| Peer assessment of tertiary music performance: Opportunities for understanding performance assessment and performing through experience and self-reflection D Blom, K Poole British journal of music education 21 (1), 111-125, 2004 | 109 | 2004 |
| Electronic portfolios and learner identity: An ePortfolio case study in music and writing D Bennett, J Rowley, P Dunbar-Hall, M Hitchcock, D Blom Journal of Further and Higher Education 40 (1), 107-124, 2016 | 71 | 2016 |
| How artists working in academia view artistic practice as research: Implications for tertiary music education D Blom, D Bennett, D Wright International Journal of Music Education 29 (4), 359-373, 2011 | 53 | 2011 |
| Artist Academics: Performing the Australian Research Agenda. D Bennett, D Wright, D Blom International Journal of Education & the Arts 10 (17), n17, 2009 | 43 | 2009 |
| Student-chosen criteria for peer assessment of tertiary rock groups in rehearsal and performance: what's important? D Blom, J Encarnacao British Journal of Music Education 29 (1), 25-43, 2012 | 33 | 2012 |
| The artistic practice-research-teaching (ART) nexus: Translating the information flow D Bennett, D Wright, DM Blom Journal of University Teaching & Learning Practice 7 (2), 3, 2010 | 30 | 2010 |
| Non-western ensembles: crossing boundaries and creating interstices in cross-cultural educational contexts L Biernoff, D Blom Research Studies in Music Education 19 (1), 22-31, 2002 | 29 | 2002 |
| Music sight-reading expertise, visually disrupted score and eye movements P Arthur, S Khuu, D Blom Journal of Eye Movement Research, 1-11, 2016 | 27 | 2016 |
| The interface between arts practice and research: attitudes and perceptions of Australian artist‐academics DG Wright, D Bennett, D Blom Higher Education Research & Development 29 (4), 461-473, 2010 | 27 | 2010 |
| Beyond the cover version: Encouraging student performers to produce original interpretations of popular songs D Blom International journal of music education 24 (2), 159-167, 2006 | 22 | 2006 |
| Knowledge sharing: Exploring institutional policy and educator practice through ePortfolios in music and writing D Blom, J Rowley, D Bennett Electronic Journal of e-Learning 12 (2), pp138‑148-pp138‑148, 2014 | 19 | 2014 |
| Preparing stylistically challenging contemporary classical repertoire for performance: Interpreting Kumari L Viney, D Blom International Journal of Music Education 33 (1), 66-79, 2015 | 18 | 2015 |
| Inside the collaborative inter-arts improvisatory process: Tertiary music students’ perspectives D Blom Psychology of Music 40 (6), 720-737, 2012 | 18 | 2012 |
| The composer’s program note for newly written classical music: content and intentions DM Blom, D Bennett, I Stevenson Frontiers in Psychology 7, 208801, 2016 | 15 | 2016 |
| Determining what expert piano sight-readers have in common P Arthur, E McPhee, D Blom Music Education Research 22 (4), 447-456, 2020 | 12 | 2020 |
| Engaging students with a contemporary music–Minimalism–through composing activities: Teachers’ approaches, strategies and roles D Blom International Journal of Music Education, 81-99, 2003 | 12 | 2003 |
| ePortfolios in music and creative arts education: Innovating to inspire learning D Blom, M Hitchcock, J Rowley | 11 | 2013 |
| Preparing Ross Edwards's Kumari for performance: conceptual planning D Blom, R Edwards Intercultural Music: Creation and Interpretation,, 2007 | 11 | 2007 |
| Visual processing abilities associated with piano music sight-reading expertise P Arthur, S Khuu, D Blom Psychology of Music 49 (4), 1006-1016, 2021 | 10 | 2021 |
| Teaching class-based music performance at tertiary level: focusing theory on practice D Blom New models for educating professional musicians in the twenty-first century, 108, 2007 | 10 | 2007 |
