American Music

Papers
(The median citation count of American 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 2021-08-01 to 2025-08-01.)
ArticleCitations
New Currents in Film Music, Television Music, and Streaming Media Music Studies9
Moments2
“The Music Industry Funds Private Prisons”: Analyzing Hip-Hop Urban Legend2
Im/Mobility Paradox: Jazz Making in the Incarceration Camps of World War II1
Rock ’n’ Roll (Archipelagic American Music Studies)1
Skin in the Game: The Ethics of Who Hears Here?1
Violines a Ochún and Musical Devotion for the Orishas1
Diaghilev's Ballets Russes in the American Midwest1
Musicking in Lumpkin County, Georgia, 1909–19281
A Boston Woman's Chronicle: Music and Social Ritual in the Diaries of Frances Lang1
Launchpads, Observation Decks, and Springboards1
Music, Movement Culture, and the Politics of Bodily Health1
Elizabeth Taylor Greenfield's Mid-to-Late Career, Philanthropy, and Activism in Nineteenth-Century America0
Making an American Opera Career: Conductor May Valentine (1890–1974) and a Woman's Role(s) in the Business of Opera0
American Gamelan and the Ethnomusicological Imagination0
Reconsidering Aural Imagination through Ana María Ochoa Gautier's Aurality0
Editor's Introduction0
The Art of the Black Feminist Scholar-Performer0
The World We Make: Black Colleges and Black Music Studies0
Black Musicological World-Making in Who Hears Here?0
Editor's Introduction0
“You Gotta Accentuate the Positive”: Japanese American Affirmation and Resilience in The Camp Dance: The Music and the Memories0
Musicking Imperialism, Race, and Gender during the Philippine-American War0
Doing Tai Chi with “American Music”0
“Where Are You From?” Asian Americans on Indigenous Lands0
The Sonic Politics of the US Abortion Wars0
Bossa Mundo: Brazilian Music in Transnational Media Industries0
Cooking Lessons: Guthrie P. Ramsey's Generational Influence0
Is Country Music Quintessentially American?0
The Immigrant Journey of Arthur P. Schmidt: Tracing a Nineteenth-Century Music Publisher's Social and Cultural Capital from Hamburg to Boston0
Whose Ear Here?0
“It Must Be Preserved”: Adolph Bolm's Revival of Le Coq d'Or0
The Way We Do the Things We Do: “Staying in the Pocket” with Guthrie P. Ramsey, Jr.0
Reparations in Music Scholarship0
What's at Stake? Considering the Case for “Asian American Jazz”0
After the Dance, the Drums Are Heavy: Carnival, Politics, and Musical Engagement in Haiti0
“One Fine Night in Veracruz”0
“On Howls and Pitches” and the Rural Voice0
Music, Migration, and Cultural Membership in Close Harmony0
Virtual Citizenship and Revolutionary Transatlantic Republicanism in the Musical Lives of Exiled United Irishmen0
Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-garde Music0
Nonmusicians as “Pillars” and “Icons” of US DIY Music Scenes0
Samuel “Golden Rule” Jones: Music and the Social Good in Progressive Era Toledo, Ohio0
Women's Work in Music0
Revisionist History in New Media Formats: Adrian Younge's The American Negro Project0
Guest Editors’ Introduction: Opening Conversations that Matter in Public Music Studies0
Conference Report: Asian/American Jazz: Past, Present, Future0
The Multimusicverse of Jon Jang0
Interlocking Themes: American Music, Race, and Music Scholarship0
Black and Asian Stories, Citations, and Epistemic Shifts in American Music Studies: A Response to Guthrie P. Ramsey, Jr.0
Performing Tsarist Russia in New York: Music, Émigrés, and the American Imagination0
Herrman S. Saroni: Paths to Success as a Composer in New York, 1844–520
“The Most Misunderstood Man in the Territory?”: Jud Fry and the Politics of Oklahoma! (1943) in the Twenty-First Century0
Editor's Introduction0
“A Very Ingenious and Superior Invention”: Sailing Ship Windlass Technology and the Burgeoning of Sailors’ Chanties0
Applying Commemorative Museum Pedagogy to Public Music Studies0
Capitalism and the Future of American Classical Music Scholarship0
Everything Everywhere All at Once0
Reading through Aurality's Afterlives0
This Is (Not) America(n Music)0
The New Jazz Studies Continues0
A “Brilliant Talk” and a “Stirring Appeal”: How Women of Grand Rapids, Michigan, Built an Audience for the Ballets Russes in 19170
The Music of the Accordion and Bajo Sexto: Cultural Heritage at the U.S.–Mexico Border0
Cambodian American Listening as Memory Work0
From Jonkonnu and Son de los diablos to Congo Square and Son Jarocho: Global Histories of the Jawbone/Quijada as a Black Musical Instrument0
Black Diamond Queens: African American Women and Rock and Roll0
Dramatizing the Blues: Smokey Robinson's Formal Conversions of Blues from 1964 to 19750
Travels with Albizu Campos's Voice: A Haunted History0
Working Collectively: Thoughts toward a Better Music Studies from the Project Spectrum Graduate Student Committee0
Aurality, Non-Locality, History0
Imported Sophistication: The Ballets Russes Tours of the 1930s–50s and Toronto's Quest for Cultural Significance0
Silent No More: Anti-Asian Racism in Music0
Race and the Legacy of the World’s Columbian Exposition in American Popular Theater from the Gilded Age toShow Boat(1927)0
Composing a Nation in Crisis: Musical Americanism and US National Identity in Elie Siegmeister's Vietnam War Works0
Transpacific Im/Mobilities: Two Movements in Nisei Musical Practice0
Touring the Screen: Cinematic Resonances of Diaghilev's Ballets Russes0
Antonin Dvořák's New World SymphonyDvořák's Prophecy and the Vexed Fate of Black Classical Music0
The Ethnographic Ear and Fraught Histories of Belonging: Listening to Voices in Ochoa's Aurality0
Wagner on the Midway: Reassessing Sonic Divisions at the 1893 World's Columbian Exposition0
Músicas coloniales a debate: Procesos de intercambio euroamericanos0
Defining Conjunto Quantitatively: Classical and Modernist Styles in a Texas-Mexican Genre0
Distortion and Subversion: Punk Rock Music and the Protest for Free Public Transportation in Brazil (1996–2011)0
Stephen Foster and the Slavery Question0
The Dog Who Became a Song0
“Do You Hear Me, Though?”: Ramsey and the Politics of Black Music Inquiry0
Valuing Collaboration in American Music Studies0
Finding the “Frontier” in a Page of Music: Imperial Evidence and the Legacy of Settler Colonialism0
Anti-Asian Hate and the Transpacific History of American Music; Or, Why Is “Chinatown, My Chinatown” Still Played?0
The 701 Articles of American Music: A Quantitative Study of Forty Years of Scholarship0
Significant Difference in American Music Studies0
Reparative Public Musicology: Empowering and Centering Community Knowledge Production through Counter-Storytelling Practice0
Editor's Introduction0
Bars0
Guest Editor's Introduction: The Ballets Russes in North America0
A Leap of Faith with Dr. Guthrie Ramsey0
Podcasts, Partnerships, and Laboratories for American Music0
“If That Be Treason, Let Them Make the Most of It!”: Olin Downes, the Spanish Civil War, and Civil Liberties in the United States0
“Doing the hearing, the making, and the explaining”: Putting the Work of Guthrie P. Ramsey, Jr., and Camille Norment in Conversation0
Public Musicology, Public Radio: Some Approaches to Diversity, Equity, and Inclusion from Classical Radio0
Community, Morality, and Diegetic Music in Little House on the Prairie0
“Let me just share my screen”: Perspectives on the Discipline through the Prism of Pandemic Online Conferences0
Jazz Places: How Performance Spaces Shape Jazz History0
Smears, Laughs, and Barnyard Hokum: Early Jazz Trombone and the Problem of Novelty0
Navigating Black Identity and White Desire: Seven-Eleven and the 1920s Crossover Musical Comedy0
The Invention of Latin American Music: A Transnational History0
Asian American Female Composers and Digital Memory0
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