Bibliography

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. 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.


Adams, Kyle. 2009. “On the Metrical Techniques of Flow in Rap Music.” Music Theory Online 15 (5). http://www.mtosmt.org/issues/mto.09.15.5/mto.09.15.5.adams.html.
Adams, Kyle. 2015. “What Did Danger Mouse Do? The Grey Album and Musical Composition in Configurable Culture.” Music Theory Spectrum 37 (1): 7–24.
Alim, H. Samy, Jooyoung Lee, and Lauren Mason Carris. 2010. “‘Short Fried-Rice-Eating Chinese MCs’ and ‘Good-Hair-Havin Uncle Tom Niggas’: Performing Race and Ethnicity in Freestyle Rap Battles.” Journal of Linguistic Anthropology 20 (1): 116–33. https://doi.org/10.1111/j.1548-1395.2010.01052.x.
Attas, Robin. 2011. “Sarah Setting the Terms: Defining Phrase in Popular Music.” Music Theory Online 17 (3). http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.attas.html.
Attas, Robin. 2015. “Form as Process: The Buildup Introduction in Popular Music.” Music Theory Spectrum 37 (2): 275–296.
Barna, Alyssa. 2018. “The Dance Chorus in Recent Top-40 Music.” Paper presented at the Music Theory Southeast, Columbia, South Carolina, March 2.
Bennett, Samantha. 2015. “Never Mind the Bollocks : A Tech-Processual Analysis.” Popular Music and Society 38 (4): 466–86. https://doi.org/10.1080/03007766.2015.1034508.
Biamonte, Nicole. 2010. “Triadic Modal and Pentatonic Patterns in Rock Music.” Music Theory Spectrum 32 (2): 95–110. https://doi.org/10.1525/mts.2010.32.2.95.
Biamonte, Nicole. 2014. “Formal Functions of Metric Dissonance in Rock Music.” Music Theory Online 20 (2). http://www.mtosmt.org/issues/mto.14.20.2/mto.14.20.2.biamonte.html.
Brackett, David. 2016. Categorizing Sound: Genre and Twentieth-Century Popular Music. Oakland, CA: University of California Press.
Brøvig-Hanssen, Ragnhild, and Paul Harkins. 2012. “Contextual Incongruity and Musical Congruity: The Aesthetics and Humour of Mash-Ups.” Popular Music 31 (01): 87–104. https://doi.org/10.1017/S026114301100047X.
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 Melissa Lafrance, 31–62. New York: Routledge.
Butler, Judith. 1988. “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” Theatre Journal 40 (4): 519–531.
Butler, Mark J. 2006. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Indiana University Press.
Clercq, Trevor de. 2017. “Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991.” Music Theory Online 23 (3). https://mtosmt.org/issues/mto.17.23.3/mto.17.23.3.de_clercq.html.
Fink, Robert. 2011. “Goal-Directed Soul? Analyzing Rhythmic Teleology in African American Popular Music.” Journal of the American Musicological Society 64 (1): 179–238. https://doi.org/10.1525/jams.2011.64.1.179.
Hubbs, Nadine. 2007. “‘I Will Survive’: Musical Mappings of Queer Social Space in a Disco Anthem.” Popular Music 26 (02): 231–44. https://doi.org/10.1017/S0261143007001250.
Johnson-Grau, Brenda. 2002. “Sweet Nothings: Presentation of Women Musicians in Pop Journalism.” In Pop Music and the Press, edited by Steve Jones. Temple University Press.
Kajikawa, Loren. 2009. “Eminem’s ‘My Name Is’: Signifying Whiteness, Rearticulating Race.” Journal of the Society for American Music 3 (03): 341. https://doi.org/10.1017/S1752196309990459.
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. https://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.lafrance_burns.html.
Miller, Karl Hagstrom. 2010. Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow. Durham NC: Duke University Press Books.
Murphy, Nancy. forthcoming. “Expressive Timing in ‘With God on Our Side.’” Music Analysis.
Neal, Jocelyn R. 2007. “Narrative Paradigms, Musical Signifiers, and Form as Function in Country Music.” Music Theory Spectrum 29 (1): 41–72. https://doi.org/10.1525/mts.2007.29.1.41.
Nobile, Drew F. 2015. “Counterpoint in Rock Music: Unpacking the ‘Melodic-Harmonic Divorce.’” Music Theory Spectrum 37 (2): 189–203. https://academic.oup.com/mts/article-abstract/37/2/189/1083396.
Railton, Diane, and Paul Watson. 2011. “Music Video in Black and White: Race and Femininity.” In Music Video and the Politics of Representation, 87–107. Edinburgh: Edinburgh University Press. http://www.jstor.org/stable/10.3366/j.ctt1r1zr6.8.
Rose, Tricia. 1994. “Bad Sistas: Black Women Rappers and Sexual Politics in Rap Music.” In Black Noise: Rap Music and Black Culture in Contemporary America. African American Music Reference. Hanover, NH: Wesleyan University.
Spicer, Mark. 2017. “Fragile, Emergent, and Absent Tonics in Pop and Rock Songs.” Music Theory Online 23 (2). http://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.spicer.html.
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). https://doi.org/10.30535/mto.23.2.6.
Temperley, David. 2007. “The Melodic-Harmonic ‘Divorce’ in Rock.” Popular Music 26 (02): 323. https://doi.org/10.1017/S0261143007001249.
Waksman, Steve. 1996. “Every Inch of My Love: Led Zeppelin and the Problem of Cock Rock.” Journal of Popular Music Studies 8: 5–25.