OOIR: Observatory of International Research

Papers

(The median citation count of Nineteenth Century Music 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
Contributors	2
Rehearing: River Writings: Schubert’s “Am Flusse” and the Liquid Temporality of the Lied	1
A Melody and Its Afterlives in Piano Music by the Schumanns and Brahms	1
Class, Courtship, and habitus clivé: Debussy’s mélodies and the Politics of Social Mobility	1
Contributors	1
Endless Self: Haydn, Cherubini, and the Sound of the Canon	0
Directions to Contributors	0
The Exotic in Nineteenth-Century French Opera, Part 2: Plots, Characters, and Musical Devices	0
Directions to Contributors	0
Heroic Narratives and Chopin's Polonaise in Ab Major, Op. 53	0
Swan Lake Horror	0
Louise: Wagnerism, Realism, Stage, Screen	0
Contributors	0
Index for Volume 48 (2024–25)	0
Living Forever on Earth: Philosophies of Temporal Eternity in Beethoven’s Ops. 110 and 132	0
Directions to Contributors	0
Viewpoint: Beyond Musicology: Music and Humanistic Knowledge	0
INDEX FOR VOLUME 45 (2021-22)	0
Wagner, Canned	0
Program Music as Sacramental Prayer: Liszt, Lamartine, and Bénédiction de Dieu dans la solitude	0
Mahler Making Love: Mengelberg’s Adagietto	0
Gramophone Voices: Puccini and Madama Butterfly in New York, ca. 1907	0
Directions to Contributors	0
Index for Volume 47 (2023–24)	0
Directions to Contributors	0

Destinies of Manon	0
Contributors	0
Directions to Contributors	0
Editor’s Note	0
Tarantino’s Auteurist Anachronisms	0
Scoring Heimat	0
Directions to Contributors	0
Introduction	0
Directions to Contributors	0
Canonizing John Williams	0
Tchaikovsky’s Classicisms	0
Directions to Contributors	0
The Resonance of the Romantic Horn Call in the Reception of Brahms’s Trio, Op. 40	0
Contributors	0
Contributors	0
Mahler and the Exalted Erotic	0
Contributors	0
Contributors	0
Directions to Contributors	0
Contributors	0
Black Musicality and the Invention of Talent: The Case of Thomas Wiggins	0
Object Lesson: Samsung/Schubert	0
Kant, Coleridge, and the “Moonlight” Sonata: Imagination, Fantasy, and Fantasies in Beethoven’s Time	0
Remixing Multimovement Works, Classical Music Concept Albums, and Twenty-First-Century Pianists’ Interpretations of the Canon	0
Index for Volume 46 (2022–23)	0
Doubled Figures, Doubled Infinities: Der Mönch, “Der Leiermann,” and the Kantian Mathematical Sublime	0
Encore Magic	0
Contributors	0
Directions to Contributors	0
Marie Jaëll: Pioneer of Musical Embodiment Studies	0
Auteurism in Tár	0
Mahler’s Contralto Voice	0
Beethoven's Rhetoric of Embellishment	0
Gustav Mahler and the Crisis of Jewish Masculinity	0
Critiquing Musical Ineffabilism: Rereading Kant’s “Analytic of the Beautiful”	0
Korngold’s Hollywood Homecomings	0
Beyond Nature: Subjectivity and the Musical Sublime	0
Narcissistic Fiction: Music Theater of the Everyday in Édouard Dujardin’s Les Lauriers sont coupés (1887)	0
Editor’s Note	0
Contributors	0
A Riddle in Chopin’s Preludes, Op. 28	0
Image—Movement—Pulse	0
Still in Search of Satanilla	0
Editor’s Note	0
“Worthy of a Monument in Artistic History”: Religion and Nation in the Plans for Robert Schumann’s Unrealized Martin Luther Oratorio	0
Robert Heller’s Magical Mystery Tours	0
Object Lesson: Four-Hand Nietzsche	0
Missing Love-scenes, Evasion, and the Inexpressible in Early Mahler	0