OOIR: Observatory of International Research

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 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
Julián Carrillo, Laws of Musical Metamorphosis, and the Landscape of Early Atonal Thought	6
Texture, Rhythmic Synchrony, and Tonal Fusion in Henry Threadgill’s In for a Penny, In for a Pound	6
Alanis Morissette’s Voices	5
Music as Language of the Upper Realm: A Translation of Li Tsing-chu’s A General Treatise on Music (1930/1933)	5
Willaert’s Elusive Counterpoint Explained	4
Cadential Melodies	4
Music from Plant Biosignals	3
Billy Joel’s Enharmonic Duplicity	3
Commentary	3
Commentary	3
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
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
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
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
Reimagining Formal Functions in Post-Tonal Music	0
Review of Drew Nobile, Form as Harmony in Rock Music (Oxford University Press, 2020)	0
Gestural Perspectives on Popular-Music Performance	0
Sonic Bridges and Pitch-Based Bonding in Two Songs by Saariaho	0
Commentary	0
Review of Philip Ewell, On Music Theory, and Making Music More Welcoming for Everyone (University of Michigan Press, 2023)	0
Prioritizing Narrative Structure in Large-Scale Film-Music Analysis: A Case Study of Dramatic Irony inBarton Fink	0
Out of the Blue	0
Gestural Temporality in Sciarrino’s Recitativo oscuro	0
	0
Review of Amy Cimini, Wild Sound: Maryanne Amacher and the Tenses of Audible Life (Oxford University Press, 2022)	0
Review of Kenneth Smith and Vasilis Kallis, eds., Demystifying Scriabin (Boydell Press, 2022)	0
	0
The Poetics and Politics of Ambiguity	0
The Many Paths of Decolonization	0
Rethinking Topic Theory	0
Embedded Music Theory	0
Koizumi Fumio on Nuclear Tones	0
Structural Density and Clarity, Technical Death Metal, and Anomalous’s “Ohmnivalent”	0
Historical Examination and Theoretical Analysis of Maqām Iṣfahān in Persian Art Music	0
Some Proposed Enhancements to the Operationalization of Prominence	0
Review of Violetta Kostka, Paulo F. de Castro, and William A. Everett, eds., Intertextuality in Music: Dialogic Composition (Routledge, 2021)	0
Review of Matthew Santa, Hearing Rhythm and Meter: Analyzing Metrical Consonance and Dissonance in Common-Practice Music (Routledge, 2020)	0
Was Mesopotamian Tuning Diatonic? A Parsimonious Answer	0
Report	0
Commentary	0
Performing Meter	0
Chromatic Function in Schoenberg’s Little Piano Piece, op. 19, no. 1	0
Xenakis’ Sieve Theory	0
	0
Metric Modes and Fluid Meter in Mande Drumming Music	0
Review of Elliott Carter Speaks: Unpublished Lectures, Edited and with an introduction by Laura Emmery (University of Illinois Press, 2021)	0
On the Tonic Added-Sixth Chord in Jazz	0
Integration, Urbanity, and Multi-Dimensionality in Schoenberg’s First Quartet	0
Gusti Putu Madé Geria’s Theory for Balinese Gamelan	0
	0
Becoming and Disintegration in Wolfgang Rihm’s Fifth String Quartet, Ohne Titel	0
Hands, Fingers, Strings, and Bows	0

Between Half and Perfect Cadences	0
	0
Extending the Parallel Multiple-Analysis Processor	0
“Your Soul is the Whole World”: The Spaces of Claude Vivier’s Siddhartha	0
“Feel the Emptiness”	0
	0
Contrapuntal Direction and the Diagnosis of Compositional Relationships in Fifteenth-Century Masses	0
“At One End of the Endless Universe”	0
Commentary	0
On the Ubọ-Aka of the Igbo	0
Injury, Affirmation, and the Disability Masquerade in Ye’s “Through the Wire”	0
Switch Up the Groove	0
Translation of Shin Eun-Joo’s “Two Theories of Ujo and Pyeongjo in Pansori: Comparing Baek Daewoong’s an	0
	0
Gesture through the Lens of Pluridimensional Serialism in the Music of Camillo Togni	0
George Walker’s Piano Music	0
Referents in the Palimpsests of Jazz	0
Klangfarbenmelodie, Chromophony, and Timbral Function in Arnold Schoenberg’s “Farben”	0
Klangfarbenmelodie in 1911: Timbre’s Functional Roles in Webern’s Opp. 9 and 10	0
	0
Conference Report	0
Music Theory as an Instrument of Nationalism	0
Commentary	0
Eric Dolphy’s and Yusef Lateef’s Synthetic Formations	0
A Taxonomy of Orchestral Grouping Effects Derived from Principles of Auditory Perception	0
A Thread of Recitative Ruffs	0
The Melodic Organization ofThe Rite of Spring	0
Tonal Ebb, Sunken II Chords, and Text-Music Correspondences in Robert Schumann’s Lieder	0
Pitch Registration and Harmonic Fields in Works of Pierre Boulez, Marco Stroppa, and Yukiko Watanabe	0
Sociable Musicopoetics in Vijay Iyer and Mike Ladd’s In What Language	0
Mixture Strategies	0
Ernst Friedrich Richter and the Birth of Modern Music Theory Pedagogy	0
Reimagining Organicism	0
Teleology in Verse–Prechorus–Chorus Form, 1965–2020	0
Commentary	0
Vocal Production, Mimesis, and Social Media in Bedroom Pop	0
Review of Joel Lester, Brahms’s Violin Sonatas: Style, Structure, Performance (New York: Oxford University Press, 2020)	0
Mid-Exposition Modal Contrast and Francesco Galeazzi’s “Characteristic Passage”	0
Kaleidoscopic Topics in the Music of György Ligeti and Thomas Adès	0
	0
TheTechneof YouTube Performance: Musical Structure, Extended Techniques, and Custom Instruments in Solo Pop Covers	0
Emotional Tones and Emotional Texts	0
	0
Commentary	0
Harmonic “Quality” and Set-Class Structure	0
Conference report	0
Philosophizing Time in Sinitic Opera	0
Returning to the Continuum	0
Commentary	0
Commentary	0
Introduction	0
Commentary	0
Translation of Dobri Hristov’s “Metric and Rhythmic Fundamentals of Bulgarian Folk Music”	0
The Semantic Evolution of Chromatic Mediants	0
Pentatonic Xuangong 旋宮 Transformations in Chinese Music	0
Three Sailors, Three Personalities: Choreomusical Analysis of the Solo Variations in Fancy Free	0
On Meter and the Social Dynamics of Cueing in Bill Monroe’s “Muleskinner Blues”	0
Rotational Principle as Teleological Genesis in the “Annunciation of Death” Scene from Wagner’s Die Walküre	0
A General Method For Composing a Canon Against a Cantus Firmus Using Sergei Taneev’s Double-Shifting Counterpoint	0
Public Music Theory’s Neoliberal Learning Outcomes	0
Sound Structures and Naked Fire Gestures in Cecil Taylor’s Solo Piano Music	0
Imaginary Folk Music: Investigating Unsuk Chin’s Gougalōn (2009/2012) through Cumulative Intercultural Analysis	0
Reconstructing the Paris Conservatory’sCours d’Harmonie1812–1844: Discipline, Sources, Theory, and Method	0
Codetta and Anthem Postchorus Types in Top-40 Pop from 2010 to 2015	0
Embedded Dissonance in Eighteenth- and Nineteenth-Century Harmonic Theory and Practice	0
Review of Here for the Hearing: Analyzing the Music in Musical Theater, ed. Michael Buchler and Gregory J. Decker	0
The Turn in the Finale of Mahler’s Ninth Symphony as Allusion to Wagner’s Parsifal	0
Talking Scores and the Dismediation of Music Notation	0
Commentary	0
Introduction	0
Reassessing the Plagal Cadence in Byrd and Morley	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
8-Bit Affordances: Jun Chikuma’s Soundtrack toFaxanadu	0
Review of David Temperley,The Musical Language of Rock(Oxford University Press: 2018)	0