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 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
From Physical to Spiritual: Defining the practice of embodied sonic meditation4
Designing Musical Games for Electroacoustic Improvisation4
Resistance, Mastery, Agency: Improvising with the feedback-actuated augmented bass4
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
Aesthetics, Interaction and Machine Improvisation3
Anacoustic Modes of Sound Construction and the Semiotics of Virtuality3
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
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
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
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
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