Contemporary Music Review

Papers
(The TQCC of Contemporary Music Review 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 2021-06-01 to 2025-06-01.)
ArticleCitations
The World Upside Down . A Digital Assemblage for Witnessing Trauma and Political Loss3
RETRACTED ARTICLE: A Diptych of Eidetic Imagery and an Acoustic Essay on Time: The Road to Damascus and The First Eastern Dream by Ivana S3
Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music3
Performance Practices: David Burge, Robert Miller, and the Makrokosmos3
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music3
Serbian Musical Identity: An Introduction3
Music as Communal Practice and the Problem of White Joy in Caroline Shaw’s Partita for 8 Voices2
Presence and Absence: Notes on Éliane Radigue's ARP 2500 Synthesiser Technique2
‘Androgynous Music’: Pauline Oliveros’s Early Cybernetic Improvisation2
Listening to Éliane2
Problem as Possibility: A Dialogue about Performance and Analysis with Lucia Dlugoszewski’s Experimental Notation as Case Study2
Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices2
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 Pandemic1
Music Theory in Serbia: Tracing the Legitimation of the Disciplinary Identity1
Nashville Opera’s One Vote Won (2020) and the Challenge of Engaged Opera Performance1
The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre1
Éliane Radigue at 901
The Musical Force of the Magnetic Field: On the Latest Creative Phase in the Works of Jasna Veličković1
A Personal Musical Introduction to George Crumb1
Chaos Bells: Instrument Size and Entangled Music Performance1
Things to Make and Do1
Searching for the Unusual: New Methods of Composing for Gamelan1
Constança Capdeville and the ColecViva Group: Alejandro Erlich Oliva in Interview with Filipa Magalhães1
Improvisation, Indeterminacy, and Ontology: Some Perspectives on Music and the Posthumanities1
The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices1
Sonic Directions to the Urban Student: Lyotard, the Megalopolis, and Not Listening as Pedagogy1
Companion Thinking in Improvised Musicking Practice1
‘ Ce désert est faux ’ : Thoughts on Restaging Constança Capdeville’s Scenic Works1
Reading Queer Continuums inGymnopédie No. 3: A Conversation with Satie, and Cage, and Me (and You)1
Legal Aliens: Serbian Composers in Western Europe Today1
The Afterlives of Indeterminacy1
Miguel and Paula Azguime and the New Op-Era1
Two Modes of the Avant-Garde’s Disintegration in Twenty-First-Century Serbian Music1
Interviews with George Crumb 2013–20181
Engaging Analysis and Performance1
Radiguian Explorations1
The Cyborg Hand: Gesture, Technology, Disability and Interdisciplinarity in Whatever Weighs You Down1
Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education1
The Extensions of Opera: Radio, Internet, and Immersion1
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