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 2021-05-01 to 2025-05-01.)
ArticleCitations
OSO volume 28 issue 3 Cover and Front matter9
A Sound Artist’s Breakdown of Field Recording over History7
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: 978-82-7093-734-9.5
OSO volume 28 issue 1 Cover and Front matter5
Live Coding Outside, Live Coding Inside: Listening, participation and walking4
The Politics of Aesthetic Preference in Participatory Music3
Politics of Gear: Gender, innovation and live embodied composition2
Sound and More-than-Human Sociality in Catherine Clover’sOh! Ah ah pree trra trra2
Improvising Inside a House of Cards: New performance and music-making through a collective networked instrument2
Towards Deconstructivist Music: Reconstruction paradoxes, neural networks, concatenative synthesis and automated orchestration in the creative process – ERRATUM2
Peter Manning 1948–20222
OSO volume 29 issue 1 Cover and Back matter2
OSO volume 26 issue 2 Cover and Back matter2
‘Mixed Blood’ and Aesthetic Evolution in China’s Electroacoustic Music Today2
Telematic Sound Body: A trajectory of intimacy and defiance2
Sound and Video Examples – Issue 28(3)2
New Amateurs and Tricksters: A manifesto for music and sound creation2
From Site-Specific Sampling to Gamification: An exploration of performative engagement with the environment1
Spaces for People: Technology, improvisation and social interaction in the music of Pauline Oliveros1
The Modular Journey: Uncovering analogue aesthetics in digital landscapes1
Machine Listening as Sonification1
Liubai Technique in the Real-time Electroacoustic Chinese Art Song ‘Lang Tao Sha’ (浪淘沙)1
Modular Composition: An approach towards structural plasticity in music1
Mario Bertoncini’s Musical Design Course: Between Renaissance pedagogy and contemporary research-creation1
Fostering Social Interaction Through Sound Feedback: Sentire1
Editorial: Live Coding Sonic Creativities1
Experiencing Sound Installations: A conceptual framework1
Distributing Authorship at a Localised Scale: Developing public engagement in sound mapping1
Polite Applause: The sonic politics of ‘Clap for Carers’1
Radical Creative Semantic Anchoring: Creative-action metaphors and timbral interaction1
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
On the Use of Field Recordings on Radio: A history of the beginnings1
Miller Puckette and Kerry L. Hagan (eds.), Between the Tracks: Musicians on Selected Electronic Music. Cambridge, MA: MIT Press, 2020. ISBN 9780262539302 (paperback).1
Gesture and Texture in the Electroacoustic Improvised Music of Jin Sangtae, Hong Chulki and Tetuzi Akiyama1
OSO volume 27 issue 1 Cover and Front matter1
Sound and video examples – issue 28 (2)1
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
OSO volume 28 issue 1 Cover and Back matter1
Editorial: Collective and networked sound practices1
Visual Representations to Stimulate New Musicking Strategies in Live Coding1
Sonic Collaborations between Humans, Non-human Animals and Artificial Intelligences: Contemporary and future aesthetics in more-than-human worlds1
The Unknowing Side of the Algorithm: Decolonising live coding from Latin America1
Live Coding the Global Hyperorgan: The Paragraph environment in the indeterminate place1
Weightless Infrastructures1
Thor Magnusson, Sonic Writing: Technologies of Material, Symbolic, and Signal Inscriptions. New York: Bloomsbury Academic, 2019. ISBN: 9781501313851. DOI: https://doi.org/10.5040/97815013138991
The Haptic in Soundscape Composition1
Between Computer Automation, Voltage Control and Literature: A portrait of Peter Zinovieff1
Models of Teaching, Magazines and Music Machines: Alternative approaches to electronic music education in Melbourne1
Crafting the Language of Robotic Agents: A vision for electroacoustic music in human–robot interaction1
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