OOIR: Observatory of International Research

Papers

(The median citation count of Musical Quarterly is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2020-11-01 to 2024-11-01.)

Article	Citations
Primitivism and Settler Primitivism in Music: The Case of John Antill’s Corroboree	3
Post-Pandemic Anxieties: Contemplating the Prospect that Classical Music Culture Might Disappear	3
Mendelssohn’s “Late Style”: Form, Texture, and Sonority in the Final Chamber Works	1
“Ad te levavi” and “Dipper Mouth Blues”: Modes of Transmission and the Question of Musical Identity	1
An Unknown Beethoven Cadenza by Joseph Joachim: “Dublin 1852”	1
Picking up the “Tone” of an Era: An Interview (2001) with Musicologist Reinhold Brinkmann on Music, Society, Composition, and Scholarship	1
Schoenberg, Al-Kindī, and the Unbound Braid: A Rendezvous in Barcelona a Thousand Years in the Making	1
Music as Gloss in Newly Discovered Notations for Horace’s Odes	0
Music for a Metropolis in the Eastern European Borderlands	0
“An Excellent Piece of Propaganda”: The British Council’s Use of Choirs as Cultural Diplomacy in the 1930s	0
Stories About Music: The Program Notes of the Crystal Palace Saturday Concerts, 1865–1879	0
In Mary’s Garden	0
Spiritual Commodification: A Political Economy of African Jazz in the Civil Rights Era	0
Correction to: Between Exegesis and Mystification: Anton Schindler, the Unfaithful Popularizer of Beethoven’s Sketches	0
Gender in Performance, Gender as Performance: Surveillance, Transgender Studies, and Reconsidering Dress Codes for Symphony Orchestra Musicians	0
“Honey in the Rock”: Ways of Knowing and the Historical Imagination	0
The Benign American Exceptionalism of Copland’s Fanfare for the Common Man	0
JUPITER: Reading the “Viennese Classics” in Nineteenth-Century Britain	0
The Problem of Perfection in Classical Recording: The Performer’s Perspective	0
Obrecht, Double Counterpoint, and Musical Memory	0
Phoenix Rising: Relevance and Sexiness Returns to Classical Music	0
Beethoven on Freedom and Progress	0
Beyond Maestro: Leonard Bernstein in Film and History	0
An Automatic Organ for the Pope: Mechanized Music and the Catholic Church in Twentieth-Century Italy	0
The Struggling Siren: Speech Therapy and Claude Debussy’s Pelléas et Mélisande	0

“Always Toss Bricks”: Black Separatist Advocacy in Porter Roberts’s Columns for the Pittsburgh Courier, 1936–1939	0
Ferdinand Hiller’s Twelve Trips to Meet Old Friends in Heaven: A Little-Known Essay in Cultural Commentary from 1881	0
George Crumb and the Power of First Hearing	0
Vaughan Williams, Modernism, and Neo-Romanticism: Sancta Civitas as a Vision “Among the Ruins”	0
Vaughan Williams and the Soundscapes of Scott of the Antarctic	0
Socialist Realism or Cybernetics? Music, Information Theory, and Posthumanism in the German Democratic Republic	0
Between Exegesis and Mystification: Anton Schindler, the Unfaithful Popularizer of Beethoven’s Sketches	0
Resisting Oblivion: Past Performances and Performers	0
“Our Brothers Across Canal”: Forging Intraracial Unity through Western Art Music Practice in Mid-Nineteenth and Early Twentieth-Century New Orleans	0
A Speculative Hermeneutics for Music Analysis and Interpretation	0
Claude Debussy: The Man in His Time	0
“Whoever Saw a Woman with a Neck That Thick”: Britten’s Rejoice in the Lamb, Walter Hussey, and Patronage of Modernist Art in Wartime	0
Rutland Boughton’s The Immortal Hour, the Celtic Twilight, and the Great War	0
Georges Auric’s Letters to Jacques and Raïssa Maritain	0
The Italian Aria in Der Rosenkavalier	0
Introduction by the Guest Editors	0
Rehearing Vaughan Williams’s Toward the Unknown Region	0
Music in Time of War	0
Thy Kingdom Come: Racial-Ethnic Oneness in African American Gospel Music	0
“This Year’s Model”: Toward a Sloanist Theory of Popular Music Production	0
Two Bars Too Many: “An Odd Bit of History” in the Reception of Beethoven’s Fifth Symphony	0
Reclaiming Expressionism: Hindemith’s Operatic Triptych	0
“A Melody That Doesn’t Exist Anymore”: Negation, Erasure, and Void in Israeli Art Music, as Reflected in Hanoch Jacoby’s Mutatio	0
Respectability, Prestige, and the Whiteness of Opera in American Popular Entertainment from 1890 to 1937	0
Introduction	0
Performance Practice in Early Twentieth-Century Productions of Verdi’s Le trouvère	0
Letter to the Editor	0
A Furious Trilogy: Arcadian Heroes on the Venetian Stage	0
Gardens, Theaters, and the Viennese Neo-Baroque after 1900: Schreker’s Der Geburtstag der Infantin and Zemlinsky’s Der Zwerg	0
On the Vicissitudes of Handel’s Operatic Time: A Meditation	0
Leo Treitler at 90: A Tribute and Appreciation	0
“The Tune Was Made By the Way It Was Played”: Covers, Copies, and Recording Consciousness	0
Singing from the Book: The End of Sacrifice and the Rise of Chant in the Fourth Century	0