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).
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. 2006. Roc the Mic Right: The Language of Hip Hop Culture. 1 edition. New York: Routledge.
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.
Attas, Robin. 2011. “Sarah Setting the Terms: Defining Phrase in Popular Music.” Music Theory Online 17 (3).
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.
Biamonte, Nicole. 2014. “Formal Functions of Metric Dissonance in Rock Music.” Music Theory Online 20 (2).
Biamonte, Nicole. 2010. “Triadic Modal and Pentatonic Patterns in Rock Music.” Music Theory Spectrum 32 (2): 95–110.
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.
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.
Burns, Lori, Alyssa Woods, and Marc Lafrance. 2015. “The Genealogy of a Song: Lady Gaga’s Musical Intertexts on The Fame Monster (2009).” Twentieth-Century Music 12 (1): 3–35.
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.
Covach, John. 2005. “Form in Rock Music: A Primer.” Engaging Music: Essays in Music Analysis, 65–76.
Clercq, Trevor de. 2017. “Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991.” Music Theory Online 23 (3).
Doll, Christopher. 2017. Hearing Harmony: Toward a Tonal Theory for the Rock Era. Ann Arbor: University of Michigan Press.
Everett, Walter. 2000. Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays. New York: Taylor & Francis.
Fink, Robert. 2011. “Goal-Directed Soul? Analyzing Rhythmic Teleology in African American Popular Music.” Journal of the American Musicological Society 64 (1): 179–238.
Floyd, Samuel A. 1995. The Power of Black Music: Interpreting Its History from Africa to the United States. New York: Oxford University Press.;c=acls;idno=heb06332.0001.001;node=heb06332.0001.001%3A2;rgn=div1;view=image;page=root;seq=15.
Frank, Gillian. 2007. “Discophobia: Antigay Prejudice and the 1979 Backlash against Disco.” Journal of the History of Sexuality 16 (2): 276–306.
Hanenberg, Scott J. 2016. “Rock Modulation and Narrative.” Music Theory Online 22 (2).
Harrison, Anthony Kwame. 2008. “Race in America and Underground Hip Hip in the Bay.” In Hip Hop Underground: The Integrity and Ethics of Racial Identification, 15–46. Philadelphia: Temple University Press.
Holm-Hudson, Kevin. 2001. “The Future Is Now… and Then: Sonic Historiography in Post-1960s Rock.” Genre 34 (3–4): 243–64.
Hubbs, Nadine. 2015. “‘Jolene,’ Genre, and the Everyday Homoerotics of Country Music: Dolly Parton’s Loving Address of the Other Woman.” Women and Music: A Journal of Gender and Culture 19 (1): 71–76.
Hubbs, Nadine. 2007. “‘I Will Survive’: Musical Mappings of Queer Social Space in a Disco Anthem.” Popular Music 26 (02): 231–44.
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.
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.
Nobile, Drew F. 2015. “Counterpoint in Rock Music: Unpacking the ‘Melodic-Harmonic Divorce.’” Music Theory Spectrum 37 (2): 189–203.
Ohriner, Mitchell. forthcoming. “Flow in Rap Music: Sources of Confusion and a Strategy for Clarity.” In Flow: Expressive Rhythm in the Rapping Voice. New York: Oxford University Press.
Osborn, Brad. 2011. “Understanding Through-Composition in Post-Rock, Math-Metal, and Other Post-Millennial Rock Genres.” Music Theory Online 17 (3).
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.
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.
Serazio, Michael. 2008. “The Apolitical Irony of Generation Mash‐Up: A Cultural Case Study in Popular Music.” Popular Music and Society 31 (1): 79–94.
Spicer, Mark. 2017. “Fragile, Emergent, and Absent Tonics in Pop and Rock Songs.” Music Theory Online 23 (2).
Spicer, Mark. 2004. “(Ac)Cumulative Form in Pop-Rock Music.” Twentieth-Century Music 1 (1): 29–64.
Spicer, Mark, and John Covach, eds. 2010. Sounding Out Pop: Analytical Essays in Popular Music. Ann Arbor: University of Michigan Press.
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).
Summach, Jay. 2011. “The Structure, Function, and Genesis of the Prechorus.” Music Theory Online 17 (3).
Tagg, Philip. 1982. “Analysing Popular Music: Theory, Method and Practice.” Popular Music 2: 37–67.
Temperley, David. 2007. “The Melodic-Harmonic ‘Divorce’ in Rock.” Popular Music 26 (02): 323.
Waksman, Steve. 1996. “Every Inch of My Love: Led Zeppelin and the Problem of Cock Rock.” Journal of Popular Music Studies 8: 5–25.