Diagonal: An Ibero-American Music Review
Parent: UC Riverside
eScholarship stats: Breakdown by Item for April through July, 2026
| Item | Title | Total requests | Download | View-only | %Dnld |
|---|---|---|---|---|---|
| 5ww3z0fm | Before Their Music Stopped: Manila’s Spanish Military Regimental Bands at the End of the 19th Century | 1,123 | 525 | 598 | 46.7% |
| 2k13t0zg | Sound Architectures: The Relationship between Music and Architecture | 814 | 257 | 557 | 31.6% |
| 2b28k84h | Música tradicional andina: (des)vínculación entre melodía y estilo | 727 | 135 | 592 | 18.6% |
| 91h9z40x | Hacia una 'historia conectada' de la música colonial latinoamericana | 696 | 365 | 331 | 52.4% |
| 2kg3r00p | Foreign Concepts: Saverio Mercadante and the Seeds of Modern Lyric-Theatrical Spanishness | 661 | 463 | 198 | 70.0% |
| 3618f26r | Benedicto Sáenz 'Libera Me': Occidentalisms in Latin America Nineteenth-Century Sacred Music | 613 | 421 | 192 | 68.7% |
| 2vt7s843 | The Narrative Imperative of Granados’s "Goyescas" | 586 | 146 | 440 | 24.9% |
| 05q4p768 | From Elite to Popular: Estudiantinas in La Paz, Bolivia, 1880s to 1940s | 550 | 132 | 418 | 24.0% |
| 2g29t9nj | Devenires del canto de las mujeres 'qom' del Chaco argentino: Del espacio doméstico indígena al espectáculo intercultural | 504 | 337 | 167 | 66.9% |
| 7wz7j6wz | Amor eterno e inolvidable: explorando la huella emocional de Juan Gabriel en la música mexicana | 463 | 115 | 348 | 24.8% |
| 4pg5f1h9 | Granados’s Piano Trio: Harbinger of Masterworks to Come | 437 | 277 | 160 | 63.4% |
| 79r450pw | Entre los Bambucos de Gentil Montaña | 413 | 88 | 325 | 21.3% |
| 3z711898 | New Approaches to Enrique Granados’ Pedagogical Methods and Pianistic Tradition: A Case Study of Valses poéticos op.43 | 394 | 229 | 165 | 58.1% |
| 8qg6c8nx | Estudio de la Suite para Piano Goyescas: Los Majos Enamorados a través de los Personajes de los Cuadros de Goya. | 391 | 286 | 105 | 73.1% |
| 4g23p07b | Basque Songs for My Grandmother | 390 | 301 | 89 | 77.2% |
| 8301v8fh | Música instrumental en Valencia entre los siglos XVIII y XIX: Revisión crítica para la investigación y docencia | 386 | 223 | 163 | 57.8% |
| 5qp5z8j4 | Paco de Lucía, Made in the USA | 384 | 223 | 161 | 58.1% |
| 4nv9w1rx | Roots of Lorca’s Black Poetry in Van Vechten’s Vision of the African American Spiritual | 363 | 114 | 249 | 31.4% |
| 3bm520m0 | Entre dos aguas: An Examination of Paco de Lucía’s Musical Connections to the Americas | 362 | 161 | 201 | 44.5% |
| 3th1332z | Cosa de hombres: sobre construcciones de género en la musicología sobre la música de los Andes | 351 | 174 | 177 | 49.6% |
| 4f03574d | Enrique Granados y el drama rural de Feliú y Codina en dos obras para escena en castellano: Miel de la Alcarria (1897) y María del Carmen (1898) | 350 | 235 | 115 | 67.1% |
| 45s134b7 | La Tierra del Fuego se apaga: Requiem para flauta sola | 348 | 226 | 122 | 64.9% |
| 5rb52051 | Melodías para versos silenciosos: Bailes, danzas y canciones para violín en el Manuscrito de Salamanca (ca. 1659) | 345 | 220 | 125 | 63.8% |
| 0c7417k0 | Albéniz, Malats, Iberia and the ultimate "españolismo" | 344 | 137 | 207 | 39.8% |
| 1vf8n0j2 | El contexto extra-musical en la interpretación de Goyescas – Los Majos Enamorados: Interrelación artística | 343 | 237 | 106 | 69.1% |
| 15q6n48p | "El Militar Retirado" de Pedro Jiménez de Abrill (Arequipa, 1784-Sucre, 1856): Una Tonadilla Inédita en el Perú Independiente. | 328 | 188 | 140 | 57.3% |
| 1gn3c40d | Haciendo música moderna en la Alemania nazi. La experiencia migratoria de la compositora chilena Carmela Mackenna Subercaseaux revisada a través del estudio de “Musique pour deux pianos” (1936) | 328 | 233 | 95 | 71.0% |
| 8wj887v1 | Memory, Nostalgia, and Resistance: The Afro-Latin Art Song | 326 | 103 | 223 | 31.6% |
| 39f0q7ww | “El Bandolón”…instrumento emblemático del México independiente | 323 | 96 | 227 | 29.7% |
| 65r2n2tg | Pan-American Contributions to Flamenco – The Role of Paco de Lucía | 314 | 152 | 162 | 48.4% |
| 9n503157 | Danzón-Cumbia: Audible Legacies of Cuban Music in Panamanian Popular Music | 310 | 100 | 210 | 32.3% |
| 23g476nv | From “Greater America” to America’s Music: Gilbert Chase and the Historiography of Borders | 306 | 90 | 216 | 29.4% |
| 4fd1z7h6 | Pacto de violeiro: entre as cordas, o diabo e a cruz | 299 | 87 | 212 | 29.1% |
| 1673z6wk | El cuerpo cantante en las tonadillas a solo para Miguel Garrido | 291 | 156 | 135 | 53.6% |
| 6t48v7wk | “The Notes that bathe the Mediterranean”: Spanish Flamencos and Moroccan Musicians in Creative Convivencia | 291 | 197 | 94 | 67.7% |
| 32c8c4xt | Música kuximawara entre os povos indígenas do Noroeste Amazônico: a ética-estética de Jurupary/Biisiu aplicada à música popular | 290 | 104 | 186 | 35.9% |
| 71j1c730 | América en Paco de Lucía: adquisición y aportación al repertorio y músicos iberoamericanos | 289 | 127 | 162 | 43.9% |
| 2036x4sx | Intertextualidad entre el folclore andaluz, "Dedicatoria" y otras obras de Federico Moreno Torroba | 285 | 88 | 197 | 30.9% |
| 0rh176rz | The Secret Nightingale: When Utterance and Silence Co-exist; Susan Metcalfe-Casals and the Genesis of “En Sourdine” | 282 | 108 | 174 | 38.3% |
| 3x74g10t | Identidad musical de los cantes mineros: Búsqueda y documentación | 282 | 167 | 115 | 59.2% |
| 6b1265pn | ‘Hoy al Portal ha venido’: Nativity scenes and the Galant style in the Christmas villancicos from the Cathedral of Santiago, Chile (c.1770-1820) | 281 | 100 | 181 | 35.6% |
| 9wb674b0 | Los sonidos de Costa Rica 200 años después / The Sounds of Costa Rica 200 years later | 276 | 75 | 201 | 27.2% |
| 2bh603m7 | “Ecco il loco destinato”: Cenobio Paniagua, the New Composer and Original Opera as an Expression of National Pride in 1863 Mexico | 274 | 163 | 111 | 59.5% |
| 71f355xh | El Concierto para piano, Op. 22 (1904) de Ricardo Castro (1864-1907): contextualización histórica y aproximación analítica | 274 | 154 | 120 | 56.2% |
| 3sc408fm | Polyrhtythmia in the Music of Cuba | 271 | 138 | 133 | 50.9% |
| 08q4w99f | From La leyenda del tiempo to La leyenda del espacio. Three Decades of Rock and Flamenco Hibridisation in Andalusian Music | 267 | 99 | 168 | 37.1% |
| 24t3182j | El oratorio musical en España: Razones para su tardía implantación | 267 | 119 | 148 | 44.6% |
| 2rg3579c | Around the Kitchen Table: René Heredia Remembers | 267 | 178 | 89 | 66.7% |
| 7gn7d1ng | Samuel Zyman’s "Concerto for Cello and Orchestra": An Analytical Approach | 263 | 154 | 109 | 58.6% |
| 6gw3j45g | Instrumentos musicales y patrones rítmicos de la mayapax en la zona centro de Quintana Roo, México | 262 | 84 | 178 | 32.1% |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.