OOIR: Observatory of International Research

Papers

(The median citation count of Journal of Musicological Research 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.)

Article	Citations
“To Make Chicago Wake Up to Its Duty”: Fortnightly Clubwomen, Patronage, and Operatic Boosterism in 1920s Chicago	2
Lying in the Middle: Musical Theater and Belief at the Heart of America	2
“Socially Distanced Since 1978”: Music Theory, Race, and Ethnic Studies	1
Wild Sound: Maryanne Amacher and the Tenses of Audible Life	1
The Possibility Machine: Music and Myth in Las Vegas	1
About the Authors, volume 42, no. 1	1
Kauffman Prize Announcement	1
Hound Dog	1
Musical Instruments as Scriptive Things: Instrument-Body Interactions & Racial Play in the Brazilian Music Scene in Austin, Texas	1
About the Authors	0
About the Authors	0
Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland	0
Art Music Activism: Aesthetics and Politics in 1930s New York	0
Sonic Overload: Alfred Schnittke, Valentin Silvestrov, and Polystylism in the Late USSR	0
Mabel Daniels: an American Composer in Transition, by Maryann McCabe, London and New York, Routledge, 2018, xv, 300 pp., $160 (hardback), ISBN 9781472424518. Augusta Browne: Composer and Woman of Lett	0
Intersections, Divergences, and Cross Sections: Eduard Steuermann, the Busoni-Schoenberg Nexus, and a Broadening of Compositional Procedures in the Twentieth Century	0
3D Digital Technologies for Studying Historical Musical Instruments	0
On Making, Welcoming, and Other Active Verbs	0
The “Gibson Les Paul” Guitar—Conception, Prototype and Production: A Study Through Counterfactuals	0
From Dixie to Rocky Top: Music and Meaning in Southeastern Conference Football	0
Dreams and Intertextuality in Chopin’s A-Minor Prelude	0
About the Authors	0
Industry: Bang on a Can and New Music in the Marketplace	0
A Socioeconomic Approach to Studying Musical Instruments	0
Alban Berg’s Operas Interpreted via Pierre Bourdieu’s Social Theory	0

Shirley Graham Du Bois, A Dangerous Woman: The Radical Potential of Black Operatic Performance	0
“The Real Kazakh is a Dombyra”?: Musical Instruments and Nation Branding in 21 ^st -Century Kazakhstan	0
About the Authors	0
“Some Strange Temptation to Evil”: Salieri as Literary Type and the Queerness of Musical Crime in 19th-Century Fiction	0
The Logic of Filtering: How Noise Shapes the Sound of Recorded Music	0
Hercules, Vampires, and the Opera of Attractions	0
Auenbruggers, Sensibility, and the Instrumental Bodies	0
Music, Gender, and Sexuality Studies: A Teacher’s Guide	0
About the Authors	0
Singing and Speaking in Early Twentieth-Century Zarzuela: The Evidence from Early Recordings	0
South Side Impresarios: How Race Women Transformed Chicago’s Classical Music Scene	0
Correction	0
About the Authors	0
Introduction	0
Pop Masculinities: The Politics of Gender in Twenty-First Century Popular Music *Pop Masculinities: The Politics of Gender in Twenty-First Century Popular Music*	0
Kanon im Repertoire und in der musikalischen Praxis: Essays und Interviews	0
Pedagogy Captured in Print: Student-Teacher Duos in Banchieri’s Cartella musicale (1614)	0
About the Authors	0
Felicita Vestvali: Rebellious Prima Donna, Charismatic Actor, and LGBTQ Icon	0
Musical Instruments and Palimpsestic Identity	0
Expanding Perspectives: Materializing Musical Instruments	0
Hugh Macdonald, Bizet in Italy: Letters and Journals, 1857–1860, The Boydell Press, Woodbridge UK, 2021, £45, $90 ISBN 978 1 78 327580 9	0
The Big Parade: Meredith Willson’s Musicals from The Music Man to 1491	0
The Cambridge Companion to Amy Beach	0
On Music Theory and Making Music More Welcoming for Everyone	0
Of Majesty, Mockery, and Misprints: The Coda of Shostakovich’s Fifth on Record	0
Music, a Connected Art: Die Illusion der Absoluten Music. A Festschrift for Jürgen Thym on his 80th Birthday	0
The Boston Pops: An American Institution and Its European Roots	0
Popular Opera in Eighteenth-Century France: Music and Entertainment before the Revolution	0
Phantom Hands Will Live Forever: Reading the Player Piano Anew	0
About the Authors	0
Gerald Finzi’s Letters, 1915-1956	0
A Smalltown Cornfed Midwestern Boy Responds to His Critics (With Gratitude)	0
A Review of Public Musicology	0
Frederic Grant Gleason and the Emerging Chicago Music Scene of the Gilded Age	0
Ecosystems and Sounding Lives: Musical Instrument Makers in Greater Central Asia	0
Germany’s Staatsräson —and Israel’s: Tina Frühauf on Jewish Music in Germany Since 1945	0
The Easter Sonata of Fanny Mendelssohn (1828)	0
Blues Mamas and Broadway Belters: Black Women, Voice, and the Musical Stage	0
Kauffman Prize, Journal of Musicological Research	0
About the Authors	0
Blacksound: Making Race and Popular Music in the United States	0
Consecrating the Stage: Uwe Scholz’s Choreographic Completion of Mozart’s Große Messe	0
The Cambridge Companion to Schubert’s Winterreise	0
About the Authors	0
Composing Anxious Voices: Aesthetic Distance, Empathy, and Musical Rhetoric in Two Ossian-Inspired Works by Louis Spohr and Carl Maria von Weber	0
Quartet: How Four Women Changed the Musical World	0
“The Wanderer: Public musicology and the logic of content creation”	0
Sounding Human: Music and Machines, 1740/2020	0
Mixing Pop and Politics: Political Dimensions of Popular Music in the 21st Century	0

Bach against Modernity *Bach against Modernity* , by Michael Marissen, New York, NY, Oxford University Press, 2023, xvi, 184 pp., $34.95	0
The Songs of Fanny Hensel	0
A Review of Podcasting: Time for a Musicology Podcasting Revolution?	0
Vocal Ornamentation in the Zarzuela Isabelina	0
Roundtable: Pedagogical Approaches to Music Encoding	0
Don Giovanni Captured: Performance, Media, Myth; Opera Lab: Explorations in History, Technology, and Performance	0
“But I Have No Recollection…”: Representations of Posttraumatic Stress Disorder in Schoenberg’s A Survivor from Warsaw	0
Rethinking Music Theory Through Black Feminist Perspectives	0
Key Constellations: Interpreting Tonality in Film	0
Piano Fingering and the Embodied Expression of Bodily Effort	0
Scènes à Faire : Genre Practice in Music Copyright Infringement Cases	0
Streaming Music, Streaming Capital	0
Fantasy Aesthetic and Franz Schubert’s “Magical” Transitions in Sonata Forms	0
Phillip Ewell, Heinrich Schenker, and the Realignment of Music Theory in the United States	0
Schenker, Race, and Antisemitism	0
On Organology: Introduction to the Organology Special Issue	0
Performing Commemoration: Musical Reenactment and the Politics of Trauma	0
About the Authors	0