OOIR: Observatory of International Research

Papers

(The median citation count of Music Theory Spectrum 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 2022-06-01 to 2026-06-01.)

Article	Citations
Meter as RhythmMusic in Time: Phenomenology, Perception, Performance	15
Barbershop’s Cautionary Tale for Academic Music Theory: A Response to Stephen Lett	5
Standing on the Shoulders of Giants: Commemorative Mimesis and Vocal Assertion in Red Velvet’s Borrowing of J. S. Bach’s Air from Orchestral Suite No. 3	4
Formalism as “Bad Magic”: Russian Orthodoxy, Eurocentrism, and Yuri Kholopov's Musical Logic	4
Spreading the Word	4
Contrapuntal Parody and Transsymphonic Narrative in Mahler’s Rondo-Burleske	4
Extreme Meter Changes and Tempo Giusto in Some Songs by Brahms	3
An Unnatural Attitude: Phenomenology in Weimar Musical Thought. By Benjamin Steege	3
Qualia Motion in Fourier Space: Formalizing Linear, Nondirected, and Contrapuntal Ambiguity in Schoenberg’s Op. 19, No. 1	3
Apparently Imperfect: On the Analytical Issues of the IAC	3
Materiality of Sonic Imagery: On Analysis of Contemporary Chinese Compositions	3
Hermeneutic Limits; or, When Not to Theorize: Notes for Interpreting Our Phoenix by Trans Indigenous Mexican-American Composer Mari Esabel Valverde	3
Attachments on Display: Music Analysis in the Public Sphere	2
Rossinian Reiz : Strategic Musical Irritation and the Capturing of Attention	2
Public Music Theory: A Way of Understanding	2
Music Theory and the SMT at 45: Perspectives on Inclusion	2
How SMT Could Become More Welcoming	2
Orienting to Pedagogical Service	2
Analytical Essays on Music by Women Composers: Concert Music, 1900–1960. Edited by Laurel Parsons and Brenda Ravenscroft	2
The Audience Chimera: On Platforms, Publics, and Power	2
Retracted Tonal Areas and the “Interrupted SK Exposition”: Circular Directionality in Early Nineteenth-Century Music	2
Contributors	2
Abolitionist Music Theory and Marxism: Notes Toward a Reconciliation	2
Focal Impulse Theory. By John Paul Ito	2
The Royal Road Progression in Japanese Popular Music	1

Combinatorics, Composition, Copia: Mersenne’s Permutations as Rhetoric of Abundance	1
Contributors	1
Contributors	1
Corpus Studies, Sonata Typology, and the Nineteenth-Century Violin Concerto: Viotti, Saint-Saëns, and the Challenge of Recapitulatory Compression	1
Varied Ostinato and the Functions of Repetition in Harrison Birtwistle’s “Frieze 2” and “Frieze 3”	1
Contributors	1
Queer Ear: Remaking Music Theory	1
Naamyam, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound”	1
Narrative and Tonal Structure in Herrmann’s Score for Vertigo	1
Correction to: review of Analytical Essays on Music by Women Composers: Concert Music, 1900–1960. Edited by Laurel Parsons and Brenda Ravenscroft	1
Zarlino’sComporre di fantasiaand Canon	1
I Don’t Hear It That Way: Temporal Parallax, Metal, and Music Theory’s “Listener”	1
Writing (Re)Considered	1
Leitmotivic Strategies in Nobuo Uematsu’sFinal FantasySoundtracks	1
Enacting Musical Time: The Bodily Experience of New Music. By Mariusz Kozak	1
Bins, Spans, and Tolerance: Three Theories of Microtiming Behavior	1
Undisciplined	1
Hidden Public Music Theory	1
Motivic Trees, Network Analysis, and Bartók’sEight Improvisations on Hungarian Folk Songs, No. 5	1
Hexachordal Solmization and Syllable-Invariant Counterpoint in the Vocal Music of William Byrd	0
Take Care	0
A Spectrum of Audiences for Music Theory, and Some Ways to Connect with Them	0
“Let’s Think in Layers”: On Twenty-First-Century Instruments of Public Music Theory	0
Correction: review of An Unnatural Attitude: Phenomenology in Weimar Musical Thought. By Benjamin Steege	0
Protest Chants as Public Music Theory	0
Re-imagining Bach in Hans van Manen’s Choreographies	0
Effects of Parallelism on Meter and Grouping	0
Performing Te: Gesture and Timbre in Fujikura Dai’s neo for Solo Shamisen	0
On Schemas in Tonal Jazz Repertoire	0
How Sonata Forms: A Bottom-Up Approach to Musical Form	0
Sounds as They Are: The Unwritten Music in Classical Recordings	0
Correction to: Naamyam, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound”	0
O Give Me a Home	0
The Hidden Politics of (Public) Music Theory	0
On Figaro’s Alleged Minuet and Some Challenges and Opportunities of Topic Theory	0
The Limited and The Limitless: Harmonic Voltas and Puns in the Third Movement of Ben Johnston’s Seventh String Quartet	0
Radically Inconspicuous Absence: Truncated Sonata Forms in Interwar Paris	0
Lines and Lyrics: An Introduction to Poetry and Song	0
Making a Home of The Society for Music Theory, Inc.	0
Formal Excess in the Opening Movement of Fanny Hensel’s String Quartet in E♭ Major (1834)	0
Open Strings: Manipulations of Time, Distance, and Pitch Space	0
Stage-Speech Melody: Musicality, Contour Transformations, and Dramatic Narrative in Yao Chen’s Kunqü Opera Pipa Plays Opera (2015)	0
Here for the Hearing: Analyzing the Music in Musical Theater	0
Healing for the Soul: Richard Smallwood, the Vamp, and the Gospel Imagination	0
Models for Mozart’s Transitions: A Transatlantic Exchange	0
La maturation artistique de Debussy dans son contexte historique (1884–1902)	0
Adventures in Tonal Gravity: George Russell’s Analysis of Maurice Ravel’s “Forlane”	0
On Livestreaming and the Collaborative Potential of Public Music Theory	0
Public Music Theory: A Note from the Editorial Team	0
Follow the Solo: The Formal Evolution of the Concerto in the Eighteenth-Century	0

Graphing Deep Hypermeter in the Scherzo Movement of Beethoven’s Ninth Symphony	0
Her Music Academia: A Public Scholarship Initiative	0
Mozart’s Operatic Cadence	0
Correction to: Book review of Lines and Lyrics: An Introduction to Poetry and Song. By Matt BaileyShea	0
Waiting for the Schlußsatz : Layers of Return in the Slow Movements of Joseph Haydn’s String Quartets, Opp. 9, 17, and 20	0
The Predominant Six-Four in the Late Music of Richard Strauss	0
Contributors	0
Antifocal Anaphoras in Hip-Hop Vocals	0
Public Music Theory: An Introduction	0
How Sign Language Analyzes Musical Form	0
Music Theory Influencing: The Content Creator “Musicpreneur”	0
The Romanticization of the Rounded Binary Form in Robert Schumann’s Piano Works	0
Content Warning	0
Diatonic Voice-Leading Transformations	0
Historical Examination and Theoretical Analysis of Maqām Humāyūn in Persian Art Music	0
Texture as Form in Lili Boulanger’s Clairières dans le ciel	0
Lyricist as Analyst: Rhyme Scheme as Music-Setting in the Great American Songbook	0
Fine-Tuning a Global History of Music Theory: Divergences, Zhu Zaiyu, and Music-Theoretical Instruments	0
The Music in the Data: Corpus Analysis, Music Analysis, and Tonal Traditions	0
Theorizing Musical Improvisation for Social Analysis	0
“It is Beethoven who leads the Reigen ”: A. B. Marx and the Dance of Jewish-German Assimilation	0
“Chords of Inquiry”: Alternate Guitar Tunings, Harmony, and Text-Music Relations in Joni Mitchell’s Early Songs	0
Cadence: A Study of Closure in Tonal Music	0
Rotation- and Inversion-Based Arrays as Reflections of Harmonic Conceptions in Boulez’s Compositional Practice	0
When Intra- and Interthematic Functions Collide: Conflation in Robert Schumann’s Orchestral Sonata Forms	0
Harassment and Public Music Theory	0
Exploring the Uncanny: Musical “Corruption” in Horror Video Games	0
Private Music Theory	0
Who Does the Society for Music Theory Gather?	0
Long-form Non-isochrony and Implicit Music Theory: Cyclicity and Entrainment in Colombian Cantos de Boga	0
How Music Theory Went Online	0
Correction to: Corpus Studies, Sonata Typology, and the Nineteenth-Century Violin Concerto: Viotti, Saint-Saëns, and the Challenge of Recapitulatory Compression	0
Closed, Closing, and Close to Closure: The Nineteenth-Century “Closing Theme” Problem as Exemplified in Mendelssohn’s Sonata Practice	0