OOIR: Observatory of International Research

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 2020-05-01 to 2024-05-01.)

Article	Citations
TikTok, Twitter, and Platform-Specific Technocultural Discourse in Response to Taylor Swift’s LGBTQ+ Allyship in ‘You Need to Calm Down’	12
Are You Ready for It? Re-Evaluating Taylor Swift	7
Who Needs to Calm Down? Taylor Swift and Rainbow Capitalism	6
Taylor Swift and the Work of Songwriting	5
Love and Business: Taylor Swift as Celebrity, Businesswoman, and Advocate	5
INTRODUCTIONMusical Materialisms (Plural)	3
Sound’s Matter: ‘Deleuzian Sound Studies’ and the Problems of Sonic Materialism	3
ColecViva and its Collaborative Methods Viewed as an Educational Project	2
‘What's So Funny?’: Videomemes and the Circulation of Contemporary Music in Social Media	2
I Don’t Give a Damn About Your Bad Reputation: Taylor Swift, Beyoncé Knowles, and Performance	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
Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music	2
Legal Aliens: Serbian Composers in Western Europe Today	2
INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction	2
The Cage Effect from a Serbian Perspective	1
Volker Müller & Co.: Electronic Music and Sound Engineering at the WDR	1
A Connected History and Geography of Studios	1
Building a Personal Artistic Identity as a Tribute to One ’ s ‘Heroes’: Vlastimir Trajković’s ‘Le Tombeau de la Bonne Musique’	1
‘Make Classical Music Great Again’: Contemporary Music, Masculinity, and Virality in Memetic Media in Online Spaces	1
Hearing Compositional Play in Babbitt’s Arrays	1
‘Androgynous Music’: Pauline Oliveros’s Early Cybernetic Improvisation	1
Music in Vladan Radovanović’s ‘Art Synthesis’ Works	1
Probing Gordon Mumma's Studio Heuristic through a Digital Recreation of Mesa (1966)	1
Are Classical Musicians Excluded from Improvisation? Cultural Hegemony and the Effects of Ideology on Musicians’ Attitudes Towards Improvisation	1
The Cyborg Queen: Lip-Syncing and Posthumanism in ShayShay’s ‘Mutual Core’	1

Between Innocence and Experience: How Analysis Might or Might Not Have Affected My Hearing of Milton Babbitt’s Music	1
@Newmusic #Soundart: Contemporary Music in the Age of Social Media	1
Serbian Late Twentieth-Century Neo-Avant-Garde: Minimalist Music by Vladimir Tošić and Miroslav Miša Savić	1
Beyond the Divide: The Different New Music Festival in Belgrade (1984–1986)	1
Improvisation, Indeterminacy, and Ontology: Some Perspectives on Music and the Posthumanities	1
All My Time: Experimental Subversions of Livestreamed Performance During the Covid-19 Pandemic	1
Instrumental, Hermeneutic, and Ontological Indeterminacy in Hugh Davies’s Live Electronic Music	1
(Re-)Assembling Notations in the Performance of Early Music	1
‘Music and Language Tilt into Each Other’: Annette Schmucki Interviewed by Alistair Zaldua	1
Vibrant Echoes: A Material Semiotics of the Voice in Music by Iris Garrelfs and Marlo Eggplant	1
Conversations with Tom Johnson	1
The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices	1
The South Slav ‘Golden Age’ and Gender Representation in Music	1
On Material Indeterminacy	1
The Enabling Instrument: Milton Babbitt and the RCA Synthesizer	1
‘Come. Open Your Eyes. Listen … I Hear Another Voice’: The Voice, Time and Memory in Luciano Berio’sAltra Voce(1999)	1
What Does ASMR Sound Like? Composing the Proxemic Intimate Zone in Contemporary Music	1
Re-Thinking Virtuosity for the Hybrid Era of Multifarious Approaches	1