OOIR: Observatory of International Research

Papers

(The TQCC 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 2021-05-01 to 2025-05-01.)

Article	Citations
Performance Practice in Early Twentieth-Century Productions of Verdi’s Le trouvère	3
Evoking Joan of Arc’s Soundworld in Jacques Rivette’s Jeanne la Pucelle (1994): Authenticity versus Cinematic Musical Convention	1
Ferdinand Hiller’s Twelve Trips to Meet Old Friends in Heaven: A Little-Known Essay in Cultural Commentary from 1881	1
“Ad te levavi” and “Dipper Mouth Blues”: Modes of Transmission and the Question of Musical Identity	1
Schoenberg, Al-Kindī, and the Unbound Braid: A Rendezvous in Barcelona a Thousand Years in the Making	1
Singing from the Book: The End of Sacrifice and the Rise of Chant in the Fourth Century	0
Socialist Realism or Cybernetics? Music, Information Theory, and Posthumanism in the German Democratic Republic	0
In Mary’s Garden	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
Mendelssohn and the Question of German Guilt	0
Gender in Performance, Gender as Performance: Surveillance, Transgender Studies, and Reconsidering Dress Codes for Symphony Orchestra Musicians	0
Introduction by the Guest Editors	0
The Struggling Siren: Speech Therapy and Claude Debussy’s Pelléas et Mélisande	0
A Speculative Hermeneutics for Music Analysis and Interpretation	0
Beyond Maestro: Leonard Bernstein in Film and History	0
Music as Gloss in Newly Discovered Notations for Horace’s Odes	0
Introduction	0
“Honey in the Rock”: Ways of Knowing and the Historical Imagination	0
Georges Auric’s Letters to Jacques and Raïssa Maritain	0
The End of History?	0
In the Crossfire of Cold War Politics: Walter Felsenstein’s Fiedler auf dem Dach in the German Democratic Republic	0
An Automatic Organ for the Pope: Mechanized Music and the Catholic Church in Twentieth-Century Italy	0
Stories About Music: The Program Notes of the Crystal Palace Saturday Concerts, 1865–1879	0
Between Exegesis and Mystification: Anton Schindler, the Unfaithful Popularizer of Beethoven’s Sketches	0
Music Book Trade in the Age of Bach: Michel-Charles Le Cène’s Agents in Germany	0

Music in Time of War	0
Two Bars Too Many: “An Odd Bit of History” in the Reception of Beethoven’s Fifth Symphony	0
Rehearing Vaughan Williams’s Toward the Unknown Region	0
Correction to: Between Exegesis and Mystification: Anton Schindler, the Unfaithful Popularizer of Beethoven’s Sketches	0
Phoenix Rising: Relevance and Sexiness Returns to Classical Music	0
Thy Kingdom Come: Racial-Ethnic Oneness in African American Gospel Music	0
Spiritual Commodification: A Political Economy of African Jazz in the Civil Rights Era	0
Obrecht, Double Counterpoint, and Musical Memory	0
Rethinking Musical Politics as Contingent Interactions Between Musical Texts and Contexts: The Politics of Rodríguez’s “Ojalá” in Today’s Cuba	0
Leo Treitler at 90: A Tribute and Appreciation	0
On the Vicissitudes of Handel’s Operatic Time: A Meditation	0
Respectability, Prestige, and the Whiteness of Opera in American Popular Entertainment from 1890 to 1937	0
Reclaiming Expressionism: Hindemith’s Operatic Triptych	0
Letter to the Editor	0
“This Year’s Model”: Toward a Sloanist Theory of Popular Music Production	0
“Always Toss Bricks”: Black Separatist Advocacy in Porter Roberts’s Columns for the Pittsburgh Courier, 1936–1939	0
Music for a Metropolis in the Eastern European Borderlands	0
Gardens, Theaters, and the Viennese Neo-Baroque after 1900: Schreker’s Der Geburtstag der Infantin and Zemlinsky’s Der Zwerg	0
Primitivism and Settler Primitivism in Music: The Case of John Antill’s Corroboree	0
Live and Local in the Mechanisms of Empire: Making Sense of Musical Categories on Colonial Radio in North Africa	0
“An Excellent Piece of Propaganda”: The British Council’s Use of Choirs as Cultural Diplomacy in the 1930s	0
Vaughan Williams, Modernism, and Neo-Romanticism: Sancta Civitas as a Vision “Among the Ruins”	0
George Crumb and the Power of First Hearing	0
Claude Debussy: The Man in His Time	0
JUPITER: Reading the “Viennese Classics” in Nineteenth-Century Britain	0
Mendelssohn’s “Late Style”: Form, Texture, and Sonority in the Final Chamber Works	0