Music Theory Online

Papers
(The TQCC 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 2021-08-01 to 2025-08-01.)
ArticleCitations
Female Subjectivities in the Words, Music, and Images of Progressive Metal14
“Aus Mozart gestohlen”: Beethoven and Die Entführung aus dem Serail11
The Origins of Syncopation in Brazilian Music8
Musical Eschatology in Contemporary Christian Worship Songs5
Julián Carrillo, Laws of Musical Metamorphosis, and the Landscape of Early Atonal Thought4
4
Onset and Contiguity4
Cadential Melodies3
Willaert’s Elusive Counterpoint Explained3
Alanis Morissette’s Voices3
Texture, Rhythmic Synchrony, and Tonal Fusion in Henry Threadgill’s In for a Penny, In for a Pound3
Music from Plant Biosignals3
Music as Language of the Upper Realm: A Translation of Li Tsing-chu’s A General Treatise on Music (1930/1933)3
Review of Megan Kaes Long,Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century(Oxford University Press, 2020)3
Material Connections2
Diversity in Music Corpus Studies2
Buffy Sainte-Marie’s Self-Expressive Voice2
Translation of Martha Ulhôa de Tupinamba’s “Métrica derramada2
Commentary2
A Survey of the Impact of COVID-19 on Music Theorists2
Billy Joel’s Enharmonic Duplicity2
Global Philosophy of Music2
Three Audiovisual Correspondences in the Main Title forVertigo2
Analyzing the Beat in Metrically Consonant Popular Songs2
Commentary2
A Bevy of Biases1
The Common Cold1
1
Cage’s Imitation Game: Cheap Imitation and Song Books through the sketches1
Archival Research in Music1
Switching the Backbeat1
Prosodic Dissonance1
1
Melodic Organization and Sequential Ordering of Galant Schemata1
Post-Recapitulatory Organization in Beethoven’s Early Sonata-Rondo Finales1
Corporeal Musical Structure: A Gestural-Kinesthetic Approach to Toru Takemitsu’s Rain Tree Sketch II1
The Pen as Camera1
Analyzing Vocables in Rap1
Intersubjectivity and Shared Dynamic Structure in Narrative Imaginings to Music1
Response to Trevor de Clercq’s “Some Proposed Enhancements to the Operationalization of Prominence1
An Idiom of Melodic-Harmonic Divorce1
1
Formal Functions of Drum Patterns in Post-Millennial Pop Songs, 2012–20211
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
Tonal Ebb, Sunken II Chords, and Text-Music Correspondences in Robert Schumann’s Lieder0
Performing Meter0
Review of Matthew Santa, Hearing Rhythm and Meter: Analyzing Metrical Consonance and Dissonance in Common-Practice Music (Routledge, 2020)0
Teleology in Verse–Prechorus–Chorus Form, 1965–20200
Review of Elliott Carter Speaks: Unpublished Lectures, Edited and with an introduction by Laura Emmery (University of Illinois Press, 2021)0
Review of Laura Emmery, Compositional Process in Elliott Carter’s String Quartets: A Study in Sketches (Routledge, 2020)0
Public Music Theory’s Neoliberal Learning Outcomes0
Hands, Fingers, Strings, and Bows0
Review of David Temperley,The Musical Language of Rock(Oxford University Press: 2018)0
Mixture Strategies0
Report0
Romantic Periods0
0
8-Bit Affordances: Jun Chikuma’s Soundtrack toFaxanadu0
Brahmsian Articulation0
0
Commentary0
Vocal Production, Mimesis, and Social Media in Bedroom Pop0
Chromatic Function in Schoenberg’s Little Piano Piece, op. 19, no. 10
Review of Drew Nobile, Form as Harmony in Rock Music (Oxford University Press, 2020)0
Harmonic “Quality” and Set-Class Structure0
Translation of Dobri Hristov’s “Metric and Rhythmic Fundamentals of Bulgarian Folk Music”0
Analyzing Vocal Placement in Recorded Virtual Space0
Conference report0
Kaleidoscopic Topics in the Music of György Ligeti and Thomas Adès0
Klangfarbenmelodie, Chromophony, and Timbral Function in Arnold Schoenberg’s “Farben”0
Introduction0
Out of the Blue0
Sonic Bridges and Pitch-Based Bonding in Two Songs by Saariaho0
On Meter and the Social Dynamics of Cueing in Bill Monroe’s “Muleskinner Blues”0
Disco Culture and the Ritual Journey in the Soviet 1980s0
Philosophizing Time in Sinitic Opera0
0
Embedded Dissonance in Eighteenth- and Nineteenth-Century Harmonic Theory and Practice0
Historical Examination and Theoretical Analysis of Maqām Iṣfahān in Persian Art Music0
Commentary0
Commentary0
Was Mesopotamian Tuning Diatonic? A Parsimonious Answer0
Structural Density and Clarity, Technical Death Metal, and Anomalous’s “Ohmnivalent”0
Conference Report0
On the Tonic Added-Sixth Chord in Jazz0
Emergent Modality0
Commentary0
Gesture through the Lens of Pluridimensional Serialism in the Music of Camillo Togni0
0
Reimagining Organicism0
The Turn in the Finale of Mahler’s Ninth Symphony as Allusion to Wagner’s Parsifal0
Performing Analysis, Performing Metal0
Talking Scores and the Dismediation of Music Notation0
Reassessing the Plagal Cadence in Byrd and Morley0
Metric Modes and Fluid Meter in Mande Drumming Music0
A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception0
Mid-Exposition Modal Contrast and Francesco Galeazzi’s “Characteristic Passage”0
Gusti Putu Madé Geria’s Theory for Balinese Gamelan0
Introduction0
Xenakis’ Sieve Theory0
Emotional Tones and Emotional Texts0
Review of Kenneth Smith and Vasilis Kallis, eds., Demystifying Scriabin (Boydell Press, 2022)0
The Semantic Evolution of Chromatic Mediants0
“Feel the Emptiness”0
0
Some Proposed Enhancements to the Operationalization of Prominence0
Sociable Musicopoetics in Vijay Iyer and Mike Ladd’s In What Language0
Becoming and Disintegration in Wolfgang Rihm’s Fifth String Quartet, Ohne Titel0
“Your Soul is the Whole World”: The Spaces of Claude Vivier’s Siddhartha0
Koizumi Fumio on Nuclear Tones0
Rebonds: Structural Affordances, Negotiation, and Creation0
0
Reimagining Formal Functions in Post-Tonal Music0
Schubert’s Large-Scale Sentences0
Switch Up the Groove0
Sometimes the Music Wins0
On the Ubọ-Aka of the Igbo0
Music Theory as an Instrument of Nationalism0
George Walker’s Piano Music0
Review of Amy Cimini, Wild Sound: Maryanne Amacher and the Tenses of Audible Life (Oxford University Press, 2022)0
Translation of Shin Eun-Joo’s “Two Theories of Ujo and Pyeongjo in Pansori: Comparing Baek Daewoong’s an0
A Thread of Recitative Ruffs0
0
The Many Paths of Decolonization0
Commentary0
Review of Joel Lester, Brahms’s Violin Sonatas: Style, Structure, Performance (New York: Oxford University Press, 2020)0
Gender Identity and Gestural Representations in Jonathan Harvey’s String Quartet No. 20
Embedded Music Theory0
Gestural Temporality in Sciarrino’s Recitativo oscuro0
Eric Dolphy’s and Yusef Lateef’s Synthetic Formations0
The Logic of Six-Based Minor for Harmonic Analyses of Popular Music0
Klangfarbenmelodie in 1911: Timbre’s Functional Roles in Webern’s Opp. 9 and 100
Prioritizing Narrative Structure in Large-Scale Film-Music Analysis: A Case Study of Dramatic Irony inBarton Fink0
0
The Melodic Organization ofThe Rite of Spring0
Codetta and Anthem Postchorus Types in Top-40 Pop from 2010 to 20150
Extending the Parallel Multiple-Analysis Processor0
Ernst Friedrich Richter and the Birth of Modern Music Theory Pedagogy0
Review of Here for the Hearing: Analyzing the Music in Musical Theater, ed. Michael Buchler and Gregory J. Decker0
Three Sailors, Three Personalities: Choreomusical Analysis of the Solo Variations in Fancy Free0
Gestural Perspectives on Popular-Music Performance0
Commentary0
The Poetics and Politics of Ambiguity0
Pitch Registration and Harmonic Fields in Works of Pierre Boulez, Marco Stroppa, and Yukiko Watanabe0
Rotational Principle as Teleological Genesis in the “Annunciation of Death” Scene from Wagner’s Die Walküre0
Reconstructing the Paris Conservatory’sCours d’Harmonie1812–1844: Discipline, Sources, Theory, and Method0
Commentary0
Encoding Post-Spectral Sound0
Commentary0
TheTechneof YouTube Performance: Musical Structure, Extended Techniques, and Custom Instruments in Solo Pop Covers0
Review of Philip Ewell, On Music Theory, and Making Music More Welcoming for Everyone (University of Michigan Press, 2023)0
0
Who is Allowed to Be a Music Theorist? Sarah Mary Fitton and Conversations on Harmony (1855)0
0
Generic Norms, Irony, and Authenticity in the AABA Songs of the Rolling Stones, 1963–19710
Rethinking Topic Theory0
Review of John Paul Ito, Focal Impulse Theory: Musical Expression, Meter, and the Body (Indiana University Press, 2020)0
Between Half and Perfect Cadences0
Review of Violetta Kostka, Paulo F. de Castro, and William A. Everett, eds., Intertextuality in Music: Dialogic Composition (Routledge, 2021)0
Macroharmonic Progressions through the Discrete Fourier Transform0
“At One End of the Endless Universe”0
Commentary0
Sound Structures and Naked Fire Gestures in Cecil Taylor’s Solo Piano Music0
Pentatonic Xuangong 旋宮 Transformations in Chinese Music0
Injury, Affirmation, and the Disability Masquerade in Ye’s “Through the Wire”0
Returning to the Continuum0
A General Method For Composing a Canon Against a Cantus Firmus Using Sergei Taneev’s Double-Shifting Counterpoint0
Integration, Urbanity, and Multi-Dimensionality in Schoenberg’s First Quartet0
Commentary0
0
Giving Voice to a Foxtrot from Auschwitz-Birkenau0
Imaginary Folk Music: Investigating Unsuk Chin’s Gougalōn (2009/2012) through Cumulative Intercultural Analysis0
Contrapuntal Direction and the Diagnosis of Compositional Relationships in Fifteenth-Century Masses0
Referents in the Palimpsests of Jazz0
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