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 2021-06-01 to 2025-06-01.)

Article	Citations
The World Upside Down . A Digital Assemblage for Witnessing Trauma and Political Loss	3
RETRACTED ARTICLE: A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream by Ivana S	3
Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music	3
Performance Practices: David Burge, Robert Miller, and the Makrokosmos	3
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music	3
Serbian Musical Identity: An Introduction	3
Music as Communal Practice and the Problem of White Joy in Caroline Shaw’s Partita for 8 Voices	2
Presence and Absence: Notes on Éliane Radigue's ARP 2500 Synthesiser Technique	2
‘Androgynous Music’: Pauline Oliveros’s Early Cybernetic Improvisation	2
Listening to Éliane	2
Problem as Possibility: A Dialogue about Performance and Analysis with Lucia Dlugoszewski’s Experimental Notation as Case Study	2
Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices	2
Building a Personal Artistic Identity as a Tribute to One ’ s ‘Heroes’: Vlastimir Trajković’s ‘Le Tombeau de la Bonne Musique’	2
Isolation Journal: Remote Interactions in the Time of the COVID-19 Pandemic	1
Music Theory in Serbia: Tracing the Legitimation of the Disciplinary Identity	1
Nashville Opera’s One Vote Won (2020) and the Challenge of Engaged Opera Performance	1
The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre	1
Éliane Radigue at 90	1
The Musical Force of the Magnetic Field: On the Latest Creative Phase in the Works of Jasna Veličković	1
A Personal Musical Introduction to George Crumb	1
Chaos Bells: Instrument Size and Entangled Music Performance	1
Things to Make and Do	1
Searching for the Unusual: New Methods of Composing for Gamelan	1
Constança Capdeville and the ColecViva Group: Alejandro Erlich Oliva in Interview with Filipa Magalhães	1
Improvisation, Indeterminacy, and Ontology: Some Perspectives on Music and the Posthumanities	1

The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices	1
Sonic Directions to the Urban Student: Lyotard, the Megalopolis, and Not Listening as Pedagogy	1
Companion Thinking in Improvised Musicking Practice	1
‘ Ce désert est faux ’ : Thoughts on Restaging Constança Capdeville’s Scenic Works	1
Reading Queer Continuums inGymnopédie No. 3: A Conversation with Satie, and Cage, and Me (and You)	1
Legal Aliens: Serbian Composers in Western Europe Today	1
The Afterlives of Indeterminacy	1
Miguel and Paula Azguime and the New Op-Era	1
Two Modes of the Avant-Garde’s Disintegration in Twenty-First-Century Serbian Music	1
Interviews with George Crumb 2013–2018	1
Engaging Analysis and Performance	1
Radiguian Explorations	1
The Cyborg Hand: Gesture, Technology, Disability and Interdisciplinarity in Whatever Weighs You Down	1
Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education	1
The Extensions of Opera: Radio, Internet, and Immersion	1
The Role of Smart, Haptic Wearables in the Performance of Mensura	0
Re-Thinking Virtuosity for the Hybrid Era of Multifarious Approaches	0
The Symphony in the St. Pauli Elbe Tunnel	0
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	0
Serbian Late Twentieth-Century Neo-Avant-Garde: Minimalist Music by Vladimir Tošić and Miroslav Miša Savić	0
An Overabundance of Signifiers: Derridean Play in Hans-Joachim Hespos’ Weiβschatten	0
Approaches for Working with the Body in the Design of Electronic Music Performance Systems	0
Game Play and Gestalt: Analysing Christian Wolff’s Alternative Notation from the Performers’ Perspectives	0
@Newmusic #Soundart: Contemporary Music in the Age of Social Media	0
Music in Vladan Radovanović’s ‘Art Synthesis’ Works	0
The Cage Effect from a Serbian Perspective	0
Are Classical Musicians Excluded from Improvisation? Cultural Hegemony and the Effects of Ideology on Musicians’ Attitudes Towards Improvisation	0
Points of Balance and the Infra-thin in Éliane Radigue’s Endless Music	0
Rajko Maksimović and the ‘Polish School’: A Case-Study of Tri Haiku	0
Towards an Anti-Ideal: Radigue, Recording, and the Paradoxes of Representation	0
Byzantium as a Metaphor for Identity in Serbian Music	0
All My Time: Experimental Subversions of Livestreamed Performance During the Covid-19 Pandemic	0
New Music Activity in Yogyakarta, Indonesia 2000–2020 (History and Network)	0
Inside the Éliane Radigue Composer-Performer Circle	0
Iterative Processes: Notating, Composing, and Performing as Journey Forms	0
Heterospecific Song and Ecological Politics: Whale Song and Crumb's Vox Balaenae	0
Making it Work: Music and Contemporary Art Spaces, Post-2008	0
Performing Indeterminacy	0
Serbian Musical Identity in Sacred Music from Stevan Mokranjac to Marko Tajčević	0
The South Slav ‘Golden Age’ and Gender Representation in Music	0
Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb	0
Speculating on the ‘Feminist Performance Score’: Pauline Oliveros, Womens Work and Karen Barad	0
Translating Silence: OCCAM X as a Radical Act of Catastrophe	0
Stockhausen as CEO: The Executive Model of Interpretive Labour	0
Difficult Women: Joyce, Burns, and the Radical Passivity of Listening	0
Beyond the Audible: Éliane Radigue’s OCCAM works and Inter/Listening	0
Mapping Participation: Lawrence Halprin's RSVP Cycles Meets Richard Barrett's fOKT	0
The Modernist Identity of Compositional Practice in 1960s Belgrade: Petar Osghian’s Meditations (1962), Silhouettes (1963), and	0
What Dreams May Come: Art Synthesis in Vladan Radovanović’s Radiophonic Work Small Eternal Lake (1984)	0
Instrumental Interaction and Subversion in John Cage’sConcert for Piano and Orchestra	0

Three String Quartets by Ivana Stefanović—Three Aspects of Serbian Music in the Second Half of the Twentieth Century	0
On the Liberation upon Hearing in the Intermediate State	0
Opera in Portugal in the Last Quarter of the Twentieth Century: A Reflection on the Theatrical and Musical Issues in Creating Music Theatre	0
INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction	0
Ergodynamics of the Open Machine : Material Engagement and Modular Synthesis Performance Practice	0
‘Newness’ Reconsidered: Reflections on New Music from Indonesia	0
Practices and Educational Affordances of Sound in the Postcolonial Hong Kong Protests	0
ColecViva and its Collaborative Methods Viewed as an Educational Project	0
On Material Indeterminacy	0
‘What's So Funny?’: Videomemes and the Circulation of Contemporary Music in Social Media	0
How Did the Archaic Become the Avant-Garde? The Case of Ljubica Marić (1909–2003) Through the Prism of Contemporary Sources	0
Temporality and Texture in the Performance of George Crumb’sMusic for a Summer Evening	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
Experimental Approaches in Portuguese Music Theatre	0
Performing Corporate Culture: Analysing Meta-Narratives and Online Interactivity Through Quigital	0
Experiencing Indeterminacy in Performance	0
The Old Police House (TOPH): Treatise	0
‘Make Classical Music Great Again’: Contemporary Music, Masculinity, and Virality in Memetic Media in Online Spaces	0
Developing Live-Interactive Approaches to New Music for Organ and Electronics Through Collaboration	0
Participants, Punters or Perverts? An (Expanded) Relational Understanding of Simon Waters’ Performance Ecosystem	0
Reflections on Performing Éliane Radigue's OCCAM I	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
The Radiant Exterior: Lionel Marchetti performing Éliane Radigue	0
DIY Music and Contemporary Art Spaces: Centre for Contemporary Arts, Transmission and the Art-Music Nexus in Glasgow	0
Digging Through the Network of the Indonesian Noise Scene	0
Telematic and Networked Performance During and Around the Pandemic	0
The Performer as Posthuman Assemblage: Performer-Machine Interactions in Contemporary Music	0
Pacing, Performance, and Perception in Alice Ping Yee Ho’sAngst	0
Improvisation/Indeterminacy	0
The Meticulous Irreverence of José Lopes e Silva: Some Comments on Two Staged Works	0
Improvising Myth and Memory Downtown: Music Venues, Race, and the Potential of Place	0
Tradition in Suspension: Timbre in Contemporary Gamelan Compositions	0
What’s the Point? Balancing Purpose and Play in Rule-based Compositions	0
Soviet Sounds, Communist Pedagogy: Lessons for Today’s Musicians, Organisers, Educators	0
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	0
Voicing Papua: The Resonance of Rituals	0
George Crumb's Black Angels and the Vietnam War	0
Improvising Folk Songs: An Inclusive Indeterminacy	0
Globalisation and Musical Identity: The Reception of Serbian Émigré Composers in the United States	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
Becoming Women Composers in Contemporary Indonesia: Music and Collective in the Pandemic Era	0
Beyond the Divide: The Different New Music Festival in Belgrade (1984–1986)	0
The Role of New Instruments in the Musical Works of Composers/Sound Artists in Indonesia	0
In Conversation with Jennifer Walshe: Performing with Intelligent Machines	0