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 2021-11-01 to 2025-11-01.)
ArticleCitations
Politics of Gear: Gender, innovation and live embodied composition10
A Sound Artist’s Breakdown of Field Recording over History9
The Politics of Aesthetic Preference in Participatory Music7
OSO volume 28 issue 3 Cover and Front matter5
OSO volume 28 issue 1 Cover and Front matter4
Live Coding Outside, Live Coding Inside: Listening, participation and walking4
Harold Clark, New Music in the Light of Nobleness: A Scandinavian Dream. An Expatriate’s View of Avant-Garde Norway, 1969–1979. Oslo: Norsk Musikforlag A/S, 2021. ISBN: 978-82-7093-734-9.4
‘Mixed Blood’ and Aesthetic Evolution in China’s Electroacoustic Music Today3
Towards Deconstructivist Music: Reconstruction paradoxes, neural networks, concatenative synthesis and automated orchestration in the creative process – ERRATUM3
Telematic Sound Body: A trajectory of intimacy and defiance3
OSO volume 29 issue 1 Cover and Back matter3
Peter Manning 1948–20223
New Amateurs and Tricksters: A manifesto for music and sound creation3
Live Coding the Global Hyperorgan: The Paragraph environment in the indeterminate place2
Thor Magnusson, Sonic Writing: Technologies of Material, Symbolic, and Signal Inscriptions. New York: Bloomsbury Academic, 2019. ISBN: 9781501313851. DOI: https://doi.org/10.5040/97815013138992
Sound and Video Examples – Issue 28(3)2
Fostering Social Interaction Through Sound Feedback: Sentire2
Mario Bertoncini’s Musical Design Course: Between Renaissance pedagogy and contemporary research-creation2
Editorial: Live Coding Sonic Creativities2
Externalising Psychological Spaces in Spatial Music through Gestural Mediation2
Improvising Inside a House of Cards: New performance and music-making through a collective networked instrument2
Open Ambisonics Toolkit: A low-cost hardware–software–theory approach to spatial audio2
Weightless Infrastructures2
Modular Composition: An approach towards structural plasticity in music2
The Haptic in Soundscape Composition2
Gesture and Texture in the Electroacoustic Improvised Music of Jin Sangtae, Hong Chulki and Tetuzi Akiyama2
OSO volume 27 issue 1 Cover and Front matter2
Miller Puckette and Kerry L. Hagan (eds.), Between the Tracks: Musicians on Selected Electronic Music. Cambridge, MA: MIT Press, 2020. ISBN 9780262539302 (paperback).1
Acid Patterns: How people are sharing a visual notation system for the Roland TB-303 to create and recreate acid house music1
The Topological Model in the Works of Yuasa Jōji1
Neural Synthesis as a Methodology for Art-Anthropology in Contemporary Music1
Cathy Lane and Angus Carlyle (eds.), Sound Arts Now. Axminster: Uniformbooks, 2021. ISBN: 9781910010266.1
Sensory Experience of Sound Installation Art and Documentation: Comparison across fields of expertise1
Leigh Landy, Experiencing Organised Sounds: The Listening Experience across Diverse Sound-Based Works. New York: Routledge, 2024. ISBN: 978-1-032533-278.1
Authentic Intelligence Mixtapes: DJs and producers’ communal radical archiving and teaching in the age of AI1
Spaces for People: Technology, improvisation and social interaction in the music of Pauline Oliveros1
A Retrospective on Sound Space and Its Rhizomatic Genealogy1
Sound and video examples – issue 28 (2)1
Understanding and Analysing ‘Organised Space’1
The Unknowing Side of the Algorithm: Decolonising live coding from Latin America1
From Site-Specific Sampling to Gamification: An exploration of performative engagement with the environment1
OSO volume 28 issue 1 Cover and Back matter1
OSO volume 27 issue 3 Cover and Back matter1
Agent-Based Music Live Coding: Sonic adventures in 2D1
Creative Agencies in Participatory Sound Art: Two case studies1
Sound and Video Examples – Issue 27(1)1
Between Computer Automation, Voltage Control and Literature: A portrait of Peter Zinovieff1
Crafting the Language of Robotic Agents: A vision for electroacoustic music in human–robot interaction1
Editorial: Collective and networked sound practices1
The Modular Journey: Uncovering analogue aesthetics in digital landscapes1
Sonic Collaborations between Humans, Non-human Animals and Artificial Intelligences: Contemporary and future aesthetics in more-than-human worlds1
Machine Listening as Sonification1
Experiencing Sound Installations: A conceptual framework1
Radical Creative Semantic Anchoring: Creative-action metaphors and timbral interaction1
OSO volume 29 issue 1 Cover and Front matter1
OSO volume 29 issue 2 Cover and Back matter1
Double Extension: Henri Chopin’s audiopoem performances1
Alternative Approaches to Chinese Imagery: Audiovisual aesthetics in A Reflection in the Brook1
Visual Representations to Stimulate New Musicking Strategies in Live Coding1
Models of Teaching, Magazines and Music Machines: Alternative approaches to electronic music education in Melbourne1
Jennifer Iverson, Electronic Inspirations – Technologies of the Cold War Musical Avant-Garde. New York: Oxford University Press, 2019. ISBN: 9780190868192.1
Liubai Technique in the Real-time Electroacoustic Chinese Art Song ‘Lang Tao Sha’ (浪淘沙)1
On the Use of Field Recordings on Radio: A history of the beginnings1
Editorial: Radio – a space for sonic art0
Gascia Ouzounian, Stereophonica: Sound and Space in Science, Technology, and the Arts. Cambridge, MA: MIT Press, 2020. ISBN: 9780262044783.0
A Sonic Indofuturism0
Live Coding Patterns and a Toolkit for Pure Data0
Catching Up with the West? Historiographical stances in early accounts of Chinese electronic music0
Crossing Lines: Stylistic gradients in Chinese electroacoustic music0
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
Biomimicry in Electroacoustic Composition: Conceptual frameworks and prototypes0
OSO volume 27 issue 1 Cover and Back matter0
Small Gestures: Generating radical sonic futures in an algorithmic world0
Charting the Scene(s) of Sonic Arts in Hong Kong0
Anatomical Intelligence: Live coding as performative dissection0
Reframing Sound Shapes in Spectromorphological Composition: Notating perspectival space through spherical, Euclidean and Cartesian-coordinate systems0
Investigating the Physically Hidden: Auditory-based illusions for sound installations0
‘We Cross Examine with Old Sonic DNA’: King Britt and Tara Rodgers in conversation on Blacktronika, music technology and pedagogy0
Digital DJing in the GCSE Classroom: Art or instrument?0
Editorial: Experimental sound from the Black and South Asian diaspora0
Structuring Spectra in Electroacoustic Music0
Group Performance Paradigms in Free Improvisation0
Hacking the Medium: Shaping the creative constraints of network architectures in multiplicitous media artworks0
On the Integration of Machine Agents into Live Coding0
Lo-fi Today0
The Kaon’CPT Collective: Building a musical culture of not-in-real-life performance through conducted live comprovisation0
The Biophilic Instrument Pavilion: Spatialisation across disciplines0
On Designing, Composing and Performing Networked Collective Interactions0
Editorial: Socially engaged sound practices, part 20
Enactive Listening: Perceptual reflections on soundscape composition0
Exploration of Spatial Composition with a New Electronic Stringed Instrument0
Récit Music: Musical community in the information age0
Sound and video examples — issue 29 (1)0
OSO volume 27 issue 2 Cover and Back matter0
Pedagogical Approaches in Music and Audio Education for Deaf and Hard-of-Hearing Students0
Towards Deconstructivist Music: Reconstruction paradoxes, neural networks, concatenative synthesis and automated orchestration in the creative process0
Electroacoustic Improvisation and the Metaphysical Imaginary0
Metastable Inventions: Simondonian concretisation and technical invention in modular synthesis practice0
Ecomprovisation: Project Markarian 3350
Live Coding and Music Production as Hybrid Practice0
The Prisoner: A missing link in England’s history of electronic music0
Presentation of Noise Elements of Chinese Plucked String Instruments in Electronic Music0
Editorial: Radical education in electronic music, past and present0
Musical Live Coding in Relation to Interactivity Variations0
Soundscapes of Papua: Cultural-based pedagogical approach through electroacoustic music0
OSO volume 26 issue 3 Cover and Front matter0
Material Sources, Lack of Notation and the Presence of Collaborators: The case of Double by Constança Capdeville0
OSO volume 27 issue 3 Cover and Front matter0
Sound, Image and Motion: Teaching with an interdisciplinary approach0
Spiralling Out of a Shell: Fictioning more-than-machine listening0
Algorave Music Practice in Indonesia: Paguyuban Algorave0
The Artist as a Subscription: Patching music as an artistic device0
Non-Mathematical Musings on Information Theory and Networked Musical Practice0
Thirty Years of Sound Hacking: From freeware to Eurorack0
Simon Emerson (ed.), The Routledge Research Companion to Electronic Music: Reaching out with Technology. Abingdon: Routledge, 2018. ISBN: 9781472472915 (hardback).0
An Art of the Radio: Musique concrète and mass culture, 1941–19520
OSO volume 29 issue 3 Cover and Front matter0
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
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
A Symphony of Sound Images: Spatial composition strategies in Zhang Xiaofu’sYarlung Zangbo0
Ear Talk Project: Participatory co-composition on YouTube and the Web0
Tangible Radio: Deaf studies and sound studies coalitions0
‘If You Love Music You Should Learn How to DJ’: Maria Chavez and Elijah interviewed by Jake Williams0
Sound and Video Examples – Issue 27(3)0
Spatiotemporal Networks in Ryoji Ikeda’s Electronic Music: Loop, variation and re-contextualisation of sound0
Tom Erbe Interviewed by Theodore Gordon0
On Mediating Space, Sound and Experience: Interviews with situated sound art practitioners0
Introducing the Networked Music Performance Library0
Unstable Structure: The improvising modular synthesiser0
New Technologies, Old Behaviours: Electronic media and electronic music improvisors in Europe at the turn of the millennium0
Live Coding Poetry: The narrative of code in a hybrid musical/poetic context0
The Visual Representation of Timbre0
Analytical Approaches to Electroacoustic Music Improvisation0
R. Murray Schafer (1933–2021) and the World Soundscape Project0
Sound and video examples – issue 28 (1)0
Sound Practices in the Global South: Co-listening to Resounding Plurilogues Budhaditya Chattopadhyay, Cham, Switzerland: Palgrave MacMillan, 2024. ISBN: 978-3-030-99731-1.0
instance: Soma-based multi-user interaction design for the telematic sonic arts0
Improvising with Machines: A taxonomy of musical interactions0
Dissident Sounds: Electronic music in Venezuela from the notions of radical education0
‘To Explore the World of Sound’: Music, silence and nation-building in Bing Bang Boom (1969)0
The Aural Aesthetics of Modernity: From the Philips Pavilion to EMPAC0
Sarah Washington (ed.), RadioArtZone. Berlin: Hatje Cantz Verlag, 2023. ISBN: 978-3-7757-5515-3.0
Sound and Video Examples – issue 29 (2)0
Pop Materialising: Layers and topological space in digital pop music0
OSO volume 27 issue 2 Cover and Front matter0
The Music of James Tenney Robert Wannamaker, Volume 1: Contexts and Paradigms; Volume 2: A Handbook to the Pieces. Champaign, IL: University of Illinois Press, 2021. ISBN: 978-0-252-04360
Editorial: The sonic and the electronic in improvisation, part 20
Discovering Creative Commons Sounds in Live Coding0
Sound and Video examples from this issue 26(3)0
OSO volume 29 issue 3 Cover and Back matter0
OTTOsonics: Designing and implementing an open and affordable 3D spatial audio system0
OSO volume 28 issue 3 Cover and Back matter0
M. Clarke, F. Dufeu and P. Manning, Inside Computer Music. New York: Oxford University Press, 2020. ISBN 9780190659653 (paperback).0
From Boethian Harmony to a Dry Riverbed: El sonido recobrado0
OSO volume 26 issue 3 Cover and Back matter0
OSO volume 28 issue 2 Cover and Back matter0
Ma and Traditional Japanese Aesthetics in Spatial Music and Sonic Art0
Navigating an Urban Archive: An exploration of wavefield synthesis as soundscape composition0
Material Media Sonification: Sounding the visibly present artefact0
Acouscapes: A software for ecoacoustic education and soundscape composition in primary and secondary education0
Other-than-Human Perspectives on Écosystème(s): Towards an ecosemiotic approach to sound and media art0
Electroacoustic Confessional: Confronting one’s artistic past0
The Emergence of Spaces: Openness and identity/ies0
The Aesthetics of Musical Complex Systems0
Weak Interactions, Strong Bonds: Live electronics as a complex system0
Editorial: Commercial music and the electronic music studio – influence, borrowings and language0
Baschet’s Voice Leaf: The voice wrapped in the sculptural leaf0
Jonathan Impett (ed.), Sound Work: Composition as Critical Technical Practice. Leuven: Leuven University Press, 2021. ISBN: 9789462702585.0
Editorial: Ecologically grounded creative practices and ubiquitous music – interaction and environment0
Jane Grant , John Matthias and David Prior (eds.), The Oxford Handbook of Sound Art. Oxford: Oxford University Press, 2021. ISBN: 9780190274054.0
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
Web-based Form as Expression of Networked Sociality in the Community-based Piano Piece Wiki-Piano.Net0
Sound and video examples – issue 27 (2)0
Flexibility Conceiving Relationships between Timbres Revealed by Network Analysis0
OSO volume 28 issue 2 Cover and Front matter0
Electroacoustic Improvisation and Life Nourishment0
Improvisation through Performance-installation0
Post-sonic Perspectives on Socially Engaged Compositional Practices: Composing ‘after sound’ and beyond music0
Fusion and Application of Chinese Ethnic Elements in Electroacoustic Music in Mist on a Hill0
Ears to the Ground: Socially engaged sound art as learning in process0
Debris:Machine learning, archive archaeology, digital audio waste0
Technology and Mathematics as Non-Human Forces: The agency of hyperbolic paraboloids, computer software and interface hardware in the making of a visitor-interactive audiovisual work0
Editorial: Chinese Electroacoustic Music Today0
Ecologies of Sound with Regard toArrhythmia0
Radioatelier: Czech radio space for acoustic art 2003–20220
OSO volume 29 issue 2 Cover and Front matter0
Diverse Sound Practices: An exploration of experimental electronic music in regional Australia0
Editorial: More-than-human, more-than-music0
Sound and Video Examples – issue 29 (3)0
Musical Hyperrealism: Exploring Noah Creshevsky’s compositions through Jean Baudrillard’s ideas0
Bridging Gaps in Black Music Research: A conversation on experimental sound by the BMRU0
Compositional Techniques and Sound Spatialisation in Shanghai-Based Electronic Music since 20000
Hello! I’ve Been Here the Whole Time: When non-cochlear sound art meets disability aesthetics0
Sine Wave in Music and Sound Art: A typology of artistic approaches0
A Phenomenological Approach to Wearable Technologies and Viscerality: From embodied interaction to biophysical music performance0
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