| # | Title | Journal | Year | Citations |
|---|
| 1 | Spectromorphology: explaining sound-shapes | Organised Sound | 1997 | 316 |
| 2 | MARSYAS: a framework for audio analysis | Organised Sound | 2000 | 236 |
| 3 | Live coding in laptop performance | Organised Sound | 2003 | 160 |
| 4 | Linking soundscape composition and acoustic ecology | Organised Sound | 2002 | 142 |
| 5 | Open Sound Control: an enabling technology for musical networking | Organised Sound | 2005 | 119 |
| 6 | Space-form and the acousmatic image | Organised Sound | 2007 | 102 |
| 7 | Genres and techniques of soundscape composition as developed at Simon Fraser University | Organised Sound | 2002 | 96 |
| 8 | Gestural-Sonorous Objects: embodied extensions of Schaeffer's conceptual apparatus | Organised Sound | 2006 | 94 |
| 9 | Mapping performer parameters to synthesis engines | Organised Sound | 2002 | 84 |
| 10 | ‘Sound is the interface’: from interactive to ecosystemic signal processing | Organised Sound | 2003 | 76 |
| 11 | Of Epistemic Tools: musical instruments as cognitive extensions | Organised Sound | 2009 | 74 |
| 12 | On the process and aesthetics of sampling in electronic music production | Organised Sound | 2003 | 71 |
| 13 | Mapping transparency through metaphor: towards more expressive musical instruments | Organised Sound | 2002 | 69 |
| 14 | Theses on liveness | Organised Sound | 2007 | 69 |
| 15 | Soundscape composition: the convergence of ethnography and acousmatic music | Organised Sound | 2002 | 66 |
| 16 | Interactive Network Performance: a dream worth dreaming? | Organised Sound | 2005 | 65 |
| 17 | A history of sampling | Organised Sound | 1996 | 63 |
| 18 | Graphical GROOVE: memorial for the VAMPIRE, a visual music system | Organised Sound | 1998 | 63 |
| 19 | L’Objet Sonore Maintenant: Pierre Schaeffer, sound objects and the phenomenological reduction | Organised Sound | 2007 | 60 |
| 20 | Algorithmic composition as a model of creativity | Organised Sound | 1996 | 54 |
| 21 | Sound, space, sculpture: some thoughts on the ‘what’, ‘how’ and ‘why’ of sound diffusion | Organised Sound | 1998 | 52 |
| 22 | Aural landscape: musical space | Organised Sound | 1998 | 52 |
| 23 | General sound classification and similarity in MPEG-7 | Organised Sound | 2001 | 49 |
| 24 | Spectromorphological analysis of sound objects: an adaptation of Pierre Schaeffer's typomorphology | Organised Sound | 2007 | 49 |
| 25 | Sound Art and the Sonic Unconscious | Organised Sound | 2009 | 46 |
| 26 | Why a laptop orchestra? | Organised Sound | 2007 | 44 |
| 27 | Soundscape Composition as Global Music: Electroacoustic music as soundscape | Organised Sound | 2008 | 44 |
| 28 | Sound Art: Origins, development and ambiguities | Organised Sound | 2009 | 44 |
| 29 | Spatio-musical composition strategies | Organised Sound | 2002 | 43 |
| 30 | Bodies of evidence, singing cyborgs and other gender issues in electrovocal music | Organised Sound | 2003 | 43 |
| 31 | Strategies of mapping between gesture data and synthesis model parameters using perceptual spaces | Organised Sound | 2002 | 42 |
| 32 | Sound, Listening and Place: The aesthetic dilemma | Organised Sound | 2012 | 41 |
| 33 | Ecologically Grounded Creative Practices in Ubiquitous Music | Organised Sound | 2017 | 38 |
| 34 | Daphne Oram: innovator, writer and composer | Organised Sound | 2003 | 37 |
| 35 | Homoeroticism and electroacoustic music: absence and personal voice | Organised Sound | 2003 | 36 |
| 36 | Understanding Interactive Systems | Organised Sound | 2009 | 36 |
| 37 | Hildegard Westerkamp's Kits Beach Soundwalk: shifting perspectives in real world music | Organised Sound | 2002 | 35 |
| 38 | In and out of the sound studio | Organised Sound | 2003 | 35 |
| 39 | Self-organised music | Organised Sound | 2004 | 35 |
| 40 | The Analysis of Generative Music Programs | Organised Sound | 2008 | 35 |
| 41 | A MutaSynth in parameter space: interactive composition through evolution | Organised Sound | 2001 | 34 |
| 42 | Control parameters for musical instruments: a foundation for new mappings of gesture to sound | Organised Sound | 2002 | 34 |
| 43 | Interactivity for Mobile Music-Making | Organised Sound | 2009 | 34 |
| 44 | An enactive approach to the design of new tangible musical instruments | Organised Sound | 2006 | 32 |
| 45 | Understanding Interaction in Contemporary Digital Music: from instruments to behavioural objects | Organised Sound | 2009 | 32 |
| 46 | Beyond DIY in Electronic Music | Organised Sound | 2013 | 31 |
| 47 | Interpolated mappings for musical instruments | Organised Sound | 2002 | 30 |
| 48 | ‘from a musical point of view, the world is musical at any given moment’: an interview with bill fontana | Organised Sound | 2005 | 30 |
| 49 | Digital Musical Interactions: Performer–system relationships and their perception by spectators | Organised Sound | 2011 | 30 |
| 50 | Music as mirror of mind | Organised Sound | 2000 | 29 |
