Organised Sound

Papers
(The TQCC of Organised Sound 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.)
ArticleCitations
Politics of Gear: Gender, innovation and live embodied composition10
OSO volume 28 issue 3 Cover and Front matter6
OSO volume 28 issue 1 Cover and Front matter5
Praat Audiotools: An offline analysis-resynthesis toolkit for experimental composition4
Audiovisual transformation strategies for object-based sound installations4
OSO volume 29 issue 1 Cover and Back matter4
Live Coding Outside, Live Coding Inside: Listening, participation and walking4
Peter Manning 1948–20224
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
Towards Deconstructivist Music: Reconstruction paradoxes, neural networks, concatenative synthesis and automated orchestration in the creative process – ERRATUM3
Modular observers: OpenSoundLab and PatchWorld as case studies for emerging practices of modular synthesis in extended realities3
‘Mixed Blood’ and Aesthetic Evolution in China’s Electroacoustic Music Today3
New Amateurs and Tricksters: A manifesto for music and sound creation2
Mario Bertoncini’s Musical Design Course: Between Renaissance pedagogy and contemporary research-creation2
Sound and Video Examples – Issue 28(3)2
Open Ambisonics Toolkit: A low-cost hardware–software–theory approach to spatial audio2
The Haptic in Soundscape Composition2
Gesture and Texture in the Electroacoustic Improvised Music of Jin Sangtae, Hong Chulki and Tetuzi Akiyama2
Externalising Psychological Spaces in Spatial Music through Gestural Mediation2
Agent-Based Music Live Coding: Sonic adventures in 2D1
Neural Synthesis as a Methodology for Art-Anthropology in Contemporary Music1
Double Extension: Henri Chopin’s audiopoem performances1
Crafting the Language of Robotic Agents: A vision for electroacoustic music in human–robot interaction1
Radical Creative Semantic Anchoring: Creative-action metaphors and timbral interaction1
Sound and video examples – issue 28 (2)1
Editorial: New Strategies for Music Notation and Representation in Electroacoustic Music1
Editorial: Live Coding Sonic Creativities1
Editorial: Perspectives and trajectories in spatial music and sonic art1
Weightless Infrastructures1
Visual Representations to Stimulate New Musicking Strategies in Live Coding1
A spherical microphone prototype for multichannel recording: Technological design, artistic applications and compositional implications1
OSO volume 27 issue 3 Cover and Back matter1
A Retrospective on Sound Space and Its Rhizomatic Genealogy1
Sensory Experience of Sound Installation Art and Documentation: Comparison across fields of expertise1
Models of Teaching, Magazines and Music Machines: Alternative approaches to electronic music education in Melbourne1
Understanding and Analysing ‘Organised Space’1
The sound of consumption: The electromagnetic soundwalk as anti-method1
Leigh Landy, Experiencing Organised Sounds: The Listening Experience across Diverse Sound-Based Works. New York: Routledge, 2024. ISBN: 978-1-032533-278.1
Jennifer Iverson, Electronic Inspirations – Technologies of the Cold War Musical Avant-Garde. New York: Oxford University Press, 2019. ISBN: 9780190868192.1
Machine Listening as Sonification1
Modular Composition: An approach towards structural plasticity in music1
Experiencing Sound Installations: A conceptual framework1
Alternative Approaches to Chinese Imagery: Audiovisual aesthetics in A Reflection in the Brook1
The Artist as a Subscription: Patching music as an artistic device1
OSO volume 29 issue 1 Cover and Front matter1
OSO volume 29 issue 2 Cover and Back matter1
Authentic Intelligence Mixtapes: DJs and producers’ communal radical archiving and teaching in the age of AI1
OSO volume 28 issue 1 Cover and Back matter1
Notation strategies for effect pedals in the compositional process of Étude n°11
Composing the instrument: Revisiting the concept of the instrument’s score1
On the Use of Field Recordings on Radio: A history of the beginnings1
The Unknowing Side of the Algorithm: Decolonising live coding from Latin America1
Live Coding the Global Hyperorgan: The Paragraph environment in the indeterminate place1
Liubai Technique in the Real-time Electroacoustic Chinese Art Song ‘Lang Tao Sha’ (浪淘沙)1
From Site-Specific Sampling to Gamification: An exploration of performative engagement with the environment1
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