| ‘There Must Be a Poetry of Sound That None of Us Knows…’: Early British documentary film and the prefiguring of musique concrète G Cox Organised Sound 22 (2), 172-186, 2017 | 12 | 2017 |
| A Return to the Future or Forward to the Past? G Cox Contemporary Music Review 29 (3), 251-264, 2010 | 10 | 2010 |
| ‘Connecting hearing to viewing and knowing to feeling’: Sound as evocation in non-fiction film with particular reference to No Escape (Cox, 2009) G Cox The Soundtrack 4 (1), 43-62, 2011 | 9 | 2011 |
| CineMusic? Constructing the film score D Cooper, C Fox, I Sapiro Cambridge Scholars Publishing, 2020 | 8 | 2020 |
| Soundings: Documentary film and the listening experience G Cox, J Corner University of Huddersfield Press, 2018 | 8 | 2018 |
| Listen to Nice G Cox The New Soundtrack 3 (2), 89-105, 2013 | 4 | 2013 |
| Structures of carbocyclic analogues of penicillin. 2. N-(3, 4-Dihydroxy-7-oxobicyclo [3.2. 0] hept-6-yl) succinimide B Sheldrick, D Akrigg, MI Page, G Cox Crystal Structure Communications 43 (3), 594-595, 1987 | 4 | 1987 |
| Largely a work of reference: a creative investigation into the use of borrowed musical materials in contemporary compositional practice GM Cox University of Huddersfield, 2007 | 2 | 2007 |
| CHAPTER FIVE PLANTING SOUNDS: RE-FRAMING THE ACOUSTIC ENVIRONMENT IN TREE PEOPLE (2014), THE STORY OF THE COLNE VALLEY TREE SOCIETY G COX The Place of Poetics within Documentary Filmmaking: The Art of Fact, 62, 2023 | | 2023 |
| Geoffrey Cox G Cox NEW SCIENTIST 245 (3309), 54-54, 2020 | | 2020 |
| The Colour of Scotland FA Jardine, G Cox | | 2019 |
| ‘Shape, Form, Colour’… and Music: Abstraction, Meaning, and Nostalgia in 1960s Scottish Industrial Documentary G Cox Music and Letters 99 (3), 386-426, 2018 | | 2018 |
| Part 1: The Promotional Imagination G Cox, J Corner, A Berkenhoff, J Brereton, J Bulley, S Connor Soundings: Documentary film and the listening experience, 15-16, 2018 | | 2018 |
| Part 3: Nationhood and Conflict G Cox, J Corner, A Berkenhoff, J Brereton, J Bulley, S Connor Soundings: Documentary film and the listening experience, 201-202, 2018 | | 2018 |
| 'The film looks like how Ornette sounds': Shirley Clarke's music documentary Ornette: Made in America G Cox, J Corner, A Berkenhoff, J Brereton, J Bulley, S Connor Soundings: Documentary film and the listening experience, 108-121, 2018 | | 2018 |
| Stories from a stay at the Arena Hotel G Cox, J Corner, A Berkenhoff, J Brereton, J Bulley, S Connor Soundings: Documentary film and the listening experience, 18-33, 2018 | | 2018 |
| Documentary film as a backdrop for active thinking G Cox, J Corner, A Berkenhoff, J Brereton, J Bulley, S Connor Soundings: Documentary film and the listening experience, 174-180, 2018 | | 2018 |
| Raúl Ruiz's Now We're Gonna Call YouBrother and the problem of the people's sonicrepresentation G Cox, J Corner, A Berkenhoff, J Brereton, J Bulley, S Connor Soundings: Documentary film and the listening experience, 256-274, 2018 | | 2018 |
| The'Appassionata'Sonata in A Diary for Timothy G Cox, J Corner, A Berkenhoff, J Brereton, J Bulley, S Connor Soundings: Documentary film and the listening experience, 204-216, 2018 | | 2018 |
| Auralising Action Space: channelling a sense ofplay in documentary sound design G Cox, J Corner, A Berkenhoff, J Brereton, J Bulley, S Connor Soundings: Documentary film and the listening experience, 86-103, 2018 | | 2018 |
