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  • 2012Crossmodal correspondences between sounds and tastes207 cited
  • 2014Music as Collective Invention: A Social Network Analysis of Composers59 cited
  • 2006‘As if a little bird is sitting on your finger...’: metaphor as a key instrument in training professional musicians54 cited
  • 2012Perspectives on Males and Singing46 cited
  • 2005Transforming Musical Sounds into Words: Narrative Method in Virginia Woolf's The Waves33 cited
  • 2013The Tomorrow's Warriors Jam Sessions: Repertoires of Transmission and Hospitality19 cited
  • 2005Convexity and the well-formedness of musical objects18 cited
  • 2020How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century17 cited
  • 2007A Quantitative Study of Chromaticism: Changes Observed in Historical Eras and Individual Composers16 cited
  • 2006Robert Pindar, Thomas Busby, and the Mysterious Scoring of Henry Purcell's 'Come Ye Sons of Art'14 cited
  • 2011In Search of Universal Properties of Musical Scales14 cited
  • 2017The Textility of Marking: Performers’ Annotations as Indicators of the Creative Process in Performance14 cited
  • 2008Evolution of One-Handed Piano Compositions11 cited
  • 2008What's That Sound?: Korean Fusion Music and the Ascendancy of the Haegŭm

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11 cited
  • 2011The Mediatization of Music as the Emergence and Transformation of Institutions: A Synthesis9 cited
  • 2013Proposition d’un cadre conceptuel pour aider le professeur d’instrument à intégrer l’improvisation musicale à son acte pédagogique9 cited