| Telling tales | 1994/01/01 | English | 6 |
| Grain, Sequence, System: Three Levels of Reception in the Performance of Laptop Music | 2003/12/01 | English | 6 |
| Scelsi, De-composer | 2005/04/01 | English | 6 |
| Target Practice1 | 2005/04/01 | English | 6 |
| Haptic sensation and instrumental transgression | 2006/02/01 | English | 6 |
| Boundary Situations: Translation and Agency in Wolpe's Modernism | 2008/04/01 | English | 5 |
| An artificial intelligence approach to musical grouping analysis | 1989/01/01 | English | 5 |
| Transformation, migration and restoration | 1993/01/01 | English | 5 |
| ‘Live’ versus ‘real-time’ | 1994/01/01 | English | 5 |
| Image-of-sound, or i-sound: Metaphor/metaform | 1989/01/01 | English | 5 |
| Live electronic music in Britain: three case studies | 1991/01/01 | English | 5 |
| Echolyn and American progressive rock | 2000/01/01 | English | 5 |
| Composing Sound Structures with Rules | 2009/02/01 | English | 5 |
| The spectral music of James Tenney | 2008/02/01 | English | 5 |
| To sing the body electric: Instruments and effort in the performance of electronic music | 2006/02/01 | English | 5 |
| Touching at a Distance: Resistance, Tactility, Proxemics and the Development of a Hybrid Virtual/Physical Performance System | 2013/06/01 | English | 5 |
| Haptic Illusions and Imagined Agency: Felt Resistances in Sonic Experience | 2013/06/01 | English | 5 |
| Taylor Swift and the Work of Songwriting | 2021/01/02 | English | 5 |
| political implications of the material of new music | 2015/05/04 | English | 5 |
| Who Needs to Calm Down? Taylor Swift and Rainbow Capitalism | 2021/01/02 | English | 5 |
| Real-time Score Generation for Extensible Open Forms | 2010/02/01 | English | 5 |
| Networked Music & Soundart Timeline (NMSAT): A Panoramic View of Practices and Techniques Related to Sound Transmission and Distance Listening | 2009/08/01 | English | 5 |
| The Emergence of Spectra in Gérard Grisey's Compositional Process: FromDérives(1973–74) toLes espaces acoustiques(1974–85) | 2011/10/01 | English | 5 |
| Introduction: What is Wandelweiser? | 2011/12/01 | English | 5 |
| Some observations on pitch, texture, and from in Xenakis' Mists | 2002/06/01 | English | 5 |
| Towards an "automated art": Algorithmic processes in Xenakis' compositions | 2002/06/01 | English | 5 |
| Psychological analysis of musical composition | 1993/01/01 | English | 5 |
| Composers on Stage: Ambiguous Authorship in Contemporary Music Performance | 2016/11/01 | English | 5 |
| The art of articulation: The electroacoustic music of Horacio Vaggione | 2005/10/01 | English | 5 |
| David Tudor in Darmstadt1 | 2007/02/01 | English | 5 |