Music Theory Spectrum

Papers
(The TQCC of Music Theory Spectrum is 1. 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
Meter as RhythmMusic in Time: Phenomenology, Perception, Performance14
Contrapuntal Parody and Transsymphonic Narrative in Mahler’s Rondo-Burleske5
Barbershop’s Cautionary Tale for Academic Music Theory: A Response to Stephen Lett4
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. 34
Hermeneutic Limits; or, When Not to Theorize: Notes for Interpreting Our Phoenix by Trans Indigenous Mexican-American Composer Mari Esabel Valverde3
Spreading the Word3
Extreme Meter Changes and Tempo Giusto in Some Songs by Brahms3
Qualia Motion in Fourier Space: Formalizing Linear, Nondirected and Contrapuntal Ambiguity in Schoenberg's Op. 19, No. 13
Materiality of Sonic Imagery: On Analysis of Contemporary Chinese Compositions3
An Unnatural Attitude: Phenomenology in Weimar Musical Thought. By Benjamin Steege2
Abolitionist Music Theory and Marxism: Notes Toward a Reconciliation2
Music Theory and the SMT at 45: Perspectives on Inclusion2
How SMT Could Become More Welcoming2
Analytical Essays on Music by Women Composers: Concert Music, 1900–1960. Edited by Laurel Parsons and Brenda Ravenscroft2
Public Music Theory: A Way of Understanding2
Orienting to Pedagogical Service2
The Audience Chimera: On Platforms, Publics, and Power2
Apparently Imperfect: On the Analytical Issues of the IAC2
Merging the Sonata and the Concerto: The Role of Virtuosic Passages in Determining Formal Closure in High-Classical Sonata Expositions2
Focal Impulse Theory. By John Paul Ito2
Attachments on Display: Music Analysis in the Public Sphere2
Contributors1
Music Theory Splintered Up, Not Broken Down: The Oxford Handbook of Critical Concepts in Music Theory. Edited by Alexander Rehding and Steven Rings1
Varied Ostinato and the Functions of Repetition in Harrison Birtwistle’s “Frieze 2” and “Frieze 3”1
Motivic Trees, Network Analysis, and Bartók’sEight Improvisations on Hungarian Folk Songs, No. 51
Contributors1
Correction1
The Royal Road Progression in Japanese Popular Music1
Naamyam, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound”1
Correction1
Contributors1
Hexachordal Solmization and Syllable-Invariant Counterpoint in the Vocal Music of William Byrd1
Hidden Public Music Theory1
Contributors1
Corpus Studies, Sonata Typology, and the Nineteenth-Century Violin Concerto: Viotti, Saint-Saëns, and the Challenge of Recapitulatory Compression1
Queer Ear: Remaking Music Theory1
Leitmotivic Strategies in Nobuo Uematsu’sFinal FantasySoundtracks1
Enacting Musical Time: The Bodily Experience of New Music. By Mariusz Kozak1
Rossinian Reiz : Strategic Musical Irritation and the Capturing of Attention1
Correction to: review of Analytical Essays on Music by Women Composers: Concert Music, 1900–1960. Edited by Laurel Parsons and Brenda Ravenscroft1
Bins, Spans, and Tolerance: Three Theories of Microtiming Behavior1
Zarlino’sComporre di fantasiaand Canon1
Undisciplined1
Writing (Re)Considered1
Narrative and Tonal Structure in Herrmann’s Score for Vertigo1
Combinatorics, Composition, Copia: Mersenne’s Permutations as Rhetoric of Abundance1
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