Musical Quarterly

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 2022-01-01 to 2026-01-01.)
ArticleCitations
Ferdinand Hiller’s Twelve Trips to Meet Old Friends in Heaven: A Little-Known Essay in Cultural Commentary from 18813
Evoking Joan of Arc’s Soundworld in Jacques Rivette’s Jeanne la Pucelle (1994): Authenticity versus Cinematic Musical Convention1
“This Year’s Model”: Toward a Sloanist Theory of Popular Music Production1
Music Book Trade in the Age of Bach: Michel-Charles Le Cène’s Agents in Germany1
Live and Local in the Mechanisms of Empire: Making Sense of Musical Categories on Colonial Radio in North Africa0
“Always Toss Bricks”: Black Separatist Advocacy in Porter Roberts’s Columns for the Pittsburgh Courier, 1936–19390
Introduction: An “Afterword”0
Beyond Maestro: Leonard Bernstein in Film and History0
Mendelssohn’s “Late Style”: Form, Texture, and Sonority in the Final Chamber Works0
Music, Conscience, and Politics in the Contemporary Moment0
Gender in Performance, Gender as Performance: Surveillance, Transgender Studies, and Reconsidering Dress Codes for Symphony Orchestra Musicians0
JUPITER: Reading the “Viennese Classics” in Nineteenth-Century Britain0
Reclaiming Expressionism: Hindemith’s Operatic Triptych0
“Whoever Saw a Woman with a Neck That Thick”: Britten’s Rejoice in the Lamb, Walter Hussey, and Patronage of Modernist Art in Wartime0
Music and the Human Condition in Times of Trouble0
Music for a Metropolis in the Eastern European Borderlands0
A Letter from Siberia: Tālivaldis Ķeniņš and the Reconstruction of the Latvian Nation-State (1945–91)0
Phoenix Rising: Relevance and Sexiness Returns to Classical Music0
Edward Said, Opera, and Politics: An Interview with Peter Sellars0
Vaughan Williams, Modernism, and Neo-Romanticism: Sancta Civitas as a Vision “Among the Ruins”0
Thy Kingdom Come: Racial-Ethnic Oneness in African American Gospel Music0
Claude Debussy: The Man in His Time0
Peaceful Coexistence: Nicolas Slonimsky’s 1962 USSR Tour and “Outside Insider” Cold War Music Diplomacy0
Respectability, Prestige, and the Whiteness of Opera in American Popular Entertainment from 1890 to 19370
C. P. E. Bach, Atttempted Hero0
Stories About Music: The Program Notes of the Crystal Palace Saturday Concerts, 1865–18790
Mendelssohn and the Question of German Guilt0
Between Exegesis and Mystification: Anton Schindler, the Unfaithful Popularizer of Beethoven’s Sketches0
Rock Music and Masculinity in Ireland, 1970–850
Music in Time of War0
Gardens, Theaters, and the Viennese Neo-Baroque after 1900: Schreker’s Der Geburtstag der Infantin and Zemlinsky’s Der Zwerg0
Primitivism and Settler Primitivism in Music: The Case of John Antill’s Corroboree0
In the Crossfire of Cold War Politics: Walter Felsenstein’s Fiedler auf dem Dach in the German Democratic Republic0
The End of History?0
Stravinsky and the Jews0
“An Excellent Piece of Propaganda”: The British Council’s Use of Choirs as Cultural Diplomacy in the 1930s0
Georges Auric’s Letters to Jacques and Raïssa Maritain0
Spiritual Commodification: A Political Economy of African Jazz in the Civil Rights Era0
Socialist Realism or Cybernetics? Music, Information Theory, and Posthumanism in the German Democratic Republic0
George Crumb and the Power of First Hearing0
An Automatic Organ for the Pope: Mechanized Music and the Catholic Church in Twentieth-Century Italy0
Letter to the Editor0
Rethinking Musical Politics as Contingent Interactions Between Musical Texts and Contexts: The Politics of Rodríguez’s “Ojalá” in Today’s Cuba0
Buried in Birmingham: Excavating and Understanding the Musical Work of Women in Britain’s Silent Cinema0
The Struggling Siren: Speech Therapy and Claude Debussy’s Pelléas et Mélisande0
Correction to: Between Exegesis and Mystification: Anton Schindler, the Unfaithful Popularizer of Beethoven’s Sketches0
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