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Cited by

• 2014Inspiration and decision-making: A case study of a composer’s intuitive and reflective thought31 cited
• 2012Tracking the composer’s cognition in the course of a creative process: Stefano Gervasoni and the beginning of Gramigna28 cited
• 2012Building Blocks: Repetition and Continuity in the Music of Stravinsky26 cited
• 2012The Study of Composers' Sketches, and an Overview of those by Ligeti20 cited
• 2020Herbert Eimert and the Darmstadt School15 cited
• 2020Timelines in Spectral Composition: A cognitive approach to musical creativity11 cited
• 2017Between Freedom and Control6 cited
• 2011Studying Luigi Nono'sA Pierre. Dell'azzurro silenzio, inquietum(1985) as a Performance Event5 cited
• 2014Between Composition and Transcription: Ferruccio Busoni and Music Notation3 cited
• 2019Math and Music, Models and Metaphors: Alberto Posadas' ‘Tree-Like Structures’3 cited
• 2019Sketching a New Verticality: Varèse’s Atonal Sound and its Contexts—Schoenberg, Webern and Ruggles3 cited
• 2021Archival Research in Music2 cited
• 2017‘New Chaconnes for Old?’ Steve Reich’s Sketches for Variations for Winds, Strings and Keyboards, with Some Thoughts on Their Significance for the Analysis of the Composer’s Harmonic Language in the Late 1970s2 cited