| Extreme sight-reading, mediated expression, and audience participation: Real-time music notation in live performance J Freeman Computer Music Journal 32 (3), 25-41, 2008 | 100 | 2008 |
| Engaging underrepresented groups in high school introductory computing through computational remixing with EarSketch J Freeman, B Magerko, T McKlin, M Reilly, J Permar, C Summers, ... Proceedings of the 45th ACM technical symposium on Computer science …, 2014 | 81 | 2014 |
| Earsketch: A steam-based approach for underrepresented populations in high school computer science education B Magerko, J Freeman, T Mcklin, M Reilly, E Livingston, S Mccoid, ... ACM Transactions on Computing Education (TOCE) 16 (4), 1-25, 2016 | 57 | 2016 |
| Collaborative textual improvisation in a laptop ensemble J Freeman, AV Troyer Computer Music Journal 35 (2), 8-21, 2011 | 57 | 2011 |
| Large audience participation, technology, and orchestral performance J Freeman Proceedings of the 2005 International Computer Music Conference, 757-760, 2005 | 55 | 2005 |
| massMobile–an Audience Participation Framework N Weitzner, J Freeman, S Garrett, YL Chen | 53* | |
| echobo: A mobile music instrument designed for audience to play SW Lee, J Freeman Ann Arbor 1001 (48109-2121), 10-44, 2013 | 50 | 2013 |
| Creativity in authentic STEAM education with EarSketch S Engelman, B Magerko, T McKlin, M Miller, D Edwards, J Freeman Proceedings of the 2017 ACM SIGCSE Technical Symposium on Computer Science …, 2017 | 37 | 2017 |
| EarSketch: Teaching computational music remixing in an online Web Audio based learning environment A Mahadevan, J Freeman, B Magerko, JC Martinez Web Audio Conference, 2015 | 34 | 2015 |
| Tackling engagement in computing with computational music remixing B Magerko, J Freeman, T McKlin, S McCoid, T Jenkins, E Livingston Proceeding of the 44th ACM technical symposium on Computer science education …, 2013 | 33 | 2013 |
| Soundscape composition and field recording as a platform for collaborative creativity J Freeman, C Disalvo, M Nitsche, S Garrett Organised Sound 16 (3), 272-281, 2011 | 32 | 2011 |
| Real-time music notation in mixed laptop–acoustic ensembles SW Lee, J Freeman Computer Music Journal 37 (4), 24-36, 2013 | 27 | 2013 |
| Web-based collaboration, live musical performance and open-form scores J Freeman International Journal of Performance Arts and Digital Media 6 (2), 149-170, 2010 | 27 | 2010 |
| The architecture of auracle: a real-time, distributed, collaborative instrument C Ramakrishnan, J Freeman, K Varnik Proceedings of the 2004 conference on New interfaces for musical expression …, 2004 | 26 | 2004 |
| EarSketch: An integrated approach to teaching introductory computer music S McCoid, J Freeman, B Magerko, C Michaud, T Jenkins, T Mcklin, H Kan Organised Sound 18 (2), 146-160, 2013 | 25 | 2013 |
| Creative collaboration between audiences and musicians in Flock J Freeman, M Godfrey Digital Creativity 21 (2), 85-99, 2010 | 24 | 2010 |
| Technology, real-time notation, and audience participation in flock J Freeman, M Godfrey International Computer Music Conference, 2008 | 22 | 2008 |
| Towards a hybrid recommendation system for a sound library J Smith, D Weeks, M Jacob, J Freeman, B Magerko IUI Workshops, 2019 | 21 | 2019 |
| Authenticity and personal creativity: How EarSketch affects student persistence T McKlin, B Magerko, T Lee, D Wanzer, D Edwards, J Freeman Proceedings of the 49th ACM Technical Symposium on Computer Science …, 2018 | 21 | 2018 |
| Iterative composition, coding and pedagogy: A case study in live coding with EarSketch J Freeman, B Magerko Journal of Music, Technology & Education 9 (1), 57-74, 2016 | 21 | 2016 |
