OOIR: Observatory of International Research

Papers

(The TQCC 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 2022-08-01 to 2026-08-01.)

Article	Citations
Hound Dog	2
“To Make Chicago Wake Up to Its Duty”: Fortnightly Clubwomen, Patronage, and Operatic Boosterism in 1920s Chicago	2
Audiovisual Alterity: Representing Ourselves and Others in Music Videos	2
Lying in the Middle: Musical Theater and Belief at the Heart of America	2
The Possibility Machine: Music and Myth in Las Vegas	2
Germany’s Staatsräson —and Israel’s: Tina Frühauf on Jewish Music in Germany Since 1945	1
Kauffman Prize Announcement	1
Wild Sound: Maryanne Amacher and the Tenses of Audible Life	1
“Socially Distanced Since 1978”: Music Theory, Race, and Ethnic Studies	1
Musical Instruments as Scriptive Things: Instrument-Body Interactions & Racial Play in the Brazilian Music Scene in Austin, Texas	1
About the Authors, volume 42, no. 1	1
Blues Mamas and Broadway Belters: Black Women, Voice, and the Musical Stage	0
About the Authors	0
“What Am I Trying to Say?”: John Adams’s 1976–77 Journal and the Self-Forging of an American Composer	0
South Side Impresarios: How Race Women Transformed Chicago’s Classical Music Scene	0
About the Authors	0
Dreaming in Ensemble: How Black Artists Transformed American Opera	0
Kanon im Repertoire und in der musikalischen Praxis: Essays und Interviews	0
The Musical Autobiographing of the Chinese Composer WANG Xilin	0
Carl Rossini Diton and the Racial Politics of Musical Labor	0
Felicita Vestvali: Rebellious Prima Donna, Charismatic Actor, and LGBTQ Icon	0
Shirley Graham Du Bois, A Dangerous Woman: The Radical Potential of Black Operatic Performance	0
Quartet: How Four Women Changed the Musical World	0
From Dixie to Rocky Top: Music and Meaning in Southeastern Conference Football	0
Denationalizing Musical Instruments: The Case Studies from the Works of Unsuk Chin and Jin Hi Kim	0

A Review of Public Musicology	0
Scènes à Faire : Genre Practice in Music Copyright Infringement Cases	0
Teaching Music to Students with Differences and Disabilities: A Practical Resource, 2 ^nd Ed.	0
A Socioeconomic Approach to Studying Musical Instruments	0
Musical Instruments and Palimpsestic Identity	0
Rethinking Music Theory Through Black Feminist Perspectives	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
Key Constellations: Interpreting Tonality in Film	0
Frederic Grant Gleason and the Emerging Chicago Music Scene of the Gilded Age	0
Book Review: Graphic Novels In, As, and with Musicological Research	0
Vocal Ornamentation in the Zarzuela Isabelina	0
Popular Opera in Eighteenth-Century France: Music and Entertainment before the Revolution	0
Auenbruggers, Sensibility, and the Instrumental Bodies	0
Music, Gender, and Sexuality Studies: A Teacher’s Guide	0
Phillip Ewell, Heinrich Schenker, and the Realignment of Music Theory in the United States	0
About the Authors	0
About the Authors	0
Correction	0
Music’s Fourth Wall and the Rise of Reflective Listening	0
Introduction	0
Ecosystems and Sounding Lives: Musical Instrument Makers in Greater Central Asia	0
About the Authors	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
Sonic Overload: Alfred Schnittke, Valentin Silvestrov, and Polystylism in the Late USSR	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
The Tenderness of Silent Minds: Benjamin Britten and His War Requiem	0
Expanding Perspectives: Materializing Musical Instruments	0
“Some Strange Temptation to Evil”: Salieri as Literary Type and the Queerness of Musical Crime in 19th-Century Fiction	0
Hercules, Vampires, and the Opera of Attractions	0
Sounding Human: Music and Machines, 1740/2020	0
“I Pray You Get to Hear My Craft”: Incarceration, Trauma, and Therapeutic Autofiction in Dave’s Psychodrama	0
3D Digital Technologies for Studying Historical Musical Instruments	0
Roundtable: Pedagogical Approaches to Music Encoding	0
Composing Anxious Voices: Aesthetic Distance, Empathy, and Musical Rhetoric in Two Ossian-Inspired Works by Louis Spohr and Carl Maria von Weber	0
Alban Berg’s Operas Interpreted via Pierre Bourdieu’s Social Theory	0
The “Gibson Les Paul” Guitar—Conception, Prototype and Production: A Study Through Counterfactuals	0
Art Music Activism: Aesthetics and Politics in 1930s New York	0
Mixing Pop and Politics: Political Dimensions of Popular Music in the 21st Century	0
Anything You Want: Arlo Guthrie, Autobiography, and the Challenge to Official Narratives of History	0
The Cambridge Companion to Amy Beach	0
A Review of Podcasting: Time for a Musicology Podcasting Revolution?	0
Schenker, Race, and Antisemitism	0
“I really don’t know life…”: Autobiography, Time, and ‘Vocal Mirroring’ in Annie Lennox’s Cover of “Both Sides, Now”	0
‘A Revolutionist by Nature’: D.C. Parker’s Percy Grainger: A Study (1918) as Auto/biography	0
On Organology: Introduction to the Organology Special Issue	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
About the Authors	0

“School of Music Reading” (Ca. 1863–1868) by Stanisław Moniuszko – A Forgotten Nineteenth-Century Method of Teaching Music	0
On Music Theory and Making Music More Welcoming for Everyone	0
About the Authors	0
Bach against Modernity *Bach against Modernity* , by Michael Marissen, New York, NY, Oxford University Press, 2023, xvi, 184 pp., $34.95	0
Piano Fingering and the Embodied Expression of Bodily Effort	0
Pedagogy Captured in Print: Student-Teacher Duos in Banchieri’s Cartella musicale (1614)	0
Schubert: A Musical Wayfarer	0
About the Authors	0
On Making, Welcoming, and Other Active Verbs	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
“Make poor Saul stark mad”: Sonic Effect of Bells in Handel’s Saul	0
A Smalltown Cornfed Midwestern Boy Responds to His Critics (With Gratitude)	0
Phantom Hands Will Live Forever: Reading the Player Piano Anew	0
“The Real Kazakh is a Dombyra”?: Musical Instruments and Nation Branding in 21 ^st -Century Kazakhstan	0
“The Wanderer: Public musicology and the logic of content creation”	0
About the Authors	0
Streaming Music, Streaming Capital	0
Fantasy Aesthetic and Franz Schubert’s “Magical” Transitions in Sonata Forms	0
A “Self-Told” Musician: Toots Thielemans and the Many Challenges of the Jazzman’s Autobiographical Discourse	0