Musical Quarterly

Papers
(The TQCC of Musical Quarterly 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 2022-05-01 to 2026-05-01.)
ArticleCitations
“This Year’s Model”: Toward a Sloanist Theory of Popular Music Production1
Music Book Trade in the Age of Bach: Michel-Charles Le Cène’s Agents in Germany1
Ferdinand Hiller’s Twelve Trips to Meet Old Friends in Heaven: A Little-Known Essay in Cultural Commentary from 18811
Evoking Joan of Arc’s Soundworld in Jacques Rivette’s Jeanne la Pucelle (1994): Authenticity versus Cinematic Musical Convention1
Claude Debussy: The Man in His Time0
The End of History?0
Mendelssohn’s “Late Style”: Form, Texture, and Sonority in the Final Chamber Works0
Stravinsky and the Jews0
Peaceful Coexistence: Nicolas Slonimsky’s 1962 USSR Tour and “Outside Insider” Cold War Music Diplomacy0
Music in Time of War0
Mendelssohn and the Question of German Guilt0
Between Exegesis and Mystification: Anton Schindler, the Unfaithful Popularizer of Beethoven’s Sketches0
JUPITER: Reading the “Viennese Classics” in Nineteenth-Century Britain0
Buried in Birmingham: Excavating and Understanding the Musical Work of Women in Britain’s Silent Cinema0
A Letter from Siberia: Tālivaldis Ķeniņš and the Reconstruction of the Latvian Nation-State (1945–91)0
Vaughan Williams, Modernism, and Neo-Romanticism: Sancta Civitas as a Vision “Among the Ruins”0
Stories About Music: The Program Notes of the Crystal Palace Saturday Concerts, 1865–18790
Edward Said, Opera, and Politics: An Interview with Peter Sellars0
Georges Auric’s Letters to Jacques and Raïssa Maritain0
Respectability, Prestige, and the Whiteness of Opera in American Popular Entertainment from 1890 to 19370
“Always Toss Bricks”: Black Separatist Advocacy in Porter Roberts’s Columns for the Pittsburgh Courier, 1936–19390
Spiritual Commodification: A Political Economy of African Jazz in the Civil Rights Era0
George Crumb and the Power of First Hearing0
An Automatic Organ for the Pope: Mechanized Music and the Catholic Church in Twentieth-Century Italy0
Letter to the Editor0
In the Crossfire of Cold War Politics: Walter Felsenstein’s Fiedler auf dem Dach in the German Democratic Republic0
Gardens, Theaters, and the Viennese Neo-Baroque after 1900: Schreker’s Der Geburtstag der Infantin and Zemlinsky’s Der Zwerg0
Correction to: Between Exegesis and Mystification: Anton Schindler, the Unfaithful Popularizer of Beethoven’s Sketches0
Gender in Performance, Gender as Performance: Surveillance, Transgender Studies, and Reconsidering Dress Codes for Symphony Orchestra Musicians0
Introduction: An “Afterword”0
C. P. E. Bach, Attempted Hero0
Musical Prophecy and Racial Politics: Ulysses Kay’s Song of Jeremiah and the Interracial Fellowship Chorus0
Socialist Realism or Cybernetics? Music, Information Theory, and Posthumanism in the German Democratic Republic0
Beyond Maestro: Leonard Bernstein in Film and History0
Music, Conscience, and Politics in the Contemporary Moment0
Rethinking Musical Politics as Contingent Interactions Between Musical Texts and Contexts: The Politics of Rodríguez’s “Ojalá” in Today’s Cuba0
Reclaiming Expressionism: Hindemith’s Operatic Triptych0
Rock Music and Masculinity in Ireland, 1970–850
Music and the Human Condition in Times of Trouble0
The Struggling Siren: Speech Therapy and Claude Debussy’s Pelléas et Mélisande0
Phoenix Rising: Relevance and Sexiness Returns to Classical Music0
Live and Local in the Mechanisms of Empire: Making Sense of Musical Categories on Colonial Radio in North Africa0
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