Engaged Music Theory

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.

New Item Suggestions

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.

Important Notes on the Search Function

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.  

Entering numbers such as 198 will produce a list of anything published in the 1980s (useful), but will also include anything with a page range that includes these numbers (less useful). 

Search items are additive: entering “queer 198” will include items that include “queer” anywhere in their bibliographic entry or keywords, published in the 1980s, and any page ranges that include “198.”

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.htmlembodimentnonwesternmusicRhythmandmeter
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.colonialismMethodologyrace
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.blackmusicMethodologynonwesternmusicrace
Agawu, V. Kofi. “The Invention of ‘African Rhythm.’” Journal of the American Musicological Society 48/3 (1995): 380–95. blackmusiccolonialismnonwesternmusicrhythmandmeter
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.blackmusiccolonialismMethodologynonwesternmusicrace
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.blackmusiccolonialismMethodologyrace
Agawu, V. Kofi. Representing African Music: Postcolonial Notes, Queries, Positions. New York: Routledge, 2003.primerblackmusiccolonialismMethodologynonwesternmusicrace
Agawu, V. Kofi. The African Imagination in Music. New York: Oxford University Press, 2016.blackmusiccolonialismMethodologynonwesternmusicrace
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.embodimentnonwesternmusic
Alaghband-Zadeh, Chloë. “Sonic Performativity: Analysing Gender in North Indian Classical Vocal Music.” Ethnomusicology Forum 24/3 (2015): 349–79.embodimentgendernonwesternmusic
Alonso-Minutti, Ana R. “The ‘Here and Now’: Stories of Relevancy from the Borderlands.” Journal of Music History Pedagogy 7/2 (2017): 106–11.colonialismgenderinterculturalitypedagogyrace
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.nonwesternmusicpedagogyrhythmandmeter
André, Naomi. Black Opera: History, Power, Engagement. Urbana: University of Illinois Press, 2018.blackmusicgenderMethodologyracesexuality21stcentury
Anku, Willie. “Principles of Rhythm Integration in African Drumming.” Black Music Research Journal 17/2 (1997): 211–38.blackmusicnonwesternmusicrhythmandmeter
Anku, Willie. Structural Set Analysis of African Music. Vol. 1, Adowa. Legon: Soundstage Production, 1992.blackmusicnonwesternmusicrhythmandmeter
Anku, Willie. Structural Set Analysis of African Music. Vol. 2, Bawa. Legon: Soundstage Production, 1993. blackmusicnonwesternmusicrhythmandmeter
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.historyoftheorynonwesternmusic
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.historyoftheorynonwesternmusic16thcentury17thcentury
Arlin, Mary I., and Mark A. Radice, eds. Polycultural Synthesis in the Music of Chou Wen-Chung. Abingdon and New York: Routledge, 2018.interculturalitynonwesternmusicposttonal20thcentury
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 primerblackmusichiphoppedagogyrace21stcentury
Attas, Robin. “Strategies for Settler Decolonization: Decolonial Pedagogies in a Popular Music Analysis Course.” Canadian Journal of Higher Education 49/1 (2019): 125–39.colonialismindigenousmusicpedagogy
Attas, Robin, and Margaret E. Walker. “Exploring Decolonization, Music, and Pedagogy.” Intersections 39/1 (2019): 3–20. https://doi.org/10.7202/1075339ar. colonialismindigenousmusicnonwesternmusicpedagogyrace
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.colonialismindigenousmusicinterculturalitymethodologyphilosophy21stcentury
Avery, Dawn Ierihó:kwats. “Tékeni–Two Worlds, Many Borders: A Look at Classical Native Music through Indigenous Eyes.” MUSICultures 39/1 (2012): 129–68.colonialismhistoryoftheoryindigenousmusicinterculturalitymethodologyphilosophy21stcentury
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. feminismgendermethodologyqueertheorysexuality
Baker, Jessica Swanston. “Too Fast: Coloniality and Time in Wylers of St. Kitts and Nevis.” Ph.D. diss., University of Pennsylvania, 2015.blackmusiccolonialismembodimentgendernonwesternmusicpopularmusicracerhythmandmetersexuality21stcentury
Barg, Lisa. “Queer Encounters in the Music of Billy Strayhorn.” Journal of the American Musicological Society 66/3 (2013): 771–824.blackmusicgenderinterculturalityintersectionalityjazzmethodologyqueertheoryracesexuality20thcentury
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.colonialisminterculturalitynonwesternmusicposttonal20thcentury
Becker, Judith. Deep Listeners: Music, Emotion, and Trancing. Bloomington: Indiana University Press, 2004.embodimenthistoryoftheorymethodologynonwesternmusicphilosophy
Berry, Michael. Listening to Rap: An Introduction. New York: Routledge, 2018.blackmusicfeminismgenderhiphoppopularmusicracesexuality20thcentury21stcentury
Blais-Tremblay, Vanessa. “‘Where You Are Accepted, You Blossom’: Toward Care Ethics in Jazz Historiography.” Jazz & Culture 2 (2019): 59–83.blackmusicfeminismgenderjazzpedagogypopularmusic
Block, Steven. “‘Bemsha Swing’: The Transformation of a Bebop Classic to Free Jazz.” Music Theory Spectrum 19/2 (1997): 206–31.blackmusicjazzpopularmusicposttonal20thcentury
Block, Steven. “Pitch-Class Transformations in Free Jazz.” Music Theory Spectrum 12/2 (1990): 181–202.blackmusicjazzpopularmusicposttonal20thcentury
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.blackmusicrace20thcentury
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 feminismgenderpopularmusic21stcentury
Born, Georgina, and David Hesmondhalgh, eds. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California Press, 2000.colonialismInterculturalityMethodologyrace
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. pedagogyrace21stcentury
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.blackmusicpopularmusicrace20thcentury
Boyer, Horace Clarence. “Contemporary Gospel Music.” The Black Perspective in Music 7/1 (1979): 5–58.blackmusicpopularmusicrace20thcentury
Boyer, Horace Clarence. The Golden Age of Gospel. Urbana: University of Illinois Press, 2000.blackmusicpopularmusicrace20thcentury
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.colonialismpedagogyrace
Brett, Philip, Elizabeth Wood, and Gary C. Thomas, eds. Queering the Pitch: The New Gay and Lesbian Musicology. Berkeley: University of California Press, 2006.gendermethodologyqueertheorysexuality
Brett, Philip. “Piano Four-Hands: Schubert and the Performance of Gay Male Desire.” 19th-Century Music 21/2 (1997): 149–76.queertheorysexuality19thcentury
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.indigenousmusicinterculturalitynonwesternmusicrhythmandmetertimbre
Browner, Tara. Heartbeat of the People: Music and Dance of the Northern Pow-wow. Urbana: University of Illinois Press, 2002.embodimentindigenousmusicinterculturalitymethodologynonwesternmusicrhythmandmetertonality
Browner, Tara. “Making and Singing Pow-Wow Songs: Text, Form, and the Significance of Culture-Based Analysis.” Ethnomusicology 44/2 (2000): 214–33.colonialismindigenousmusicinterculturalitymethodologynonwesternmusictonality
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.colonialismnonwesternmusic
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. embodimentgenderphilosophy21stcentury
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.htmlblackmusichiphoppopularmusicrace
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.blackmusicpopularmusicrace20thcentury
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.htmlblackmusicpopularmusicracetimbre20thcentury
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.genderpopularmusicsexuality20thcentury
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.htmlblackmusicpopularmusicrace20thcentury
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.genderpopularmusicsexuality20thcentury
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.disability19thcentury
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.genderpopularmusicqueertheorysexuality
Butler, Mark. “Taking It Seriously: Intertextuality and Authenticity in Two Covers by the Pet Shop Boys.” Popular Music Vol. 22 (2003): 1–19. genderpopularmusicsexuality20thcentury
Butterfield, Matthew W. “Race and Rhythm: The Social Component of the Swing Groove.” Jazz Perspectives 4/3 (2010): 301–35.blackmusicjazzracerhythmandmeter20thcentury
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-igboblackmusiccolonialisminterculturalitynonwesternmusic20thcentury21stcentury
Carter-Ényì, Aaron. “Hooked on Sol-Fa: The Do-re-mi Heuristic for Yorùbá Speech Tones.” Africa 88/2 (2018): 267–90.blackmusiccolonialismhistoryoftheorynonwesternmusic
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. blackmusiccolonialismnonwesternmusicpedagogyrace
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.interculturalitytimbre20thcentury
Chaves, Rui, and Fernando Iazzetta, eds. Making It Heard: A History of Brazilian Sound Art. New York: Bloomsbury Academic, 2019.blackmusiccolonialismfeminismgenderinterculturalitymethodology21stcentury
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-studentsblackmusicpedagogypopularmusic20thcentury21stcentury
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.Methodologypopularmusic21stcentury
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/.genderintersectionalitypedagogyrace
Cimini, Amy. “Music Theory, Feminism, the Body: Mediation’s Plural Work.” Contemporary Music Review Vol. 37 Nos. 5–6 (2018): 666–83.feminismgendermethodology
Cizmic, Maria. Performing Pain: Music and Trauma in Eastern Europe. Oxford: Oxford University Press, 2011.embodimentposttonal20thcentury
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.blackmusicjazzposttonalrace20thcentury
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.blackmusicpopularmusicrace20thcentury
Corbett, John. “Experimental Oriental: New Music and Other Others.” In Micro-groove: Forays into Other Music, 391–412. Durham: Duke University Press, 2015.colonialismrace20thcentury
Cusick, Suzanne G. “Feminist Theory, Music Theory, and the Mind/Body Problem.” Perspectives of New Music 32/1 (1994): 8–27.primerEmbodimentfeminismgendermethodologysexuality
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.feminismgendermethodologysexuality
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.feminismgendermethodologysexuality
Dean, Roger T. New Structures in Jazz and Improvised Music Since 1960. Buckingham: Open University Press, 1992.blackmusicImprovisationjazzpopularmusicposttonal20thcentury
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).interculturalitypedagogyrace
Dewar, Andrew Raffo. “Without Qualification: Bill Dixon on Black Music and Pedagogy.” Jazz & Culture 2 (2019): 101–12.blackmusicjazzpedagogyrace
Diaz Meneses, Juan Diego. “Listening with the Body: An Aesthetics of Spirit Possession Outside the Terreiro." Ethnomusicology 60/1 (2016): 89–124.embodimentnonwesternmusicphilosophy
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.htmlblackmusicjazznonwesternmusicpopularmusicrhythmandmeter
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.colonialismindigenousmusicpopularmusic20thcentury
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-timbrepopularmusicracetimbre
Eidsheim, Nina Sun. ​The Race of Sound: Listening, Timbre, and Vocality in African American Music.​ Durham: Duke University Press, 2018.blackmusicEmbodimentracetimbre20thcentury
Everett, Yayoi Uno, and Frederick Lau, eds. Locating East Asia in Western Art Music. Middletown: Wesleyan University Press, 2004.colonialismfeminismgenderinterculturalitynonwesternmusicpopularmusicposttonalrace20thcentury
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.interculturalitynonwesternmusicposttonal20thcentury
Everett, Yayoi Uno. “Calligraphy and Musical Gestures in the Late Works of Chou Wen-chung.” Contemporary Music Review Vol. 26 Nos. 5–6 (2007): 569–84.interculturalityphilosophyposttonal20thcentury
Everett, Yayoi Uno. “Infusing Modern Subjectivity into a Premodern Narrative Form: Masahiro Shinoda and Toru Takemitsu's Collaboration in Double Suicide (1968).” Journal of Film Music 3/1 (2010): 37–49.interculturalitynonwesternmusic20thcentury
Everett, Yayoi Uno. “Intercultural Synthesis in Postwar Western Art Music: Historical Contexts, Perspectives, and Taxonomy.” In Locating East Asia in Western Art Music, edited by Yayoi Uno Everett and Frederick Lau, 1–21. Middletown: Wesleyan University Press, 2004.interculturality20thcentury
Everett, Yayoi Uno. “Reflecting on Two Cultural ‘Mirrors’: Mode and Signification of Musical Synthesis in Toru Takemitsu’s November Steps and Autumn.” In A Way a Lone: Writings on Toru Takemitsu, edited by Hugh de Ferranti and Yoko Narazaki, 125–54. Tokyo: Academia Music Limited, 2002.interculturalityposttonal20thcentury
Ewell, Philip A. “Introduction to the Symposium on 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.ewell.htmlblackmusichiphoppopularmusiscrace21stcentury
Ewell, Philip A. “Music Theory and the White Racial Frame.” Music Theory Online 26/2 (2020). https://mtosmt.org/issues/mto.20.26.2/mto.20.26.2.ewell.htmlprimerMethodologypedagogyraceSchenker
Farraj, Johnny, and Sami Abu Shumays. Inside Arabic Music: Arabic Maqam Performance and Theory in the 20th Century. New York: Oxford University Press, 2019.historyoftheorynonwesternmusic
Fellezs, Kevin. “‘This Is Who I Am’: Jero, Young, Gifted, Polycultural.” Journal of Popular Music Studies 24/3 (2012): 180–97.blackmusicinterculturalitynonwesternmusicpopularmusicrace21stcentury
Fellezs, Kevin. “Clap along if you feel like happiness is the truth: Pharrell and the False Promises of the Post-Racial.” In Racism Post-Race, edited by Roopali Mukherjee, Sarah Banet-Weiser, and Herman Gray, 178–98. Durham: Duke University Press, 2019.blackmusicpopularmusicrace21stcentury
Fellezs, Kevin. “Edge of Insanity: Tony MacAlpine and Black Virtuosity.” Journal of Popular Music Studies 30/1–2 (2018): 109–26.blackmusicpopularmusicrace20thcentury
Fellezs, Kevin. “Five Djentlemen and a Girl Walk Into a Metal Bar...: Thoughts On a ‘Metal After Metal’ Metal Studies.” Metal Music Studies 2/3 (2016): 325–40.popularmusicrace
Fellezs, Kevin. “Nahenahe (soft, sweet, melodious): Sounding Out Native Hawaiian Self-Determination.” Journal of the Society for American Music 13/4 (2019): 411–35.colonialismindigenousmusicnonwesternmusicpopularmusicrace
Fellezs, Kevin. Birds of Fire: Jazz, Rock, Funk and the Creation of Fusion. Durham: Duke University Press, 2011.blackmusicjazzpopularmusicrace20thcentury
Fellezs, Kevin. Listen But Don’t Ask Question: Hawaiian Slack Key Guitar Across the TransPacific . Durham: Duke University Press, 2019.colonialismindigenousmusicinterculturalitynonwesternmusicpopularmusicrace20thcentury21stcentury
Finchum-Sung, Hilary Vanessa. “Foreword: Aesthetics of Interculturality in East Asian Contemporary Music.” The World of Music 6/1 (2017): 7–20.20thcentury21stcentury
Fisher, George, and Judy Lochhead. “Analyzing from the Body.” Theory and Practice Vol. 27 (2002): 37–67.EmbodimentgenderMethodologyphilosophysexuality20thcentury
Fourie, William. “Musicology and Decolonial Analysis in the Age of Brexit.” Twentieth-Century Music 17/2 (2020): 197–211.colonialismMethodology21stcentury
Fulton, Will. “Stevie Wonder’s Tactile Keyboard Mediation, Black Key Compositional Development, and the Quest for Creative Autonomy.” In The Oxford Handbook of Music and Disability Studies, edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner and Joseph Straus, 272–92. Oxford and New York: Oxford University Press, 2016.blackmusicdisabilityembodimentpopularmusicrace20thcentury
Garcia, Luis-Manuel. “On and On: Repetition as Process and Pleasure in Electronic Dance Music.” Music Theory Online 11/4 (2005). https://mtosmt.org/issues/mto.05.11.4/mto.05.11.4.garcia.htmlpopularmusic20thcentury21stcentury
Gardiner, Michael, and Joyce S. Lim. “Chromatopes of Noh: An Analysis of Timbral Progressions in the Introductions to Three Plays.” Asian Music 45/2 (2014): 84–128.nonwesternmusictimbre
Gaunt, Kyra. The Games Black Girls Play: Learning the Ropes from Double-dutch to Hip-hop. New York: New York University Press, 2006.blackmusicfeminismhiphoppopularmusic
Gillan, Matt. “‘Dancing Fingers’: Embodied Lineages in the Performance of Okinawan Classical Music.” Ethnomusicology 57/3 (2013): 367–95.embodimentnonwesternmusic
Gillespie, Jeffrey L. “Serving Musicians With Visual Impairment in the College Classroom: Building Bridges Toward Understanding.” Journal of Music Theory Pedagogy Vol. 27 (2013): 165–210.disabilitypedagogy
Givan, Benjamin. “Gunther Schuller and the Challenge of Sonny Rollins: Stylistic Context, Intentionality, and Jazz Analysis.” Journal of the American Musicological Society 67/1 (2014): 167–237.blackmusicMethodologypopularmusic20thcentury
Goldin-Pershbacher, Shana. “TransAmericana: Gender, Genre, and Journey.” New Literary History 46/4 (2015): 775–803.jazz
Goodman, Glenda. “Sounds Heard, Meaning Deferred: Music Transcription as Imperial Technology.” Eighteenth-Century Studies 52/1 (2018): 39–45.colonialismmethodology
Gopinath, Sumanth. “Diversity, Music, Theory, and the Neoliberal Academy.” GAMUT: Online Journal of the Music Theory Society of the Mid-Atlantic 2/1 (2009). https://trace.tennessee.edu/gamut/vol2/iss1/3/.gendermethodologypedagogyrace
Gopinath, Sumanth. “Psychedelic Science Fiction, Perspectival Embodiment, and the Hermeneutics of Steve Reich’s Four Organs.” In Rethinking Reich, edited by Sumanth Gopinath and Pwyll ap Siôn, 19–38. New York: Oxford University Press, 2019.embodiment20thcentury
Gopinath, Sumanth. “Reich in Blackface: ‘O Dem Watermelons’ and Racial Minstrelsy in the 1960s.” Journal of the Society for American Music 5/2 (2011): 139–93.blackmusicrace20thcentury
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The members of the Engaged Music Theory Working Group are:

Michèle Duguay (she/her)
Marc Hannaford (he/him)
Toru Momii (he/him)

Group Members
Makulumy Alexander-Hills (he/him)
Clifton Boyd (he/him)
Michael Bruschi (he/him)
Samuel Chan (he/him)
Johanna Devaney (she/her)
Kristi Hardman (she/her)
Stephen Lett (he/him)
Vivian Luong (she/her)
Rowland Moseley (he/him)
Nathan Pell (he/him)
Blake Ritchie (they/them/she/her)
Lauren Shepherd (she/her)
Danielle Shlomit Sofer (they/them/she/her)
Noel Torres-Rivera (he/him/his)