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Tempo is a peer-reviewed journal published by Cambridge University Press, covering Musicology and Musical Analysis, Diverse Musicological Studies, Advanced Electron Microscopy Techniques and Applications.
| Publisher | Cambridge University Press |
|---|---|
| Reference style | Numbered Numbered — [1], [2] in the text [1] A. Smith, B. Jones, and C. Lee, A representative article title, Tempo 12 (2023) 45–58.
Formats any DOI in the closest standard style — Tempo has no published style definition, so this is an approximation. No sign-up. |
| Publishes research in | Musicology and Musical Analysis Diverse Musicological Studies Advanced Electron Microscopy Techniques and Applications Legal case studies and regulations Music Technology and Sound Studies |
| ISSN | 0040-2982 |
| Citation impact (2-yr) | 0.14 |
| h-index | 26 |
| i10-index | 98 |
| Total citations | 3,925 |
| Top institutions publishing here | Royal Academy of Music |
| Journal website | www.cambridge.org |
| You get | A submission-ready PDF and the editable LaTeX source — ready to submit. |
Citations each year’s papers have accumulated so far — the most recent years are still building up.
Abstract Stockhausen's idiosyncratic spiritual beliefs, and the vigour with which he expressed them in his compositional processes, have sometimes been an obstacle to both musicians and audiences in engaging with his music. I explore the extent to which the ability to appreciate Stockhausen's music is predicated on a sympathy with his spiritual world view. I…
This article explores aspects of identity which underlie compositional processes in James MacMillan's music. This is not intended as a critical discourse on identity as such, since this highly contested area is subject to ‘extensive and intensive controversy about how identity should be conceptualised in the wake of various anti-foundational critiques to which it has…
This interview was conducted in November 1998 in connexion with a concert in the ‘dal niente’ series at King's College, London. The questions were faxed to Mr Lachenmann in English and he responded with written answers in German. A German-language version of the interview was published in the May 1999 issue of the Swiss contemporary…
Stravinsky said that he dreamed regularly, that his dreams were ‘the ground for innumerable solutions in my composing activity’. But it is just these composerly dreams about which he has been reticent. Instead, he has recalled the ‘time dreams and counting dreams [which] are common with me, and … dreams in which people shout, but…
The Black Gondola , John Adams's transcription for chamber orchestra of Liszt's La Lugubre Gondola II , composed in 1989 for the St. Paul Chamber Orchestra, Minnesota, shows how – as in the case of Wiegenlied (discussed in an earlier article, Tempo 175 ) – the composer has been attracted to those aspects of Liszt's…
