The bibliography given below is automatically generated using Zotero, in Chicago author-date format. The citation may have errors—if you notice any, please let me know.

Some of the sources below may be available in the Readings folder on Teams. Otherwise, you have access to very nearly every listed source through the library. If you still can’t find it after looking in the library, send me an email and I will get you a copy.

Attas, Robin. 2022. “The Many Paths of Decolonization: Exploring Colonizing and Decolonizing Analyses of a Tribe Called Red’s ‘How I Feel.’” Music Theory Online 28 (2).
Barna, Alyssa. forthcoming. “The Bridge and the Role of Contrast in Post-Millennial Popular Music.”
Biamonte, Nicole. 2010. “Triadic Modal and Pentatonic Patterns in Rock Music.” Music Theory Spectrum 32 (2): 95–110.
Biamonte, Nicole. 2014. “Formal Functions of Metric Dissonance in Rock Music.” Music Theory Online 20 (2).
Burns, Lori. 2002. “‘Close Readings’ of Popular Song: Intersections among Sociocultural, Musical, and Lyrical Meanings.” In Disruptive Divas: Feminism, Identity and Popular Music, by Lori Burns and M. Lafrance, 31–62. New York: Routledge.
Cheng, William. 2018. “So You’ve Been Musically Shamed.” Journal of Popular Music Studies 31 (3): 36.
Duguay, Michèle. 2022. “Analyzing Vocal Placement in Recorded Virtual Space.” Music Theory Online 28 (4).
Hardman, Kristi. 2022. “The Continua of Sound Qualities for Tanya Tagaq’s Katajjaq Sounds.” In Trends in World Music Analysis: New Directions in World Music Analysis, edited by Lawrence Beaumont Shuster, Somangshu Mukherji, and Noé Dinnerstein, 85–99. Milton: Taylor and Francis.
Kajikawa, Loren. 2015. “‘Rapper’s Delight’: From Genre-Less to New Genre.” In Sounding Race in Rap Songs, 19–48. Oakland, California: University of California Press.
Lafrance, Marc, and Lori Burns. 2017. “Finding Love in Hopeless Places: Complex Relationality and Impossible Heterosexuality in Popular Music Videos by Pink and Rihanna.” Music Theory Online 23 (2): 33.
Lucas, Olivia R. 2022. “Form, Genre, and Vocal Performance in Nicki Minaj’s ‘Stupid Hoe’ (2011).” In Analyzing Recorded Music, edited by William Moylan, Lori Burns, and Mike Alleyne, 370–85. London: Focal Press.
Malawey, Victoria. 2020. “Pitch.” In A Blaze of Light in Every Word: Analyzing the Popular Singing Voice, 31–68. Oxford Studies in Music Theory. Oxford, New York: Oxford University Press.
Manabe, Noriko. 2019. “We Gon’ Be Alright? The Ambiguities of Kendrick Lamar’s Protest Anthem.” Music Theory Online 25 (1).
Murphy, Nancy. 2020. “Expressive Timing in Bob Dylan’s ‘With God on Our Side.’” Music Analysis 39 (iii): 387–413.
Neal, Jocelyn R. 2007. “Narrative Paradigms, Musical Signifiers, and Form as Function in Country Music.” Music Theory Spectrum 29 (1): 41–72.
Nobile, Drew. 2022. “Teleology in Verse–Prechorus–Chorus Form, 1965–2020.” Music Theory Online 28 (3).
Ohriner, Mitchell. 2019. “From Rhythm to Accent, from Sound to Rhyme.” In Flow: The Rhythmic Voice in Rap Music, 47–70. New York, NY: Oxford University Press.
Rogers, Lynne, Karen M Bottge, and Sara Haefeli. 2020. Writing in Music: A Brief Guide. New York: Oxford University Press.
Schloss, Joseph G. 2004. “Elements of Style: Aesthetics of Hip Hop Composition.” In Making Beats: The Art of Sample-Based Hip-Hop, 101–23. Middletown, CT: Wesleyan.
Sewell, Amanda. 2014. “Paul’s Boutique and Fear of a Black Planet: Digital Sampling and Musical Style in Hip Hop.” Journal of the Society for American Music 8 (01): 28–48.
Shelley, Braxton D. 2019. “Analyzing Gospel.” Journal of the American Musicological Society 72 (1): 181–243.
Sterbenz, Maeve. 2017. “Movement, Music, Feminism: An Analysis of Movement-Music Interactions and the Articulation of Masculinity in Tyler, the Creator’s ‘Yonkers’ Music Video.” Music Theory Online 23 (2).
Temperley, David. 2007. “The Melodic-Harmonic ‘Divorce’ in Rock.” Popular Music 26 (2): 323–42.
Wallmark, Zachary. 2022. “Analyzing Vocables in Rap: A Case Study of Megan Thee Stallion.” Music Theory Online 28 (2).