OOIR: Observatory of International Research

Papers

(The TQCC of American Music 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
Moments	11
A Boston Woman's Chronicle: Music and Social Ritual in the Diaries of Frances Lang	3
“The Music Industry Funds Private Prisons”: Analyzing Hip-Hop Urban Legend	1
Launchpads, Observation Decks, and Springboards	1
Musicking in Lumpkin County, Georgia, 1909–1928	1
“My Heart Will Go On”: Chinese Karaoke and the Cultural Performance of Identity for Panama's Chinese Diaspora	1
Im/Mobility Paradox: Jazz Making in the Incarceration Camps of World War II	1
Rock ’n’ Roll (Archipelagic American Music Studies)	1
Music, Movement Culture, and the Politics of Bodily Health	1
New Currents in Film Music, Television Music, and Streaming Media Music Studies	1
Violines a Ochún and Musical Devotion for the Orishas	1
Skin in the Game: The Ethics of Who Hears Here?	1
Making an American Opera Career: Conductor May Valentine (1890–1974) and a Woman's Role(s) in the Business of Opera	1
Cooking Lessons: Guthrie P. Ramsey's Generational Influence	0
More than Divas: Chinese Cuban Women, Opera Performance, and the Construction of Alternative Ways of Being and Belonging in Cuba	0
Bossa Mundo: Brazilian Music in Transnational Media Industries	0
A Leap of Faith with Dr. Guthrie Ramsey	0
Black Diamond Queens: African American Women and Rock and Roll	0
The New Jazz Studies Continues	0
Editor's Introduction	0
The Way We Do the Things We Do: “Staying in the Pocket” with Guthrie P. Ramsey, Jr.	0
The Dog Who Became a Song	0
Cambodian American Listening as Memory Work	0
“If That Be Treason, Let Them Make the Most of It!”: Olin Downes, the Spanish Civil War, and Civil Liberties in the United States	0
Samuel “Golden Rule” Jones: Music and the Social Good in Progressive Era Toledo, Ohio	0

“You Gotta Accentuate the Positive”: Japanese American Affirmation and Resilience in The Camp Dance: The Music and the Memories	0
Reparations in Music Scholarship	0
Styling Blackness as Artesano: The Intersection of Music-Dance, Race, and Class in the Club Mayagüezano	0
Guest Editors’ Introduction: Opening Conversations that Matter in Public Music Studies	0
The Music of the Accordion and Bajo Sexto: Cultural Heritage at the U.S.–Mexico Border	0
Public Musicology, Public Radio: Some Approaches to Diversity, Equity, and Inclusion from Classical Radio	0
Community, Morality, and Diegetic Music in Little House on the Prairie	0
Distortion and Subversion: Punk Rock Music and the Protest for Free Public Transportation in Brazil (1996–2011)	0
The Art of the Black Feminist Scholar-Performer	0
Reconsidering Aural Imagination through Ana María Ochoa Gautier's Aurality	0
Conference Report: Asian/American Jazz: Past, Present, Future	0
Stephen Foster and the Slavery Question	0
“A Very Ingenious and Superior Invention”: Sailing Ship Windlass Technology and the Burgeoning of Sailors’ Chanties	0
Bars	0
Finding the “Frontier” in a Page of Music: Imperial Evidence and the Legacy of Settler Colonialism	0
Reconstructing the Taíno Past: Music, Indigeneity, and Colonialism in Puerto Rico	0
Silent No More: Anti-Asian Racism in Music	0
Capitalism and the Future of American Classical Music Scholarship	0
Everything Everywhere All at Once	0
The Ethnographic Ear and Fraught Histories of Belonging: Listening to Voices in Ochoa's Aurality	0
“Doing the hearing, the making, and the explaining”: Putting the Work of Guthrie P. Ramsey, Jr., and Camille Norment in Conversation	0
This Is (Not) America(n Music)	0
Revisionist History in New Media Formats: Adrian Younge's The American Negro Project	0
Valuing Collaboration in American Music Studies	0
Lo antiguo está de moda (What's Old Is New Again): Current Trends in Contemporary Cuban Dance Music	0
“Let me just share my screen”: Perspectives on the Discipline through the Prism of Pandemic Online Conferences	0
Is Country Music Quintessentially American?	0
Anti-Asian Hate and the Transpacific History of American Music; Or, Why Is “Chinatown, My Chinatown” Still Played?	0
Chinese Troupes on Tour in Latin America: From Chinatown Itineraries to Cold War Cultural Diplomacy	0
Guest Editor's Introduction: “Cuba y Puerto Rico son de un pájaro, las dos alas”	0
Doing Tai Chi with “American Music”	0
Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-garde Music	0
Jazz Places: How Performance Spaces Shape Jazz History	0
Editor's Introduction	0
Dramatizing the Blues: Smokey Robinson's Formal Conversions of Blues from 1964 to 1975	0
Travels with Albizu Campos's Voice: A Haunted History	0
Wagner on the Midway: Reassessing Sonic Divisions at the 1893 World's Columbian Exposition	0
“The Most Misunderstood Man in the Territory?”: Jud Fry and the Politics of Oklahoma! (1943) in the Twenty-First Century	0
The Immigrant Journey of Arthur P. Schmidt: Tracing a Nineteenth-Century Music Publisher's Social and Cultural Capital from Hamburg to Boston	0
Black Musicological World-Making in Who Hears Here?	0
Antonin Dvořák's New World SymphonyDvořák's Prophecy and the Vexed Fate of Black Classical Music	0
Herrman S. Saroni: Paths to Success as a Composer in New York, 1844–52	0
Editor's Introduction	0
Asian American Female Composers and Digital Memory	0
Musicking Imperialism, Race, and Gender during the Philippine-American War	0
“On Howls and Pitches” and the Rural Voice	0
Working Collectively: Thoughts toward a Better Music Studies from the Project Spectrum Graduate Student Committee	0
Aurality, Non-Locality, History	0
Reparative Public Musicology: Empowering and Centering Community Knowledge Production through Counter-Storytelling Practice	0
Navigating Black Identity and White Desire: Seven-Eleven and the 1920s Crossover Musical Comedy	0

After the Dance, the Drums Are Heavy: Carnival, Politics, and Musical Engagement in Haiti	0
“I Have What I Had to Have”: Signifying the Afro-Cuban Experience in Three Musical Settings of Nicolás Guillén's “Tengo”	0
Elizabeth Taylor Greenfield's Mid-to-Late Career, Philanthropy, and Activism in Nineteenth-Century America	0
Reading through Aurality's Afterlives	0
The Multimusicverse of Jon Jang	0
Significant Difference in American Music Studies	0
Traditional Chinese Theater in Peru, 1856–1960: Origin, Disappearance, and Memory	0
Performing Tsarist Russia in New York: Music, Émigrés, and the American Imagination	0
Defining Conjunto Quantitatively: Classical and Modernist Styles in a Texas-Mexican Genre	0
Buscando Guaguancó: Genre Naming, Race Aesthetics, and the Resignification of a Folkloric Form (1918–2023)	0
From Jonkonnu and Son de los diablos to Congo Square and Son Jarocho: Global Histories of the Jawbone/Quijada as a Black Musical Instrument	0
Editor's Introduction	0
The World We Make: Black Colleges and Black Music Studies	0
Podcasts, Partnerships, and Laboratories for American Music	0
What's at Stake? Considering the Case for “Asian American Jazz”	0
Virtual Citizenship and Revolutionary Transatlantic Republicanism in the Musical Lives of Exiled United Irishmen	0
Studying Classical Music to Play Popular Music: Musical Training in Cuba	0
Composing a Nation in Crisis: Musical Americanism and US National Identity in Elie Siegmeister's Vietnam War Works	0
Listening for Sino-Soundscapes in Latin America: An Introduction	0
Interlocking Themes: American Music, Race, and Music Scholarship	0
Women's Work in Music	0
The 701 Articles of American Music: A Quantitative Study of Forty Years of Scholarship	0
American Gamelan and the Ethnomusicological Imagination	0
“Do You Hear Me, Though?”: Ramsey and the Politics of Black Music Inquiry	0
Black and Asian Stories, Citations, and Epistemic Shifts in American Music Studies: A Response to Guthrie P. Ramsey, Jr.	0
Applying Commemorative Museum Pedagogy to Public Music Studies	0
“Where Are You From?” Asian Americans on Indigenous Lands	0
Whose Ear Here?	0
Music, Migration, and Cultural Membership in Close Harmony	0
A Respectable Spell: Transformations of Samba in Rio de Janeiro	0
Smears, Laughs, and Barnyard Hokum: Early Jazz Trombone and the Problem of Novelty	0
Transpacific Im/Mobilities: Two Movements in Nisei Musical Practice	0
“The [Puerto Rican] Danza Is [Not] Dead”: National Music Revisited	0