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 2021-03-01 to 2025-03-01.)
ArticleCitations
Not Yet “Bridging the Gender Gap”: Women’s Experiences in Composing for the Twenty-First-Century Wind Ensemble9
“The Music Industry Funds Private Prisons”: Analyzing Hip-Hop Urban Legend1
New Currents in Film Music, Television Music, and Streaming Media Music Studies1
Moments1
Editor's Introduction1
The Music of the Accordion and Bajo Sexto: Cultural Heritage at the U.S.–Mexico Border1
Valuing Collaboration in American Music Studies1
Make Mine Pop Music: Walt Disney Films and American Popular Music, 1940–19551
Significant Difference in American Music Studies1
Composing a Nation in Crisis: Musical Americanism and US National Identity in Elie Siegmeister's Vietnam War Works1
“Let me just share my screen”: Perspectives on the Discipline through the Prism of Pandemic Online Conferences1
A Leap of Faith with Dr. Guthrie Ramsey1
Is Country Music Quintessentially American?1
Earl Scruggs and “Foggy Mountain Breakdown”: The Making of an American Classic0
Women's Work in Music0
The Sonic Politics of the US Abortion Wars0
Jazz Places: How Performance Spaces Shape Jazz History0
The World We Make: Black Colleges and Black Music Studies0
“One Fine Night in Veracruz”0
Smears, Laughs, and Barnyard Hokum: Early Jazz Trombone and the Problem of Novelty0
John Sullivan Dwight, Blindness, and Music Education0
Elizabeth Taylor Greenfield's Mid-to-Late Career, Philanthropy, and Activism in Nineteenth-Century America0
Polycultural Synthesis in the Music of Chou Wen-chung0
“You Gotta Accentuate the Positive”: Japanese American Affirmation and Resilience in The Camp Dance: The Music and the Memories0
The Art of the Black Feminist Scholar-Performer0
Wagner on the Midway: Reassessing Sonic Divisions at the 1893 World's Columbian Exposition0
Transpacific Im/Mobilities: Two Movements in Nisei Musical Practice0
Samuel “Golden Rule” Jones: Music and the Social Good in Progressive Era Toledo, Ohio0
Una historia de la música colonial hispanoamericana0
Whose Ear Here?0
“It Must Be Preserved”: Adolph Bolm's Revival of Le Coq d'Or0
A “Brilliant Talk” and a “Stirring Appeal”: How Women of Grand Rapids, Michigan, Built an Audience for the Ballets Russes in 19170
Editor's Introduction0
Im/Mobility Paradox: Jazz Making in the Incarceration Camps of World War II0
Distortion and Subversion: Punk Rock Music and the Protest for Free Public Transportation in Brazil (1996–2011)0
This Is (Not) America(n Music)0
The Way We Do the Things We Do: “Staying in the Pocket” with Guthrie P. Ramsey, Jr.0
Anti-Asian Hate and the Transpacific History of American Music; Or, Why Is “Chinatown, My Chinatown” Still Played?0
After the Dance, the Drums Are Heavy: Carnival, Politics, and Musical Engagement in Haiti0
Unsettled Scores: Politics, Hollywood, and the Film Music of Aaron Copland & Hanns Eisler0
The Foreign and the Other in the Music of Mulan (1998)0
Podcasts, Partnerships, and Laboratories for American Music0
What's at Stake? Considering the Case for “Asian American Jazz”0
Bars0
Capitalism and the Future of American Classical Music Scholarship0
Animated Broadway: Disney and Musical Theater in the 1990s and Early 2000s0
“Where Are You From?” Asian Americans on Indigenous Lands0
Nostalgia for a Past Futurism: The Main Street Electrical Parade0
Virtual Citizenship and Revolutionary Transatlantic Republicanism in the Musical Lives of Exiled United Irishmen0
Performing Tsarist Russia in New York: Music, Émigrés, and the American Imagination0
“Do You Hear Me, Though?”: Ramsey and the Politics of Black Music Inquiry0
Applying Commemorative Museum Pedagogy to Public Music Studies0
Island Gospel: Pentecostal Music and Identity in Jamaica and the United States0
The New Jazz Studies Continues0
“We Provide a Place to Not Be Okay”: Emotional Labor in Performance and Queer Amateur Music Spaces0
Conference Report: Asian/American Jazz: Past, Present, Future0
Working Collectively: Thoughts toward a Better Music Studies from the Project Spectrum Graduate Student Committee0
Guest Editor's Introduction: The Ballets Russes in North America0
Imported Sophistication: The Ballets Russes Tours of the 1930s–50s and Toronto's Quest for Cultural Significance0
Skin in the Game: The Ethics of Who Hears Here?0
Interlocking Themes: American Music, Race, and Music Scholarship0
Touring the Screen: Cinematic Resonances of Diaghilev's Ballets Russes0
Cambodian American Listening as Memory Work0
Soaring into Song: Youth and Yearning in Animated Musicals of the Disney Renaissance0
Black and Asian Stories, Citations, and Epistemic Shifts in American Music Studies: A Response to Guthrie P. Ramsey, Jr.0
“If That Be Treason, Let Them Make the Most of It!”: Olin Downes, the Spanish Civil War, and Civil Liberties in the United States0
Reparative Public Musicology: Empowering and Centering Community Knowledge Production through Counter-Storytelling Practice0
American Gamelan and the Ethnomusicological Imagination0
“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
Músicas coloniales a debate: Procesos de intercambio euroamericanos0
The 701 Articles of American Music: A Quantitative Study of Forty Years of Scholarship0
Guest Editor’s Introduction0
Rock ’n’ Roll (Archipelagic American Music Studies)0
“A Very Ingenious and Superior Invention”: Sailing Ship Windlass Technology and the Burgeoning of Sailors’ Chanties0
Diaghilev's Ballets Russes in the American Midwest0
Finding the “Frontier” in a Page of Music: Imperial Evidence and the Legacy of Settler Colonialism0
Snow Whiteand the Seventh Art: Sound, Song, and Respectability in Disney’s First Feature0
Defining Conjunto Quantitatively: Classical and Modernist Styles in a Texas-Mexican Genre0
Musicking in Lumpkin County, Georgia, 1909–19280
Asian American Female Composers and Digital Memory0
“The Most Misunderstood Man in the Territory?”: Jud Fry and the Politics of Oklahoma! (1943) in the Twenty-First Century0
Bossa Mundo: Brazilian Music in Transnational Media Industries0
Guest Editors’ Introduction: Opening Conversations that Matter in Public Music Studies0
From Moana to Vaiana: Voicing the French and Tahitian Dubbed Versions of Disney’s Moana0
Music, Migration, and Cultural Membership in Close Harmony0
Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-garde Music0
Race and the Legacy of the World’s Columbian Exposition in American Popular Theater from the Gilded Age toShow Boat(1927)0
Stephen Foster and the Slavery Question0
Black Musicological World-Making in Who Hears Here?0
Making an American Opera Career: Conductor May Valentine (1890–1974) and a Woman's Role(s) in the Business of Opera0
Silent No More: Anti-Asian Racism in Music0
Music, Memory, Pixar0
Doing Tai Chi with “American Music”0
Herrman S. Saroni: Paths to Success as a Composer in New York, 1844–520
Cooking Lessons: Guthrie P. Ramsey's Generational Influence0
Nonmusicians as “Pillars” and “Icons” of US DIY Music Scenes0
From Jonkonnu and Son de los diablos to Congo Square and Son Jarocho: Global Histories of the Jawbone/Quijada as a Black Musical Instrument0
Editor's Introduction0
Navigating Black Identity and White Desire: Seven-Eleven and the 1920s Crossover Musical Comedy0
Music, Movement Culture, and the Politics of Bodily Health0
The Multimusicverse of Jon Jang0
Reparations in Music Scholarship0
Chicago, the “City We Love to Call Home!”: Intersectionality, Narrativity, and Locale in the Music of Florence Beatrice Price and Theodora Sturkow Ryder0
Launchpads, Observation Decks, and Springboards0
The Invention of Latin American Music: A Transnational History0
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