Inspired by Naomi André’s vision of an “engaged musicology” (2018), the members of the Engaged Music Theory Working Group collectively assembled the following bibliography to encourage music scholars to engage directly with issues of cultural politics—race, ethnicity, gender, sexuality, class, intersectionality, decolonization, and disability—in their research and teaching. We especially highlight scholarly work that confronts the centralized, historically Eurocentric and heteropatriarchal framing of North American music theory. Thus we include scholarship that has explicitly and significantly intervened in our field’s established practices at the time of publication, especially in terms of subject position, topic, methodology, and repertoire. While this list is not meant to be exhaustive, we hope it offers a starting point for engaged music theoretical research. It focuses primarily on music theoretical work as well as directly relevant scholarship from musicology and ethnomusicology.
The bibliography purposefully omits work by scholars who do not self-identify as music theorists or musicologists, but whose work is indispensable to the aims of our group. A list of these authors would include Sara Ahmed, Daphne Brooks, Patricia Hill Collins, Rosemarie Garland-Thomson, Saidiya Hartman, Lisa Lowe, Fred Moten, José Esteban Muñoz, Christina Sharpe, Eve Tuck, and Alexander G. Weheliye, among many others. We strongly encourage anyone who is interested in the goals of our group to read and cite this body of scholarship.
Please contact the administrators of this group at engagedmusictheory@gmail.com if you require assistance accessing any of the items on this list.
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Please use this form to suggest new items for this bibliography. You will need to provide a full citation using Chicago footnote style, 17th edition, as well as suggested keywords.
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The search bar will filter the bibliography so that it only includes items that contain your word(s). This search includes both the complete bibliographic entry (“black” will include any item from Black Music Research Journal or with “Black” in the title or author name, for example) and a set of invisible keywords that we have entered for each item. All keywords are constructed as one word.
Suggested keywords include: blackmusic, colonialism, disability, embodiment, feminism, gender, hiphop, historyoftheory, improvisation, indigenousmusic, interculturality, intersectionality, jazz, metatheory, methodology, nonwesternmusic, pedagogy, philosophy, popularmusic, posttonal, publicmusictheory, queertheory, race, rhythmandmeter, schenker, sexuality, timbre, tonality, 16thcentury, 17thcentury, 18thcentury, 19thcentury, 20thcentury, and 21stcentury.
Enter the keyword “primer” for a list of texts the group considers foundational to Engaged Music Theory.
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Entry | Primer | Blackmusic | Colonialism | Disability | Embodiment | Feminism | Gender | Hiphop | Historyoftheory | Improvisation | Indigenousmusic | Interculturality | Intersectionality | Jazz | Metatheory | Methodology | Nonwesternmusic | Pedagogy | philosophy | Popularmusic | Posttonal | Publicmusictheory | Queertheory | Race | Rhythmandmeter | Schenker | Sexuality | Timbre | tonality | 16thcentury | 17thcentury | 18thcentury | 19thcentury | 20thcentury | 21stcentury |
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Abrahams, Rosa. “Mimicry as Movement Analysis.” Analytical Approaches to World Music 7/2 (2019). http://www.aawmjournal.com/articles/2019b/Abrahams_AAWM_Vol_7_2.html | embodiment | nonwesternmusic | Rhythmandmeter | ||||||||||||||||||||||||||||||||
Agawu, V. Kofi. “Against Ethnotheory.” In The Dawn of Music Semiology: Essays in Honor of Jean-Jacques Nattiez, edited by Jonathan Dunsby and Jonathan Goldman, 38–55. Rochester: University of Rochester Press, 2017. | colonialism | Methodology | race | ||||||||||||||||||||||||||||||||
Agawu, V. Kofi. “Structural Analysis or Cultural Analysis? Competing Perspectives on the ‘Standard Pattern’ of West African Rhythm.” Journal of the American Musicological Society 59/1 (2006): 1–46. | blackmusic | Methodology | nonwesternmusic | race | |||||||||||||||||||||||||||||||
Agawu, V. Kofi. “The Invention of ‘African Rhythm.’” Journal of the American Musicological Society 48/3 (1995): 380–95. | blackmusic | colonialism | nonwesternmusic | rhythmandmeter | |||||||||||||||||||||||||||||||
Agawu, V. Kofi. “To Cite or Not to Cite? Confronting the Legacy of (European) Writing on African Music.” Fontes Artis Musicae 54/3 (2007): 254–62. | blackmusic | colonialism | Methodology | nonwesternmusic | race | ||||||||||||||||||||||||||||||
Agawu, V. Kofi. “Tonality as a Colonizing Force in Africa.” In Audible Empire: Music, Global Politics, Critique, edited by Ronald Radano and Tejumola Olaniyan, 334–51. Durham: Duke University Press, 2016. | blackmusic | colonialism | Methodology | race | |||||||||||||||||||||||||||||||
Agawu, V. Kofi. Representing African Music: Postcolonial Notes, Queries, Positions. New York: Routledge, 2003. | primer | blackmusic | colonialism | Methodology | nonwesternmusic | race | |||||||||||||||||||||||||||||
Agawu, V. Kofi. The African Imagination in Music. New York: Oxford University Press, 2016. | blackmusic | colonialism | Methodology | nonwesternmusic | race | ||||||||||||||||||||||||||||||
Alaghband-Zadeh, Chloë. “Listening to North Indian Classical Music: How Embodied Ways of Listening Perform Imagined Histories and Social Class.” Ethnomusicology 61/2 (2017): 207–33. | embodiment | nonwesternmusic | |||||||||||||||||||||||||||||||||
Alaghband-Zadeh, Chloë. “Sonic Performativity: Analysing Gender in North Indian Classical Vocal Music.” Ethnomusicology Forum 24/3 (2015): 349–79. | embodiment | gender | nonwesternmusic | ||||||||||||||||||||||||||||||||
Allphin, Penrose M. “Trans Sonorities in Grey Grant’s ‘Drones for the In-Between Times.’” Transgender Studies Quarterly 8/3 (2021): 394–402. | gender | methodology | queertheory | 21stcentury | |||||||||||||||||||||||||||||||
Alonso-Minutti, Ana R. “The ‘Here and Now’: Stories of Relevancy from the Borderlands.” Journal of Music History Pedagogy 7/2 (2017): 106–11. | colonialism | gender | interculturality | pedagogy | race | ||||||||||||||||||||||||||||||
Amin, Anjni. “Hindustani Tāl: Non-Western Explorations of Meter.” In The Routledge Companion to Music Theory Pedagogy, edited by Leigh VanHandel, 78–84. New York: Routledge, 2019. | nonwesternmusic | pedagogy | rhythmandmeter | ||||||||||||||||||||||||||||||||
André, Naomi. Black Opera: History, Power, Engagement. Urbana: University of Illinois Press, 2018. | blackmusic | gender | Methodology | race | sexuality | 21stcentury | |||||||||||||||||||||||||||||
Anku, Willie. “Principles of Rhythm Integration in African Drumming.” Black Music Research Journal 17/2 (1997): 211–38. | blackmusic | nonwesternmusic | rhythmandmeter | ||||||||||||||||||||||||||||||||
Anku, Willie. Structural Set Analysis of African Music. Vol. 1, Adowa. Legon: Soundstage Production, 1992. | blackmusic | nonwesternmusic | rhythmandmeter | ||||||||||||||||||||||||||||||||
Anku, Willie. Structural Set Analysis of African Music. Vol. 2, Bawa. Legon: Soundstage Production, 1993. | blackmusic | nonwesternmusic | rhythmandmeter | ||||||||||||||||||||||||||||||||
Ansari, Mohammad Sadegh. “Learning and Patronizing the Science of Music among the Elite of Medieval Baghdad.” Journal of Abbasid Studies Vol. 6 (2019): 123–49. | historyoftheory | nonwesternmusic | |||||||||||||||||||||||||||||||||
Ansari, Mohammad Sadegh. “Pythagoras in Baghdad: Ṣafī al-Dīn al-Urmawī and the Science of Music in the Medieval Islamic World.” Ph.D. diss., Columbia University, 2020. | historyoftheory | nonwesternmusic | 16thcentury | 17thcentury | |||||||||||||||||||||||||||||||
Arlin, Mary I., and Mark A. Radice, eds. Polycultural Synthesis in the Music of Chou Wen-Chung. Abingdon and New York: Routledge, 2018. | interculturality | nonwesternmusic | posttonal | 20thcentury | |||||||||||||||||||||||||||||||
Attas, Robin, and Margaret E. Walker. “Exploring Decolonization, Music, and Pedagogy.” Intersections 39/1 (2019): 3–20. https://doi.org/10.7202/1075339ar. | colonialism | indigenousmusic | nonwesternmusic | pedagogy | race | ||||||||||||||||||||||||||||||
Attas, Robin. “Music Theory as Social Justice: Pedagogical Applications of Kendrick Lamar's To Pimp a Butterfly.” Music Theory Online 25/1 (2019). https://mtosmt.org/issues/mto.19.25.1/mto.19.25.1.attas.html | primer | blackmusic | hiphop | pedagogy | race | 21stcentury | |||||||||||||||||||||||||||||
Attas, Robin. “Strategies for Settler Decolonization: Decolonial Pedagogies in a Popular Music Analysis Course.” Canadian Journal of Higher Education 49/1 (2019): 125–39. | colonialism | indigenousmusic | pedagogy | ||||||||||||||||||||||||||||||||
Avery, Dawn Ierihó:kwats. “Native Classical Music: Non:wa (Now).” In Music and Modernity Among First Peoples of North America, edited by Victoria Lindsay Levine and Dylan Robinson, 198–219. Middletown: Wesleyan University Press, 2019. | colonialism | indigenousmusic | interculturality | methodology | philosophy | 21stcentury | |||||||||||||||||||||||||||||
Avery, Dawn Ierihó:kwats. “Tékeni–Two Worlds, Many Borders: A Look at Classical Native Music through Indigenous Eyes.” MUSICultures 39/1 (2012): 129–68. | colonialism | historyoftheory | indigenousmusic | interculturality | methodology | philosophy | 21stcentury | ||||||||||||||||||||||||||||
Baitz, Dana. “Towards a Trans* Method in Musicology.” In The Oxford Handbook of Music and Queerness, edited by Fred Everett Maus and Sheila Whiteley. New York: Oxford University Press, 2018. https://doi.org/10.1093/oxfordhb/9780199793525.013.44. | feminism | gender | methodology | queertheory | sexuality | ||||||||||||||||||||||||||||||
Baker, Jessica Swanston. “Too Fast: Coloniality and Time in Wylers of St. Kitts and Nevis.” Ph.D. diss., University of Pennsylvania, 2015. | blackmusic | colonialism | embodiment | gender | nonwesternmusic | popularmusic | race | rhythmandmeter | sexuality | 21stcentury | |||||||||||||||||||||||||
Barg, Lisa. “Queer Encounters in the Music of Billy Strayhorn.” Journal of the American Musicological Society 66/3 (2013): 771–824. | blackmusic | gender | interculturality | intersectionality | jazz | methodology | queertheory | race | sexuality | 20thcentury | |||||||||||||||||||||||||
Bauer, Amy. “The Other of the Exotic: Balinese Music as Grammatical Paradigm in Ligeti’s ‘Galamb borong.’” Music Analysis Vol. 27 Nos. 2–3 (2008): 337–72. | colonialism | interculturality | nonwesternmusic | posttonal | 20thcentury | ||||||||||||||||||||||||||||||
Becker, Judith. Deep Listeners: Music, Emotion, and Trancing. Bloomington: Indiana University Press, 2004. | embodiment | historyoftheory | methodology | nonwesternmusic | philosophy | ||||||||||||||||||||||||||||||
Berry, Michael. Listening to Rap: An Introduction. New York: Routledge, 2018. | blackmusic | feminism | gender | hiphop | popularmusic | race | sexuality | 20thcentury | 21stcentury | ||||||||||||||||||||||||||
Bhogal, Gurminder Kaur. “Listening to Female Voices in Sikh Kirtan.” Sikh Formations: Religion, Culture, Theory. Vol. 13, Nos. 1–2 (2017): 48–77. https://doi.org/10.1080/17448727.2016.1147183. | embodiment | feminism | gender | nonwesternmusic | timbre | ||||||||||||||||||||||||||||||
Blais-Tremblay, Vanessa. “‘Where You Are Accepted, You Blossom’: Toward Care Ethics in Jazz Historiography.” Jazz & Culture 2 (2019): 59–83. | blackmusic | feminism | gender | jazz | pedagogy | popularmusic | |||||||||||||||||||||||||||||
Bohlman, Philip V. “Erasure: Displacing and Misplacing Race in Twentieth-Century Music Historiography.” In Western Music and Race, edited by Julie Brown, 3–23. Cambridge: Cambridge University Press, 2007. | blackmusic | race | 20thcentury | ||||||||||||||||||||||||||||||||
Boone, Christine. “Gendered Power Relationships in Mashups.” Music Theory Online 24/1 (2018). https://mtosmt.org/issues/mto.18.24.1/mto.18.24.1.boone.html | feminism | gender | popularmusic | 21stcentury | |||||||||||||||||||||||||||||||
Born, Georgina, and David Hesmondhalgh, eds. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California Press, 2000. | colonialism | Interculturality | Methodology | race | |||||||||||||||||||||||||||||||
Boyd, Clifton. “Being a Black Ph.D. Student Following George Floyd’s Murder.” Inside Higher Ed. June 11, 2020. https://www.insidehighered.com/advice/2020/06/11/black-phd-student-describes-having-balance-his-career-prospects-responding-racial. | pedagogy | race | 21stcentury | ||||||||||||||||||||||||||||||||
Boyer, Horace Clarence. “A Comparative Analysis of Traditional and Contemporary Gospel Music.” In More than Dancing: Essays on Afro-American Music and Musicians, edited by Irene V. Jackson, 127–46. Westport: Greenwood Press, 1985. | blackmusic | popularmusic | race | 20thcentury | |||||||||||||||||||||||||||||||
Boyer, Horace Clarence. “Contemporary Gospel Music.” The Black Perspective in Music 7/1 (1979): 5–58. | blackmusic | popularmusic | race | 20thcentury | |||||||||||||||||||||||||||||||
Boyer, Horace Clarence. The Golden Age of Gospel. Urbana: University of Illinois Press, 2000. | blackmusic | popularmusic | race | 20thcentury | |||||||||||||||||||||||||||||||
Bradley, Deborah. “Hidden in Plain Sight: Race and Racism in Music Education.” In The Oxford Handbook of Social Justice in Music Education, edited by Cathy Benedict, Patrick Schmidt, Gary Spruce, and Paul Woodford, 190–203. New York: Oxford University Press, 2015. | colonialism | pedagogy | race | ||||||||||||||||||||||||||||||||
Brett, Philip, Elizabeth Wood, and Gary C. Thomas, eds. Queering the Pitch: The New Gay and Lesbian Musicology. Berkeley: University of California Press, 2006. | gender | methodology | queertheory | sexuality | |||||||||||||||||||||||||||||||
Brett, Philip. “Piano Four-Hands: Schubert and the Performance of Gay Male Desire.” 19th-Century Music 21/2 (1997): 149–76. | queertheory | sexuality | 19thcentury | ||||||||||||||||||||||||||||||||
Brown, Danielle. “An Open Letter on Racism in Music Studies.” My People Tell Stories. June 12, 2020. https://www.mypeopletellstories.com/blog/open-letter. | race | ||||||||||||||||||||||||||||||||||
Browner, Tara. “An Acoustic Geography of Intertribal Pow-wow Songs.” In Music of the First Nations: Tradition and Innovation in Native North America, edited by Tara Browner, 131–40. Urbana: University of Illinois Press, 2009. | indigenousmusic | interculturality | nonwesternmusic | rhythmandmeter | timbre | ||||||||||||||||||||||||||||||
Browner, Tara. “Making and Singing Pow-Wow Songs: Text, Form, and the Significance of Culture-Based Analysis.” Ethnomusicology 44/2 (2000): 214–33. | colonialism | indigenousmusic | interculturality | methodology | nonwesternmusic | tonality | |||||||||||||||||||||||||||||
Browner, Tara. Heartbeat of the People: Music and Dance of the Northern Pow-wow. Urbana: University of Illinois Press, 2002. | embodiment | indigenousmusic | interculturality | methodology | nonwesternmusic | rhythmandmeter | tonality | ||||||||||||||||||||||||||||
Buenconsejo, José S, ed. A Search in Asia for a New Theory of Music: A Symposium Organized by the University of the Philippines, Center for Ethnomusicology as the 7th International Conference of the Asia Pacific Society for Ethnomusicology (APSE). Quezon City: UP Center for Ethnomusicology, College of Music, University of the Philippines, 2003. | colonialism | nonwesternmusic | |||||||||||||||||||||||||||||||||
Buffington, Adam. “Through the Fabric of My Own: Louise Alenius and Embodied Interrelationality.” Current Musicology 103 (2018): 45–65. https://doi.org/10.7916/cm.v0i103.5382. | embodiment | gender | philosophy | 21stcentury | |||||||||||||||||||||||||||||||
Bungert, James. “‘I Got a Bone to Pick’: Formal Ambivalence and Double Consciousness in Kendrick Lamar’s ‘King Kunta.’” Music Theory Online 25/1. https://mtosmt.org/issues/mto.19.25.1/mto.19.25.1.bungert.html | blackmusic | hiphop | popularmusic | race | |||||||||||||||||||||||||||||||
Burns, Chelsea. “The Racial Limitations of Country-Soul Crossover in Bobby Womack’s BW Goes C&W, 1976.” Journal of Popular Music Studies 32/2 (2020): 112–27. | blackmusic | popularmusic | race | 20thcentury | |||||||||||||||||||||||||||||||
Burns, Lori, and Alyssa Woods. “Authenticity, Appropriation, Signification: Tori Amos on Gender, Race, and Violence in Covers of Billie Holiday and Eminem.” Music Theory Online 10/2 (2004). https://mtosmt.org/issues/mto.04.10.2/mto.04.10.2.burns_woods.html | blackmusic | popularmusic | race | timbre | 20thcentury | ||||||||||||||||||||||||||||||
Burns, Lori. “‘Joanie’ Get Angry: k. d. lang’s Feminist Revision.” In Understanding Rock: Essays in Musical Analysis, edited by John Covach and Graeme M. Boone, 93–112. New York: Oxford University Press, 1997. | gender | popularmusic | sexuality | 20thcentury | |||||||||||||||||||||||||||||||
Burns, Lori. “Feeling the Style: Vocal Gesture and Musical Expression in Billie Holiday, Bessie Smith, and Louis Armstrong.” Music Theory Online 11/3 (2005). https://mtosmt.org/issues/mto.05.11.3/mto.05.11.3.burns.html | blackmusic | popularmusic | race | 20thcentury | |||||||||||||||||||||||||||||||
Burns, Lori. “Genre, Gender, and Convention Revisited: k.d. lang’s Cover of Cole Porter’s ‘So in Love.’” Repercussions Vols. 7–8 (1999–2000): 299–325. | gender | popularmusic | sexuality | 20thcentury | |||||||||||||||||||||||||||||||
Burstein, L. Poundie. “Les chansons des fous: On the Edge of Madness with Alkan.” In Sounding Off: Theorizing Disability in Music, edited by Neil Lerner and Joseph N. Straus, 187–98. New York: Routledge, 2006. | disability | 19thcentury | |||||||||||||||||||||||||||||||||
Butler, Mark J. “‘Some of Us Can Only Live in Songs of Love and Trouble’: Voice, Genre/Gender, and Sexuality in the Music of Stephin Merritt.” In Oh Boy! Masculinities in Popular Music, edited by Freya Jarman-Ivens, 235–60. New York: Routledge, 2007. | gender | popularmusic | queertheory | sexuality | |||||||||||||||||||||||||||||||
Butler, Mark. “Taking It Seriously: Intertextuality and Authenticity in Two Covers by the Pet Shop Boys.” Popular Music Vol. 22 (2003): 1–19. | gender | popularmusic | sexuality | 20thcentury | |||||||||||||||||||||||||||||||
Butterfield, Matthew W. “Race and Rhythm: The Social Component of the Swing Groove.” Jazz Perspectives 4/3 (2010): 301–35. | blackmusic | jazz | race | rhythmandmeter | 20thcentury | ||||||||||||||||||||||||||||||
Carter-Ényì, Aaron, and Quintina Carter-Ényì. “Melodic Language & Linguistic Melodies: Text Setting in Ìgbò.” SMT-V: The Society for Music Theory Videocast Journal Vol. 6.5 (2020). https://www.smt-v.org/archives/volume6.html#melodic-language-and-linguistic-melodies-text-setting-in-igbo | blackmusic | colonialism | interculturality | nonwesternmusic | 20thcentury | 21stcentury | |||||||||||||||||||||||||||||
Carter-Ényì, Aaron. “Hooked on Sol-Fa: The Do-re-mi Heuristic for Yorùbá Speech Tones.” Africa 88/2 (2018): 267–90. | blackmusic | colonialism | historyoftheory | nonwesternmusic | |||||||||||||||||||||||||||||||
Carter-Ényi, Quintina, Aaron Carter-Ényi, and Kevin Nathaniel Hylton. “How We Got Into Drum Circles, and How To Get Out: De-essentializing African Music.” Intersections 39/1 (2019): 73–92. https://doi.org/10.7202/1075343ar. | blackmusic | colonialism | nonwesternmusic | pedagogy | race | ||||||||||||||||||||||||||||||
Chang, Peter. “Chou Wen-Chung's Cross-Cultural Experience and His Musical Synthesis: The Concept of Syncretism Revisited.” Asian Music 32/2 (2001): 93–118. | interculturality | timbre | 20thcentury | ||||||||||||||||||||||||||||||||
Chaves, Rui, and Fernando Iazzetta, eds. Making It Heard: A History of Brazilian Sound Art. New York: Bloomsbury Academic, 2019. | blackmusic | colonialism | feminism | gender | interculturality | methodology | 21stcentury | ||||||||||||||||||||||||||||
Cheng, William. “Gaslight of the Gods: Why I Still Play Michael Jackson and R. Kelly for My Students.” The Chronicle of Higher Education. September 15, 2019. https://www.chronicle.com/article/gaslight-of-the-gods-why-i-still-play-michael-jackson-and-r-kelly-for-my-students | blackmusic | pedagogy | popularmusic | 20thcentury | 21stcentury | ||||||||||||||||||||||||||||||
Cheng, William. Just Vibrations: The Purpose of Sounding Good. Ann Arbor: University of Michigan Press, 2016. | disability | ||||||||||||||||||||||||||||||||||
Cheng, William. Loving Music Till it Hurts. New York: Oxford University Press, 2020. | Methodology | popularmusic | 21stcentury | ||||||||||||||||||||||||||||||||
Cimini, Amy, and Jairo Moreno. “On Diversity.” GAMUT: Online Journal of the Music Theory Society of the Mid-Atlantic 2/1 (2009): 111–96. https://trace.tennessee.edu/gamut/vol2/iss1/6/. | gender | intersectionality | pedagogy | race | |||||||||||||||||||||||||||||||
Cimini, Amy. “Music Theory, Feminism, the Body: Mediation’s Plural Work.” Contemporary Music Review Vol. 37 Nos. 5–6 (2018): 666–83. | feminism | gender | methodology | ||||||||||||||||||||||||||||||||
Cizmic, Maria. Performing Pain: Music and Trauma in Eastern Europe. Oxford: Oxford University Press, 2011. | embodiment | posttonal | 20thcentury | ||||||||||||||||||||||||||||||||
Cohen, Brigid. “Diasporic Dialogues in Mid-Century New York: Stefan Wolpe, George Russell, Hannah Arendt, and the Historiography of Displacement.” Journal of the Society for American Music 6/2 (2012): 143–73. | blackmusic | jazz | posttonal | race | 20thcentury | ||||||||||||||||||||||||||||||
Cohen, Brigid. “Enigmas of the Third Space: Mingus and Varèse at Greenwich House, 1957.” Journal of the American Musicological Society 71/1 (2018): 155–211. | blackmusic | popularmusic | race | 20thcentury | |||||||||||||||||||||||||||||||
Corbett, John. “Experimental Oriental: New Music and Other Others.” In Micro-groove: Forays into Other Music, 391–412. Durham: Duke University Press, 2015. | colonialism | race | 20thcentury | ||||||||||||||||||||||||||||||||
Cusick, Suzanne G. “Feminist Theory, Music Theory, and the Mind/Body Problem.” Perspectives of New Music 32/1 (1994): 8–27. | primer | Embodiment | feminism | gender | methodology | sexuality | |||||||||||||||||||||||||||||
Cusick, Suzanne G. “On a Lesbian Relationship With Music: A Serious Effort not to Think Straight.” In Queering the Pitch: the New Gay and Lesbian Musicology, edited by Philip Brett, Elizabeth Wood, and Gary C. Thomas, 67–83. New York: Routledge, 1994. | feminism | gender | methodology | sexuality | |||||||||||||||||||||||||||||||
Cusick, Suzanne G. “On Musical Performances of Gender and Sex.” In Audible Traces: Gender, Identity and Music, edited by Elaine Barkin and Lydia Hamessley, 25–49. Zurich: Carciofoli Verlagshaus, 1999. | feminism | gender | methodology | sexuality | |||||||||||||||||||||||||||||||
Deguchi, Tomoko. “Promoting Diversity in the Undergraduate Classroom: Incorporating Asian Contemporary Composers’ Music in a Form and Analysis Course.” Journal of Music Theory Pedagogy Vol. 32 (2018). | interculturality | pedagogy | race | ||||||||||||||||||||||||||||||||
Dewar, Andrew Raffo. “Without Qualification: Bill Dixon on Black Music and Pedagogy.” Jazz & Culture 2 (2019): 101–12. | blackmusic | jazz | pedagogy | race | |||||||||||||||||||||||||||||||
Diaz Meneses, Juan Diego. “Listening with the Body: An Aesthetics of Spirit Possession Outside the Terreiro." Ethnomusicology 60/1 (2016): 89–124. | embodiment | nonwesternmusic | philosophy | ||||||||||||||||||||||||||||||||
Diaz, Juan Diego. “Experimentations with Timelines in Afro-Bahian Jazz: A Strategy of Rhythm Complication.” Analytical Approaches to World Music 6/1 (2017). http://www.aawmjournal.com/articles/2017c/Diaz_AAWM_Vol_6_1.html | blackmusic | jazz | nonwesternmusic | popularmusic | rhythmandmeter | ||||||||||||||||||||||||||||||
Dueck, Byron. “‘No Heartaches in Heaven’: A Response to Aboriginal Suicide.” In Aboriginal Music in Contemporary Canada: Echoes and Exchanges, edited by Anna Hoefnagels and Beverley Diamond, 300–22. Montréal: McGill-Queen's University Press, 2012. | colonialism | indigenousmusic | popularmusic | 20thcentury | |||||||||||||||||||||||||||||||
Duguay, Michèle. “Gendering the Virtual Space: Sonic Femininities and Masculinities in Contemporary Top 40 Music.” Ph.D. diss., The Graduate Center, City University of New York. | feminism | gender | methodology | popularmusic | timbre | 21stcentury | |||||||||||||||||||||||||||||
Eidsheim, Nina Sun. “Synthesizing Race: Towards an Analysis of the Performativity of Vocal Timbre.” TRANS: Revista Transcultural de Música Vol. 13 (2009). http://www.sibetrans.com/trans/articulo/57/synthesizing-race-towards-an-analysis-of-the-performativity-of-vocal-timbre | popularmusic | race | timbre | ||||||||||||||||||||||||||||||||
Eidsheim, Nina Sun. The Race of Sound: Listening, Timbre, and Vocality in African American Music. Durham: Duke University Press, 2018. | blackmusic | Embodiment | race | timbre | 20thcentury | ||||||||||||||||||||||||||||||
Emmery, Laura. “Gender Identity and Gestural Representations in Jonathan Harvey’s String Quartet No. 2.” Music Theory Online 27/3 (2021). https://mtosmt.org/issues/mto.21.27.3/mto.21.27.3.emmery.html. | |||||||||||||||||||||||||||||||||||
Everett, Yayoi Uno, and Frederick Lau, eds. Locating East Asia in Western Art Music. Middletown: Wesleyan University Press, 2004. | colonialism | feminism | gender | interculturality | nonwesternmusic | popularmusic | posttonal | race | 20thcentury | ||||||||||||||||||||||||||
Everett, Yayoi Uno. “‘Mirrors’ of West and ‘Mirrors’ of East: Elements of Gagaku in Post-War Art Music.” In Diasporas and Interculturalism in Asian Performing Arts: Translating Traditions, edited by Hae-kyung Um, 176–203. London and New York: RoutledgeCurzon, 2005. | interculturality | nonwesternmusic | posttonal | 20thcentury | |||||||||||||||||||||||||||||||
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