OOIR: Observatory of International Research

Papers

(The TQCC 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 2020-03-01 to 2024-03-01.)

Article	Citations
The Long History of the 2017 Spotify “Fake Music” Scandal	12
Circulatory Maintenance: The Entailments of Participation in Digital Music Platforms	9
Musicking Fan Culture and Circulating the Materiality of Taylor Swift Musical Greeting Cards on YouTube	4
Fake Streams, Listening Bots, and Click Farms: Counterfeiting Attention in the Streaming Music Economy	3
Receiving, Remixing, Recuperating “Rebecca Black—Friday”	3
Making Messiah Swedish: Localities of Music and Identity in Ethnotourist America	1
The Sonic Politics of the US Abortion Wars	1
This Is (Not) America(n Music)	1
“Make It Funky”: Funk, Live Performance, and the Concept “Genre Works”	1
Chance the Rapper, Spotify, and Musical Categorization in the 2010s	1
“Remember Those Beautiful Songs”: Preserving Antebellum Cultural Practices through Music Collection during the Civil War	1
Indonesian Cultural Diplomacy and the First International Gamelan Festival and Symposium at Expo 86	1
“We Provide a Place to Not Be Okay”: Emotional Labor in Performance and Queer Amateur Music Spaces	1
Touring the Screen: Cinematic Resonances of Diaghilev's Ballets Russes	0
Unlimited Replays: Video Games and Classical Music	0
Cambodian American Listening as Memory Work	0
Samuel “Golden Rule” Jones: Music and the Social Good in Progressive Era Toledo, Ohio	0
Animated Broadway: Disney and Musical Theater in the 1990s and Early 2000s	0
Silent No More: Anti-Asian Racism in Music	0
Polycultural Synthesis in the Music of Chou Wen-chung	0
Public Musicology, Public Radio: Some Approaches to Diversity, Equity, and Inclusion from Classical Radio	0
Significant Difference in American Music Studies	0
The Invention of Latin American Music: A Transnational History	0
Guest Editor's Introduction: The Ballets Russes in North America	0
“Let me just share my screen”: Perspectives on the Discipline through the Prism of Pandemic Online Conferences	0

Experimentalisms in Practice: Music Perspectives from Latin America	0
Músicas coloniales a debate: Procesos de intercambio euroamericanos	0
Reparative Public Musicology: Empowering and Centering Community Knowledge Production through Counter-Storytelling Practice	0
“The Music Industry Funds Private Prisons”: Analyzing Hip-Hop Urban Legend	0
“Where Are You From?” Asian Americans on Indigenous Lands	0
From the Sidelines: Reginald Beane’s Broadway	0
“If That Be Treason, Let Them Make the Most of It!”: Olin Downes, the Spanish Civil War, and Civil Liberties in the United States	0
Musofun: Joseph Schillinger’s Musical Game between American Music, the Soviet Avant-Garde, and Combinatorics	0
Rock ’n’ Roll (Archipelagic American Music Studies)	0
Not Yet “Bridging the Gender Gap”: Women’s Experiences in Composing for the Twenty-First-Century Wind Ensemble	0
Snow Whiteand the Seventh Art: Sound, Song, and Respectability in Disney’s First Feature	0
Capitalism and the Future of American Classical Music Scholarship	0
The 701 Articles of American Music: A Quantitative Study of Forty Years of Scholarship	0
Moments	0
The Art of the Black Feminist Scholar-Performer	0
The Multimusicverse of Jon Jang	0
Forgetting and Remembering: The Case of Leo Sowerby’s The Canticle of the Sun	0
Applying Commemorative Museum Pedagogy to Public Music Studies	0
Nostalgia for a Past Futurism: The Main Street Electrical Parade	0
Leonard Bernstein and the Language of Jazz	0
“You Gotta Accentuate the Positive”: Japanese American Affirmation and Resilience in The Camp Dance: The Music and the Memories	0
Chicago, the “City We Love to Call Home!”: Intersectionality, Narrativity, and Locale in the Music of Florence Beatrice Price and Theodora Sturkow Ryder	0
Imported Sophistication: The Ballets Russes Tours of the 1930s–50s and Toronto's Quest for Cultural Significance	0
Guest Editor’s Introduction	0
What Will I Be: American Music and Cold War Identity	0
“It Must Be Preserved”: Adolph Bolm's Revival of Le Coq d'Or	0
From “the Chord Was King” to “a Dynamic Journey”: Changes in the Barbershop Quartet Style in Contests Since the 1950s	0
A “Brilliant Talk” and a “Stirring Appeal”: How Women of Grand Rapids, Michigan, Built an Audience for the Ballets Russes in 1917	0
Conference Report: Asian/American Jazz: Past, Present, Future	0
Reciting Parsifal: Opera as Spoken-Word Performance in America	0
Doing Tai Chi with “American Music”	0
Music, Memory, Pixar	0
Anti-Asian Hate and the Transpacific History of American Music; Or, Why Is “Chinatown, My Chinatown” Still Played?	0
Valuing Collaboration in American Music Studies	0
Editor’s Introduction	0
Transpacific Im/Mobilities: Two Movements in Nisei Musical Practice	0
Is Country Music Quintessentially American?	0
John Sullivan Dwight, Blindness, and Music Education	0
Una historia de la música colonial hispanoamericana	0
Bossa Mundo: Brazilian Music in Transnational Media Industries	0
Composing a Nation in Crisis: Musical Americanism and US National Identity in Elie Siegmeister's Vietnam War Works	0
From Moana to Vaiana: Voicing the French and Tahitian Dubbed Versions of Disney’s Moana	0
Elizabeth Taylor Greenfield's Mid-to-Late Career, Philanthropy, and Activism in Nineteenth-Century America	0
“Something New in the Musical Line”: The Emergence of the Song Recital during the 1870s and 1880s	0
Women's Work in Music	0
Podcasts, Partnerships, and Laboratories for American Music	0
On the Road & Off the Record with Leonard Bernstein: My Years with the Exasperating Genius	0
Virtual Citizenship and Revolutionary Transatlantic Republicanism in the Musical Lives of Exiled United Irishmen	0
Performing Tsarist Russia in New York: Music, Émigrés, and the American Imagination	0
Soaring into Song: Youth and Yearning in Animated Musicals of the Disney Renaissance	0

Editor's Introduction	0
Asian American Female Composers and Digital Memory	0
Unsettled Scores: Politics, Hollywood, and the Film Music of Aaron Copland & Hanns Eisler	0
Smears, Laughs, and Barnyard Hokum: Early Jazz Trombone and the Problem of Novelty	0
The Original Blues: The Emergence of the Blues in African American Vaudeville	0
Im/Mobility Paradox: Jazz Making in the Incarceration Camps of World War II	0
Guest Editors’ Introduction: Opening Conversations that Matter in Public Music Studies	0
Rethinking American Music	0
Stephen Foster and the Slavery Question	0
Guest Editors’ Introduction: Platforms, Labor, and Community in Online Listening	0
Nonmusicians as “Pillars” and “Icons” of US DIY Music Scenes	0
American Gamelan and the Ethnomusicological Imagination	0
The Foreign and the Other in the Music of Mulan (1998)	0
Navigating Black Identity and White Desire: Seven-Eleven and the 1920s Crossover Musical Comedy	0
Front Matter	0
Music, Movement Culture, and the Politics of Bodily Health	0
Interlocking Themes: American Music, Race, and Music Scholarship	0
“Very Good for an American”: Essays on Edward MacDowell	0
“One Fine Night in Veracruz”	0
New Currents in Film Music, Television Music, and Streaming Media Music Studies	0
Island Gospel: Pentecostal Music and Identity in Jamaica and the United States	0
The Sound of a Superpower: Musical Americanism and the Cold War	0
Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-garde Music	0
The Music of the Accordion and Bajo Sexto: Cultural Heritage at the U.S.–Mexico Border	0
Defining Conjunto Quantitatively: Classical and Modernist Styles in a Texas-Mexican Genre	0
How a White Supremacist Became Famous for His Black Music: John Powell andRhapsodie nègre(1918)	0
Herrman S. Saroni: Paths to Success as a Composer in New York, 1844–52	0
Editor's Introduction	0
Launchpads, Observation Decks, and Springboards	0
Make Mine Pop Music: Walt Disney Films and American Popular Music, 1940–1955	0
Race and the Legacy of the World’s Columbian Exposition in American Popular Theater from the Gilded Age toShow Boat(1927)	0
Finding the “Frontier” in a Page of Music: Imperial Evidence and the Legacy of Settler Colonialism	0
Reparations in Music Scholarship	0
Rites, Rights & Rhythms: A Genealogy of Musical Meaning in Colombia’s Black Pacific	0
Jazz Places: How Performance Spaces Shape Jazz History	0
What's at Stake? Considering the Case for “Asian American Jazz”	0
Hollywood Harmony: Musical Wonder and the Sound of Cinema	0
Working Collectively: Thoughts toward a Better Music Studies from the Project Spectrum Graduate Student Committee	0
Diaghilev's Ballets Russes in the American Midwest	0
Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño	0
After the Dance, the Drums Are Heavy: Carnival, Politics, and Musical Engagement in Haiti	0
Charles Ives’s “Concord”: Essays after a Sonata	0
Making an American Opera Career: Conductor May Valentine (1890–1974) and a Woman's Role(s) in the Business of Opera	0
Earl Scruggs and “Foggy Mountain Breakdown”: The Making of an American Classic	0
Ferruccio Busoni, the Boston Symphony Orchestra, and the Impact of Anti-Germanismusaround World War I	0