27 issue 3 Cover and Back matter0
Récit Music: Musical community in the information age0
Audiovisual Materialism0
New Technologies, Old Behaviours: Electronic media and electronic music improvisors in Europe at the turn of the millennium0
Sound and movie examples – issue 25(2)0
Ear Talk Project: Participatory co-composition on YouTube and the Web0
OSO volume 27 issue 1 Cover and Back matter0
Post-sonic Perspectives on Socially Engaged Compositional Practices: Composing ‘after sound’ and beyond music0
New Amateurs and Tricksters: A manifesto for music and sound creation0
Co-Sounding: Fostering intersubjectivity in electronic music improvisation0
Tom Erbe Interviewed by Theodore Gordon0
Weak Interactions, Strong Bonds: Live electronics as a complex system0
M. Clarke, F. Dufeu and P. Manning, Inside Computer Music. New York: Oxford University Press, 2020. ISBN 9780190659653 (paperback).0
Visual Representations to Stimulate New Musicking Strategies in Live Coding0
Miller Puckette and Kerry L. Hagan (eds.), Between the Tracks: Musicians on Selected Electronic Music. Cambridge, MA: MIT Press, 2020. ISBN 9780262539302 (paperback).0
Editorial: Chinese Electroacoustic Music Today0
OSO volume 25 issue 2 Cover and Back matter0
On the Integration of Machine Agents into Live Coding0
Rhythm in Acousmatic Music0
Catching Up with the West? Historiographical stances in early accounts of Chinese electronic music0
R. Murray Schafer (1933–2021) and the World Soundscape Project0
Jennifer Iverson , Electronic Inspirations: Technologies of the Cold War Avant Garde. Oxford: Oxford University Press, 2019. ISBN: 9780190868208.0
OSO volume 28 issue 1 Cover and Back matter0
Live Coding Outside, Live Coding Inside: Listening, participation and walking0
Anatomical Intelligence: Live coding as performative dissection0
François-Bernard Mâche’s ‘Sacred’ Music0
Agent-Based Music Live Coding: Sonic adventures in 2D0
Sound and video examples – issue 26 (1)0
Editorial: The sonic and the electronic in improvisation, part 20
Trevurr: A dialogic composition on dementia, auraldiversity and companion listening0
Improvisation through Performance-installation0
Acousmatic-Creationism: A creative method for acousmatic music inspired by Chilean poet Vicente Huidobro’s aesthetic theories0
The Topological Model in the Works of Yuasa Jōji0
Editorial: Ecologically grounded creative practices and ubiquitous music – interaction and environment0
Withdrawn from Use: Silence, listening and undoing0
The Artist as a Subscription: Patching music as an artistic device0
OSO volume 28 issue 2 Cover and Back matter0
Musical Hyperrealism: Exploring Noah Creshevsky’s compositions through Jean Baudrillard’s ideas0
Presentation of Noise Elements of Chinese Plucked String Instruments in Electronic Music0
Digital Musical Instruments as Probes: How Computation Changes the Mode-of-Being of Musical Instruments0
Live Coding the Global Hyperorgan: The Paragraph environment in the indeterminate place0
The Modular Journey: Uncovering analogue aesthetics in digital landscapes0
Live Coding Poetry: The narrative of code in a hybrid musical/poetic context0
Enactive Listening: Perceptual reflections on soundscape composition0
Revealing Sonic Wisdom in the Works of Cat Hope0
Editorial: On Phonosophy0
Gascia Ouzounian, Stereophonica: Sound and Space in Science, Technology, and the Arts. Cambridge, MA: MIT Press, 2020. ISBN: 9780262044783.0
OSO volume 25 issue 3 Cover and Back matter0
The Kaon’CPT Collective: Building a musical culture of not-in-real-life performance through conducted live comprovisation0
Structuring Spectra in Electroacoustic Music0
Sound and movie examples – issue 25(3)0
Group Performance Paradigms in Free Improvisation0
‘The McBrides are from here’: Listening to Green Ways as creative cartophony0
Spatiotemporal Networks in Ryoji Ikeda’s Electronic Music: Loop, variation and re-contextualisation of sound0
Charting the Scene(s) of Sonic Arts in Hong Kong0
Editorial: Socially engaged sound practices, part 20
Sound and More-than-Human Sociality in Catherine Clover’sOh! Ah ah pree trra trra0
Live 4 Life: A spatial performance tool to play the ephemeral and improvise with space and playback speeds0
Jonathan Impett (ed.), Sound Work: Composition as Critical Technical Practice. Leuven: Leuven University Press, 2021. ISBN: 9789462702585.0
Sanne Krogh Groth and Holger Schulze (eds.), The Bloomsbury Handbook of Sound Art. New York: Bloomsbury, 2020. ISBN: 978-1-5013-3879-3. - Alan Licht , Sound Art Revisited. New York: Bloomsbury, 2010
Ecologies of Sound with Regard toArrhythmia0
Agostino Di Scipio, Circuiti del Tempo - un percorso storico-critico nella creatività musicale elettroacustica e informatica. Lucca: LIM, Libreria Musicale Italiana, 2021. ISBN: 9788855430685.0
Unstable Structure: The improvising modular synthesiser0
Strange Post-human Attractors: Algorithmic improvisation as acousmatic poiēsis0
Sound and movie examples – issue 25(1)0
Marko Ciciliani, Barbara Lüneburg and Andreas Pirchner (eds.), Vol. 1: Ludified: Artistic Research in Audiovisual Composition, Performance & Perception and Vol. 2: Game Elements in Marko Cicili0
On Mediating Space, Sound and Experience: Interviews with situated sound art practitioners0
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