OOIR: Observatory of International Research

Papers

(The median citation count of Contemporary Music Review 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 2021-04-01 to 2025-04-01.)

Article	Citations
Reflections on Performing Éliane Radigue's OCCAM I	3
Beyond the Audible: Éliane Radigue’s OCCAM works and Inter/Listening	3
Improvising with Arrays	3
New Music Activity in Yogyakarta, Indonesia 2000–2020 (History and Network)	3
The Radiant Exterior: Lionel Marchetti performing Éliane Radigue	2
Serbian Musical Identity in Sacred Music from Stevan Mokranjac to Marko Tajčević	2
The Role of the Third Program of Radio Belgrade in the Presentation, Promotion, and Expansion of Serbian Avant-Garde Music in the 1960s and 1970s	2
Towards an Anti-Ideal: Radigue, Recording, and the Paradoxes of Representation	2
Re-Thinking Virtuosity for the Hybrid Era of Multifarious Approaches	2
Music Theory in Serbia: Tracing the Legitimation of the Disciplinary Identity	2
Milton Babbitt’s E-type All-Combinatorial Hexachord and its Applications to Jazz	2
RETRACTED ARTICLE: A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream by Ivana S	2
Serbian Musical Identity: An Introduction	2
A Conversation with Milton Babbitt and Robert Taub about Performing the West Coast Premiere of Preludes, Interludes, and Postlude	1
Are Classical Musicians Excluded from Improvisation? Cultural Hegemony and the Effects of Ideology on Musicians’ Attitudes Towards Improvisation	1
How Did the Archaic Become the Avant-Garde? The Case of Ljubica Marić (1909–2003) Through the Prism of Contemporary Sources	1
Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music	1
Legal Aliens: Serbian Composers in Western Europe Today	1
What Dreams May Come: Art Synthesis in Vladan Radovanović’s Radiophonic Work Small Eternal Lake (1984)	1
Iterative Processes: Notating, Composing, and Performing as Journey Forms	1
Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education	1
DIY Music and Contemporary Art Spaces: Centre for Contemporary Arts, Transmission and the Art-Music Nexus in Glasgow	1
Playing with Babbitt in the 1980s: Guest Appearances at the New York Philharmonic and Bang on a Can	1
Stockhausen as CEO: The Executive Model of Interpretive Labour	1
ColecViva and its Collaborative Methods Viewed as an Educational Project	1

Things to Make and Do	1
‘What's So Funny?’: Videomemes and the Circulation of Contemporary Music in Social Media	1
Performance Practices: David Burge, Robert Miller, and the Makrokosmos	1
Opera in Portugal in the Last Quarter of the Twentieth Century: A Reflection on the Theatrical and Musical Issues in Creating Music Theatre	1
Shaping Babbitt's Semi-Simple Variations	1
Mapping Participation: Lawrence Halprin's RSVP Cycles Meets Richard Barrett's fOKT	1
Tradition in Suspension: Timbre in Contemporary Gamelan Compositions	1
The Polish School, Johann Sebastian Bach, and The Gospel According to St. John in an Avant-Garde Synergy: Music of Becoming (1965) by Serbian Composer Rajko Maksimović	1
Soviet Sounds, Communist Pedagogy: Lessons for Today’s Musicians, Organisers, Educators	1
Developing Live-Interactive Approaches to New Music for Organ and Electronics Through Collaboration	1
Ergodynamics of the Open Machine : Material Engagement and Modular Synthesis Performance Practice	1
Improvising Folk Songs: An Inclusive Indeterminacy	1
George Crumb's Black Angels and the Vietnam War	1
Approaches for Working with the Body in the Design of Electronic Music Performance Systems	1
The Extensions of Opera: Radio, Internet, and Immersion	0
Experimental Approaches in Portuguese Music Theatre	0
Engaging Analysis and Performance	0
‘ Ce désert est faux ’ : Thoughts on Restaging Constança Capdeville’s Scenic Works	0
‘Newness’ Reconsidered: Reflections on New Music from Indonesia	0
Performing Indeterminacy	0
Sonic Directions to the Urban Student: Lyotard, the Megalopolis, and Not Listening as Pedagogy	0
Temporality and Texture in the Performance of George Crumb’sMusic for a Summer Evening	0
Three String Quartets by Ivana Stefanović—Three Aspects of Serbian Music in the Second Half of the Twentieth Century	0
Statement of Retraction: “A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream , b	0
Points of Balance and the Infra-thin in Éliane Radigue’s Endless Music	0
All My Time: Experimental Subversions of Livestreamed Performance During the Covid-19 Pandemic	0
Performing Corporate Culture: Analysing Meta-Narratives and Online Interactivity Through Quigital	0
Presence and Absence: Notes on Éliane Radigue's ARP 2500 Synthesiser Technique	0
Companion Thinking in Improvised Musicking Practice	0
On Material Indeterminacy	0
‘It’s Basically the Same Practice to Organise an Exhibition of Work as it is to Put on a Gig’: Music and Art Sharing DIY Spaces in Scotland	0
Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb	0
‘Make Classical Music Great Again’: Contemporary Music, Masculinity, and Virality in Memetic Media in Online Spaces	0
Globalisation and Musical Identity: The Reception of Serbian Émigré Composers in the United States	0
Constança Capdeville and the ColecViva Group: Alejandro Erlich Oliva in Interview with Filipa Magalhães	0
Difficult Women: Joyce, Burns, and the Radical Passivity of Listening	0
The Symphony in the St. Pauli Elbe Tunnel	0
Building a Personal Artistic Identity as a Tribute to One ’ s ‘Heroes’: Vlastimir Trajković’s ‘Le Tombeau de la Bonne Musique’	0
Chaos Bells: Instrument Size and Entangled Music Performance	0
Participants, Punters or Perverts? An (Expanded) Relational Understanding of Simon Waters’ Performance Ecosystem	0
The Performer as Posthuman Assemblage: Performer-Machine Interactions in Contemporary Music	0
Interviews with George Crumb 2013–2018	0
Experiencing Indeterminacy in Performance	0
Digging Through the Network of the Indonesian Noise Scene	0
An Overabundance of Signifiers: Derridean Play in Hans-Joachim Hespos’ Weiβschatten	0
Music in Vladan Radovanović’s ‘Art Synthesis’ Works	0
Miguel and Paula Azguime and the New Op-Era	0
A Short History of Babbaptations	0
The South Slav ‘Golden Age’ and Gender Representation in Music	0
Rethinking Babbitt’s ‘Serious’ Music as Play	0

Hearing Compositional Play in Babbitt’s Arrays	0
Problem as Possibility: A Dialogue about Performance and Analysis with Lucia Dlugoszewski’s Experimental Notation as Case Study	0
Pulling a Fast More-Than-One: Milton Babbitt’s Time-point Practice	0
Between Innocence and Experience: How Analysis Might or Might Not Have Affected My Hearing of Milton Babbitt’s Music	0
Improvisation, Indeterminacy, and Ontology: Some Perspectives on Music and the Posthumanities	0
On the Liberation upon Hearing in the Intermediate State	0
Becoming Women Composers in Contemporary Indonesia: Music and Collective in the Pandemic Era	0
The Musical Force of the Magnetic Field: On the Latest Creative Phase in the Works of Jasna Veličković	0
Translating Silence: OCCAM X as a Radical Act of Catastrophe	0
Two Modes of the Avant-Garde’s Disintegration in Twenty-First-Century Serbian Music	0
Beyond the Divide: The Different New Music Festival in Belgrade (1984–1986)	0
Radiguian Explorations	0
Pacing, Performance, and Perception in Alice Ping Yee Ho’sAngst	0
INTRODUCTIONOn Milton Babbitt: Progressive Artistic Research, Decorous Pranks, and Pig-Stand Jazz	0
The Old Police House (TOPH): Treatise	0
Music as Communal Practice and the Problem of White Joy in Caroline Shaw’s Partita for 8 Voices	0
Serbian Late Twentieth-Century Neo-Avant-Garde: Minimalist Music by Vladimir Tošić and Miroslav Miša Savić	0
What Does ASMR Sound Like? Composing the Proxemic Intimate Zone in Contemporary Music	0
Navigating Technological Obsolescence: Analysis and Reconstruction of Stockhausen’s Mikrophonie I	0
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music	0
Instrumental Interaction and Subversion in John Cage’sConcert for Piano and Orchestra	0
Playing Babbitt by Ear: How I Composed More Semi-Simple Variations, Intermezzo, and Fugue on a Theme by Milton Babbitt for Piano Four-Hands	0
INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction	0
In Conversation with Jennifer Walshe: Performing with Intelligent Machines	0
Listening to Éliane	0
Heterospecific Song and Ecological Politics: Whale Song and Crumb's Vox Balaenae	0
Learning, Performing, and Recording Post-Partitions and other Babbitt piano works	0
Byzantium as a Metaphor for Identity in Serbian Music	0
The Performer in the Music of Milton Babbitt	0
Improvisation/Indeterminacy	0
Nashville Opera’s One Vote Won (2020) and the Challenge of Engaged Opera Performance	0
Game Play and Gestalt: Analysing Christian Wolff’s Alternative Notation from the Performers’ Perspectives	0
The Meticulous Irreverence of José Lopes e Silva: Some Comments on Two Staged Works	0
Babbitt Jazzed: The Bad Plus’s Jazz Trio Arrangement of Semi-Simple Variations	0
The Afterlives of Indeterminacy	0
Speculating on the ‘Feminist Performance Score’: Pauline Oliveros, Womens Work and Karen Barad	0
Practices and Educational Affordances of Sound in the Postcolonial Hong Kong Protests	0
The Private and Public Lives of a Lost Concerto: Milton Babbitt’s Concerti for Violin, Orchestra, and Synthesized Sound	0
A Discussion of Strategies for recording Babbitt’s Composition for Twelve Instruments	0
Éliane Radigue at 90	0
What’s the Point? Balancing Purpose and Play in Rule-based Compositions	0
The Cage Effect from a Serbian Perspective	0
Inside the Éliane Radigue Composer-Performer Circle	0
Isolation Journal: Remote Interactions in the Time of the COVID-19 Pandemic	0
‘Androgynous Music’: Pauline Oliveros’s Early Cybernetic Improvisation	0
The Role of Smart, Haptic Wearables in the Performance of Mensura	0
Improvising Myth and Memory Downtown: Music Venues, Race, and the Potential of Place	0
Searching for the Unusual: New Methods of Composing for Gamelan	0
Rajko Maksimović and the ‘Polish School’: A Case-Study of Tri Haiku	0
The Role of New Instruments in the Musical Works of Composers/Sound Artists in Indonesia	0
Reading Queer Continuums inGymnopédie No. 3: A Conversation with Satie, and Cage, and Me (and You)	0
The Modernist Identity of Compositional Practice in 1960s Belgrade: Petar Osghian’s Meditations (1962), Silhouettes (1963), and	0
The Cyborg Hand: Gesture, Technology, Disability and Interdisciplinarity in Whatever Weighs You Down	0
Breaking Babb: Discovery and Process in Learning Babbitt’s Philomel: A Conversation between a Rock Star and a Screecher	0
Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices	0
The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices	0
Making it Work: Music and Contemporary Art Spaces, Post-2008	0
The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre	0
A Personal Musical Introduction to George Crumb	0
Concerti e Concerti: Babbitt’s Mysterious Bedfellows	0
@Newmusic #Soundart: Contemporary Music in the Age of Social Media	0
Voicing Papua: The Resonance of Rituals	0
Words About Thinking in Music About Music: References in Call It What You Will	0