Music Theory Spectrum

Papers
(The TQCC of Music Theory Spectrum is 1. 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 2022-06-01 to 2026-06-01.)
ArticleCitations
Meter as RhythmMusic in Time: Phenomenology, Perception, Performance15
Barbershop’s Cautionary Tale for Academic Music Theory: A Response to Stephen Lett5
Formalism as “Bad Magic”: Russian Orthodoxy, Eurocentrism, and Yuri Kholopov's Musical Logic4
Spreading the Word4
Contrapuntal Parody and Transsymphonic Narrative in Mahler’s Rondo-Burleske4
Standing on the Shoulders of Giants: Commemorative Mimesis and Vocal Assertion in Red Velvet’s Borrowing of J. S. Bach’s Air from Orchestral Suite No. 34
Qualia Motion in Fourier Space: Formalizing Linear, Nondirected, and Contrapuntal Ambiguity in Schoenberg’s Op. 19, No. 13
Apparently Imperfect: On the Analytical Issues of the IAC3
Materiality of Sonic Imagery: On Analysis of Contemporary Chinese Compositions3
Hermeneutic Limits; or, When Not to Theorize: Notes for Interpreting Our Phoenix by Trans Indigenous Mexican-American Composer Mari Esabel Valverde3
Extreme Meter Changes and Tempo Giusto in Some Songs by Brahms3
An Unnatural Attitude: Phenomenology in Weimar Musical Thought. By Benjamin Steege3
Music Theory and the SMT at 45: Perspectives on Inclusion2
How SMT Could Become More Welcoming2
Orienting to Pedagogical Service2
Analytical Essays on Music by Women Composers: Concert Music, 1900–1960. Edited by Laurel Parsons and Brenda Ravenscroft2
The Audience Chimera: On Platforms, Publics, and Power2
Retracted Tonal Areas and the “Interrupted SK Exposition”: Circular Directionality in Early Nineteenth-Century Music2
Contributors2
Abolitionist Music Theory and Marxism: Notes Toward a Reconciliation2
Focal Impulse Theory. By John Paul Ito2
Attachments on Display: Music Analysis in the Public Sphere2
Rossinian Reiz : Strategic Musical Irritation and the Capturing of Attention2
Public Music Theory: A Way of Understanding2
Queer Ear: Remaking Music Theory1
Naamyam, Creative Music, and Immigrant Act: Meditations on Jon Jang’s Musical Setting of Genny Lim’s “Burial Mound”1
Narrative and Tonal Structure in Herrmann’s Score for Vertigo1
Correction to: review of Analytical Essays on Music by Women Composers: Concert Music, 1900–1960. Edited by Laurel Parsons and Brenda Ravenscroft1
Zarlino’sComporre di fantasiaand Canon1
I Don’t Hear It That Way: Temporal Parallax, Metal, and Music Theory’s “Listener”1
Writing (Re)Considered1
Leitmotivic Strategies in Nobuo Uematsu’sFinal FantasySoundtracks1
Enacting Musical Time: The Bodily Experience of New Music. By Mariusz Kozak1
Bins, Spans, and Tolerance: Three Theories of Microtiming Behavior1
Undisciplined1
Hidden Public Music Theory1
Motivic Trees, Network Analysis, and Bartók’sEight Improvisations on Hungarian Folk Songs, No. 51
The Royal Road Progression in Japanese Popular Music1
Combinatorics, Composition, Copia: Mersenne’s Permutations as Rhetoric of Abundance1
Contributors1
Contributors1
Corpus Studies, Sonata Typology, and the Nineteenth-Century Violin Concerto: Viotti, Saint-Saëns, and the Challenge of Recapitulatory Compression1
Varied Ostinato and the Functions of Repetition in Harrison Birtwistle’s “Frieze 2” and “Frieze 3”1
Contributors1
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