OOIR: Observatory of International Research

Papers

(The median citation count of Music Theory Online 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 2022-01-01 to 2026-01-01.)

Article	Citations
Female Subjectivities in the Words, Music, and Images of Progressive Metal	14
“Aus Mozart gestohlen”: Beethoven and Die Entführung aus dem Serail	11
The Origins of Syncopation in Brazilian Music	8
Musical Eschatology in Contemporary Christian Worship Songs	7
Texture, Rhythmic Synchrony, and Tonal Fusion in Henry Threadgill’s In for a Penny, In for a Pound	6
Julián Carrillo, Laws of Musical Metamorphosis, and the Landscape of Early Atonal Thought	6
Music as Language of the Upper Realm: A Translation of Li Tsing-chu’s A General Treatise on Music (1930/1933)	5
Alanis Morissette’s Voices	5
Willaert’s Elusive Counterpoint Explained	4
Cadential Melodies	4
Commentary	3
Commentary	3
Music from Plant Biosignals	3
Billy Joel’s Enharmonic Duplicity	3
Buffy Sainte-Marie’s Self-Expressive Voice	2
Global Philosophy of Music	2
A Survey of the Impact of COVID-19 on Music Theorists	2
Three Audiovisual Correspondences in the Main Title forVertigo	2
Analyzing the Beat in Metrically Consonant Popular Songs	2
Translation of Martha Ulhôa de Tupinamba’s “Métrica derramada	2
Diversity in Music Corpus Studies	2
Prosodic Dissonance	2
Intersubjectivity and Shared Dynamic Structure in Narrative Imaginings to Music	1
Response to Trevor de Clercq’s “Some Proposed Enhancements to the Operationalization of Prominence	1
The Common Cold	1

	1
Analyzing Vocal Placement in Recorded Virtual Space	1
A Bevy of Biases	1
	1
Post-Recapitulatory Organization in Beethoven’s Early Sonata-Rondo Finales	1
Formal Functions of Drum Patterns in Post-Millennial Pop Songs, 2012–2021	1
An Idiom of Melodic-Harmonic Divorce	1
	1
Melodic Organization and Sequential Ordering of Galant Schemata	1
Analyzing Vocables in Rap	1
Switching the Backbeat	1
Who is Allowed to Be a Music Theorist? Sarah Mary Fitton and Conversations on Harmony (1855)	1
Klangfarbenmelodie in 1911: Timbre’s Functional Roles in Webern’s Opp. 9 and 10	0
Commentary	0
Conference Report	0
Reassessing the Plagal Cadence in Byrd and Morley	0
Commentary	0
Windows into Beethoven’s Lessons in Bonn: Kirnberger’sDie wahren Grundsätze zum Gebrauch der Harmonie(1773) and Vogler’sGründe der Kuhrpfälzischen Tonschule in Beyspielen(1776/1778)	0
A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception	0
Review of David Temperley,The Musical Language of Rock(Oxford University Press: 2018)	0
The Melodic Organization ofThe Rite of Spring	0
Gestural Perspectives on Popular-Music Performance	0
Pitch Registration and Harmonic Fields in Works of Pierre Boulez, Marco Stroppa, and Yukiko Watanabe	0
Review of Drew Nobile, Form as Harmony in Rock Music (Oxford University Press, 2020)	0
Mixture Strategies	0
Review of Philip Ewell, On Music Theory, and Making Music More Welcoming for Everyone (University of Michigan Press, 2023)	0
Commentary	0
Teleology in Verse–Prechorus–Chorus Form, 1965–2020	0
Gestural Temporality in Sciarrino’s Recitativo oscuro	0
Prioritizing Narrative Structure in Large-Scale Film-Music Analysis: A Case Study of Dramatic Irony inBarton Fink	0
Review of Kenneth Smith and Vasilis Kallis, eds., Demystifying Scriabin (Boydell Press, 2022)	0
Vocal Production, Mimesis, and Social Media in Bedroom Pop	0
Rethinking Topic Theory	0
The Poetics and Politics of Ambiguity	0
Kaleidoscopic Topics in the Music of György Ligeti and Thomas Adès	0
Historical Examination and Theoretical Analysis of Maqām Iṣfahān in Persian Art Music	0
	0
Koizumi Fumio on Nuclear Tones	0
Harmonic “Quality” and Set-Class Structure	0
Was Mesopotamian Tuning Diatonic? A Parsimonious Answer	0
Philosophizing Time in Sinitic Opera	0
Review of Violetta Kostka, Paulo F. de Castro, and William A. Everett, eds., Intertextuality in Music: Dialogic Composition (Routledge, 2021)	0
Commentary	0
Commentary	0
Commentary	0
Commentary	0
Chromatic Function in Schoenberg’s Little Piano Piece, op. 19, no. 1	0
The Semantic Evolution of Chromatic Mediants	0
	0
Three Sailors, Three Personalities: Choreomusical Analysis of the Solo Variations in Fancy Free	0

Review of Elliott Carter Speaks: Unpublished Lectures, Edited and with an introduction by Laura Emmery (University of Illinois Press, 2021)	0
Rotational Principle as Teleological Genesis in the “Annunciation of Death” Scene from Wagner’s Die Walküre	0
On the Tonic Added-Sixth Chord in Jazz	0
Public Music Theory’s Neoliberal Learning Outcomes	0
Gusti Putu Madé Geria’s Theory for Balinese Gamelan	0
Imaginary Folk Music: Investigating Unsuk Chin’s Gougalōn (2009/2012) through Cumulative Intercultural Analysis	0
Hands, Fingers, Strings, and Bows	0
Codetta and Anthem Postchorus Types in Top-40 Pop from 2010 to 2015	0
Becoming and Disintegration in Wolfgang Rihm’s Fifth String Quartet, Ohne Titel	0
Review of Here for the Hearing: Analyzing the Music in Musical Theater, ed. Michael Buchler and Gregory J. Decker	0
Extending the Parallel Multiple-Analysis Processor	0
Talking Scores and the Dismediation of Music Notation	0
	0
Introduction	0
	0
“Feel the Emptiness”	0
8-Bit Affordances: Jun Chikuma’s Soundtrack toFaxanadu	0
Commentary	0
Contrapuntal Direction and the Diagnosis of Compositional Relationships in Fifteenth-Century Masses	0
Switch Up the Groove	0
Reimagining Formal Functions in Post-Tonal Music	0
George Walker’s Piano Music	0
	0
Sonic Bridges and Pitch-Based Bonding in Two Songs by Saariaho	0
	0
Out of the Blue	0
Klangfarbenmelodie, Chromophony, and Timbral Function in Arnold Schoenberg’s “Farben”	0
	0
Review of Amy Cimini, Wild Sound: Maryanne Amacher and the Tenses of Audible Life (Oxford University Press, 2022)	0
Music Theory as an Instrument of Nationalism	0
	0
Eric Dolphy’s and Yusef Lateef’s Synthetic Formations	0
The Many Paths of Decolonization	0
A Thread of Recitative Ruffs	0
Embedded Music Theory	0
Tonal Ebb, Sunken II Chords, and Text-Music Correspondences in Robert Schumann’s Lieder	0
Structural Density and Clarity, Technical Death Metal, and Anomalous’s “Ohmnivalent”	0
Sociable Musicopoetics in Vijay Iyer and Mike Ladd’s In What Language	0
Some Proposed Enhancements to the Operationalization of Prominence	0
Ernst Friedrich Richter and the Birth of Modern Music Theory Pedagogy	0
Review of Matthew Santa, Hearing Rhythm and Meter: Analyzing Metrical Consonance and Dissonance in Common-Practice Music (Routledge, 2020)	0
Reimagining Organicism	0
Report	0
Commentary	0
Performing Meter	0
Mid-Exposition Modal Contrast and Francesco Galeazzi’s “Characteristic Passage”	0
Xenakis’ Sieve Theory	0
Review of Joel Lester, Brahms’s Violin Sonatas: Style, Structure, Performance (New York: Oxford University Press, 2020)	0
Metric Modes and Fluid Meter in Mande Drumming Music	0
TheTechneof YouTube Performance: Musical Structure, Extended Techniques, and Custom Instruments in Solo Pop Covers	0
	0
Integration, Urbanity, and Multi-Dimensionality in Schoenberg’s First Quartet	0
Commentary	0
Emotional Tones and Emotional Texts	0
Returning to the Continuum	0
Conference report	0
	0
Introduction	0
Between Half and Perfect Cadences	0
Pentatonic Xuangong 旋宮 Transformations in Chinese Music	0
Translation of Dobri Hristov’s “Metric and Rhythmic Fundamentals of Bulgarian Folk Music”	0
“Your Soul is the Whole World”: The Spaces of Claude Vivier’s Siddhartha	0
A General Method For Composing a Canon Against a Cantus Firmus Using Sergei Taneev’s Double-Shifting Counterpoint	0
“At One End of the Endless Universe”	0
On Meter and the Social Dynamics of Cueing in Bill Monroe’s “Muleskinner Blues”	0
On the Ubọ-Aka of the Igbo	0
Injury, Affirmation, and the Disability Masquerade in Ye’s “Through the Wire”	0
Sound Structures and Naked Fire Gestures in Cecil Taylor’s Solo Piano Music	0
Translation of Shin Eun-Joo’s “Two Theories of Ujo and Pyeongjo in Pansori: Comparing Baek Daewoong’s an	0
Reconstructing the Paris Conservatory’sCours d’Harmonie1812–1844: Discipline, Sources, Theory, and Method	0
Gesture through the Lens of Pluridimensional Serialism in the Music of Camillo Togni	0
Embedded Dissonance in Eighteenth- and Nineteenth-Century Harmonic Theory and Practice	0
Referents in the Palimpsests of Jazz	0
The Turn in the Finale of Mahler’s Ninth Symphony as Allusion to Wagner’s Parsifal	0