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 2022-05-01 to 2026-05-01.)
ArticleCitations
Meter as RhythmMusic in Time: Phenomenology, Perception, Performance15
Barbershop’s Cautionary Tale for Academic Music Theory: A Response to Stephen Lett5
Contrapuntal Parody and Transsymphonic Narrative in Mahler’s Rondo-Burleske4
Materiality of Sonic Imagery: On Analysis of Contemporary Chinese Compositions4
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
Spreading the Word4
Formalism as “Bad Magic”: Russian Orthodoxy, Eurocentrism, and Yuri Kholopov's Musical Logic4
Hermeneutic Limits; or, When Not to Theorize: Notes for Interpreting Our Phoenix by Trans Indigenous Mexican-American Composer Mari Esabel Valverde3
Qualia Motion in Fourier Space: Formalizing Linear, Nondirected, and Contrapuntal Ambiguity in Schoenberg’s Op. 19, No. 13
Analytical Essays on Music by Women Composers: Concert Music, 1900–1960. Edited by Laurel Parsons and Brenda Ravenscroft3
Apparently Imperfect: On the Analytical Issues of the IAC3
Abolitionist Music Theory and Marxism: Notes Toward a Reconciliation3
Extreme Meter Changes and Tempo Giusto in Some Songs by Brahms3
An Unnatural Attitude: Phenomenology in Weimar Musical Thought. By Benjamin Steege3
Public Music Theory: A Way of Understanding3
Attachments on Display: Music Analysis in the Public Sphere2
Rossinian Reiz : Strategic Musical Irritation and the Capturing of Attention2
Naamyam, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound”2
The Audience Chimera: On Platforms, Publics, and Power2
Music Theory and the SMT at 45: Perspectives on Inclusion2
Focal Impulse Theory. By John Paul Ito2
Combinatorics, Composition, Copia: Mersenne’s Permutations as Rhetoric of Abundance2
How SMT Could Become More Welcoming2
Merging the Sonata and the Concerto: The Role of Virtuosic Passages in Determining Formal Closure in High-Classical Sonata Expositions2
Orienting to Pedagogical Service2
Contributors2
Enacting Musical Time: The Bodily Experience of New Music. By Mariusz Kozak2
Retracted Tonal Areas and the “Interrupted SK Exposition”: Circular Directionality in Early Nineteenth-Century Music2
The Royal Road Progression in Japanese Popular Music1
Contributors1
Correction to: review of Analytical Essays on Music by Women Composers: Concert Music, 1900–1960. Edited by Laurel Parsons and Brenda Ravenscroft1
Zarlino’sComporre di fantasiaand Canon1
I Don’t Hear It That Way: Temporal Parallax, Metal, and Music Theory’s “Listener”1
Hexachordal Solmization and Syllable-Invariant Counterpoint in the Vocal Music of William Byrd1
Narrative and Tonal Structure in Herrmann’s Score for Vertigo1
Writing (Re)Considered1
Bins, Spans, and Tolerance: Three Theories of Microtiming Behavior1
Undisciplined1
Hidden Public Music Theory1
Motivic Trees, Network Analysis, and Bartók’sEight Improvisations on Hungarian Folk Songs, No. 51
Historical Examination and Theoretical Analysis of Maqām Humāyūn in Persian Art Music1
Leitmotivic Strategies in Nobuo Uematsu’sFinal FantasySoundtracks1
Queer Ear: Remaking Music Theory1
Contributors1
Corpus Studies, Sonata Typology, and the Nineteenth-Century Violin Concerto: Viotti, Saint-Saëns, and the Challenge of Recapitulatory Compression1
Varied Ostinato and the Functions of Repetition in Harrison Birtwistle’s “Frieze 2” and “Frieze 3”1
The Romanticization of the Rounded Binary Form in Robert Schumann’s Piano Works1
Contributors1
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