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Organised Sound is a peer-reviewed journal published by Cambridge University Press, covering Music Technology and Sound Studies, Music and Audio Processing, Neuroscience and Music Perception.
| Publisher | Cambridge University Press |
|---|---|
| Reference style | Numbered Numbered — [1], [2] in the text [1] A. Smith, B. Jones, and C. Lee, A representative article title, Organised Sound 12 (2023) 45–58.
Formats any DOI in the closest standard style — Organised Sound has no published style definition, so this is an approximation. No sign-up. |
| Publishes research in | Music Technology and Sound Studies Music and Audio Processing Neuroscience and Music Perception Diverse Musicological Studies Musicology and Musical Analysis |
| ISSN | 1355-7718 |
| Citation impact (2-yr) | 0.19 |
| h-index | 46 |
| i10-index | 247 |
| Total citations | 11,212 |
| Top institutions publishing here | De Montfort University |
| Journal website | journals.cambridge.org |
| You get | A submission-ready PDF and the editable LaTeX source — ready to submit. |
Citations each year’s papers have accumulated so far — the most recent years are still building up.
The art of music is no longer limited to the sounding models of instruments and voices. Electoacoustic music opens access to all sounds, a bewildering sonic array ranging from the real to the surreal and beyond. For listeners the traditional links with physical sound-making are frequently ruptured: electroacoustic sound-shapes and qualities frequently do not indicate…
Existing audio tools handle the increasing amount of computer audio data inadequately. The typical tape-recorder paradigm for audio interfaces is inflexible and time consuming, especially for large data sets. On the other hand, completely automatic audio analysis and annotation is impossible using current techniques. Alternative solutions are semi-automatic user interfaces that let users interact with…
Seeking new forms of expression in computer music, a small number of laptop composers are braving the challenges of coding music on the fly. Not content to submit meekly to the rigid interfaces of performance software like Ableton Live or Reason, they work with programming languages, building their own custom software, tweaking or writing the…
1. EXPLORING THE CONNECTION The term soundscape composition did not exist when I started composing with environmental sounds in the mid-1970s. Through a variety of fortunate circumstances and because of what the 1970s were in Vancouver and Canada - artistically inspiring and moneys were available for adventurous and culturally, socially, politically progressive projects - I…
Since telecommunication can never equal the richness of face-to-face interaction on its own terms, the most interesting examples of networked music go beyond the paradigm of musicians playing together in a virtual room. The Open Sound Control protocol has facilitated dozens of such innovative networked music projects. First the protocol itself is described, followed by…
