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.”

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
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
Allphin, Penrose M. “Trans Sonorities in Grey Grant’s ‘Drones for the In-Between Times.’” Transgender Studies Quarterly 8/3 (2021): 394–402.gendermethodologyqueertheory21stcentury
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, and Margaret E. Walker. “Exploring Decolonization, Music, and Pedagogy.” Intersections 39/1 (2019): 3–20. https://doi.org/10.7202/1075339ar. colonialismindigenousmusicnonwesternmusicpedagogyrace
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
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
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. embodimentfeminismgendernonwesternmusictimbre
Blais-Tremblay, Vanessa. “‘Where You Are Accepted, You Blossom’: Toward Care Ethics in Jazz Historiography.” Jazz & Culture 2 (2019): 59–83.blackmusicfeminismgenderjazzpedagogypopularmusic
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. “Making and Singing Pow-Wow Songs: Text, Form, and the Significance of Culture-Based Analysis.” Ethnomusicology 44/2 (2000): 214–33.colonialismindigenousmusicinterculturalitymethodologynonwesternmusictonality
Browner, Tara. Heartbeat of the People: Music and Dance of the Northern Pow-wow. Urbana: University of Illinois Press, 2002.embodimentindigenousmusicinterculturalitymethodologynonwesternmusicrhythmandmetertonality
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
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
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.feminismgendermethodologypopularmusictimbre21stcentury
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
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.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. “From Exoticism to Interculturalism: Counterframing the East-West Binary.” Music Theory Spectrum 43/2 (2021): 330–38.colonialisminterculturalitymethodologynonwesternmusicposttonalrace20thcentury
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
Felfeli-Crawford, Karishmeh. “Analysing Indian Ocean’s Kandisa: A Dialogue with Decolonisation.” Ethnomusicology Forum 30/1 (2021): 82–104.colonialisminterculturalitymethodologynonwesternmusicpopularmusicraceschenkertonality20thcentury
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
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
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
Gopinath, Sumanth. “The Problem of the Political in Steve Reich's Come Out.” In Sound Commitments: Avant-Garde Music and the Sixties, edited by Robert Adlington, 121–40. Oxford and New York: Oxford University Press, 2009.race20thcentury
Greenwald, Jeff. “Hip-Hop Drumming: The Rhyme May Define, but the Groove Makes You Move.” Black Music Research Journal 22/2 (2002): 259–71.blackmusichiphoppopularmusicracerhythmandmeter
Greitzer, Mary Lee. “Becoming Bach, Blaspheming Bach: Kinesthetic Knowledge and Embodied Music Theory in Ysaÿe’s ‘Obsession’ for Solo Violin.” Current Musicology 86 (2008): 63–78.embodimentfeminismmethodology20thcentury
Greitzer, Mary Lee. “Queer Responses to Sexual Trauma: The Voices of Tori Amos’s ‘Me and a Gun’ and Lydia Lunch’s Daddy Dearest.” Women and Music: A Journal of Gender and Culture 17 (2013): 1–26.embodimentfeminismgenderpopularmusicqueertheorysexuality20thcentury
Griffin, Farah Jasmine. “When Malindy Sings: A Meditation on Black Women’s Vocality.” In Uptown Conversation: The New Jazz Studies, edited by Robert O'Meally, Brent Hayes Edwards and Farah Jasmine Griffin, 105–26. New York: Columbia University Press, 2012.blackmusicembodimentfeminismgenderimprovisationjazz20thcentury
Guck, Marion A. “A Woman's (Theoretical) Work.” Perspectives of New Music 32/1 (1994): 28–43.feminismgenderpedagogy
Guck, Marion A. “Music Loving, Or the Relationship with the Piece.” Music Theory Online 2/2 (1996). https://mtosmt.org/issues/mto.96.2.2/mto.96.2.2.guck.htmlfeminismgendersexuality
Hahn, Tomie. Sensational Knowledge: Embodying Culture Through Japanese Dance. Middletown, CT: Wesleyan University Press, 2007.embodimentnonwesternmusic
Hannaford, Marc. “One Line, Many Views: Perspectives on Music Theory, Composition, and Improvisation through the Work of Muhal Richard Abrams.” Ph.D. diss., Columbia University, 2019.blackmusicImprovisationjazz
Hannaford, Marc. “Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers.” Music Theory Online 23/2 (2017). https://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.hannaford.htmlembodimentfeminismImprovisationjazzpopularmusic21stcentury
Harris, Rachel. “Theory and Practice in Contemporary Central Asian Maqām Traditions: The Uyghur On Ikki Muqam and the Kashmiri Sūfyāna Musīqī.” In Theory and Practice in the Music of the Islamic World: Essays in Honour of Owen Wright, edited by Rachel Harris and Martin Stokes, 217–37. Abingdon and New York: Routledge, 2018.historyoftheorynonwesternmusic
Head, Matthew. “Musicology on Safari: Orientalism and the Spectre of Postcolonial Theory.” Music Analysis Vol. 22 Nos. 1–2 (2003): 211–30.colonialism
Headlam, Dave. “Learning to Hear Autistically.” In Sounding Off: Theorizing Disability in Music, edited by Neil Lerner and Joseph N. Straus, 109–20. New York: Routledge, 2006.disabilitymethodology20thcentury
Heidemann, Kate. “A System for Describing Vocal Timbre in Popular Song.” Music Theory Online 22/1 (2016). https://mtosmt.org/issues/mto.16.22.1/mto.16.22.1.heidemann.htmlembodimentgendermethodologypopularmusictimbre20thcentury
Heidemann, Kate. “Hearing Women’s Voices in Popular Song: Analyzing Sound and Identity in Country and Soul.” Ph.D. diss., Columbia University, 2014.embodimentfeminismgenderintersectionalitymethodologypopularmusicracesexualitytimbre20thcentury
Hisama, Ellie M. “‘Diving Into the Earth’: The Musical Worlds of Julius Eastman.” In Rethinking Difference in Music Scholarship, edited by Olivia Bloechl, Melanie Lowe and Jeffrey Kallberg, 260–86. Cambridge: Cambridge University Press, 2015.blackmusicgenderintersectionalityracesexuality20thcentury21stcentury
Hisama, Ellie M. “Considering Race and Ethnicity in the Music Theory Classroom.” In Norton Guide to Teaching Music Theory, edited by Rachel Lumsden and Jeff Swinkin, 252–66. New York: W. W. Norton, 2018.pedagogyrace
Hisama, Ellie M. “Feminist Music Theory into the Millennium: A Personal History.” Signs: Journal of Women in Culture and Society 25/4 (2000): 1287–91.feminismgender
Hisama, Ellie M. “From L’Étranger to ‘Killing an Arab’: Representing the Other in a Cure Song,” in Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays, edited by Walter Everett, 59–74. New York: Garland Press, 2000.colonialismpopularmusicrace20thcentury
Hisama, Ellie M. “Getting to Count.” Music Theory Spectrum 43/2 (2021): 349–63.feminismgenderhistoryoftheorymethodologyposttonalracesexuality20thcentury
Hisama, Ellie M. “John Zorn and the Postmodern Condition.” In Locating East Asia in Western Art Music, edited by Yayoi Uno Everett and Frederick Lau, 72–84. Middletown: Wesleyan University Press, 2004.feminismgenderrace20thcentury
Hisama, Ellie M. “Postcolonialism on the Make: The Music of John Mellencamp, David Bowie, and John Zorn.” Popular Music 12/2 (1993): 91–104.colonialismfeminismgenderintersectionalitypopularmusicrace20thcentury
Hisama, Ellie M. “Power and Equity in the Academy: Change from Within.” Current Musicology 102 (2018): 81–92. feminismpedagogy
Hisama, Ellie M. “Voice, Race, and Sexuality in the Music of Joan Armatrading.” In Audible Traces: Gender, Identity, and Music, edited by Elaine Barkin and Lydia Hamessley, 115–32. Zürich: Carciofoli Verlagshaus, 1999.blackmusicfeminismgenderintersectionalitypopularmusicracesexuality20thcentury
Hisama, Ellie M. Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon. Cambridge: Cambridge University Press, 2001.primerfeminismgendermethodologyposttonal20thcentury
Hisama, Ellie M., and Lucie Vágnerová. “For the Daughters of Harlem: Bridging Campus and Community through Sound.” In Sounding Together: Collaborative Perspectives on U.S. Music in the 21st Century, edited by Charles Hiroshi Garrett and Carol J. Oja, 145–73. Ann Arbor: University of Michigan Press, 2021.feminismgenderintersectionalitypopularmusicrace21stcentury
Honisch, Stefan S. “Re-narrating Disability through Musical Performance.” Music Theory Online Vol. 15 Nos. 3–4 (2009). https://mtosmt.org/issues/mto.09.15.3/mto.09.15.3.honisch.htmldisability
Honisch, Stefan Sunandan. “Virtuosities of Deafness and Blindness: Musical Performance and the Prized Body.” In The Oxford Handbook of Music and the Body, edited by Youn Kim and Sander L. Gilman, 276–94. New York: Oxford University Press, 2019.disabilityembodiment19thcentury
Howe, Blake, and Stephanie Jensen-Moulton, et al. “On the Disability Aesthetics of Music.” Journal of the American Musicological Society 69/2 (2016): 525–63.disabilitymethodology
Howe, Blake. “Disabling Music Performance.” In The Oxford Handbook of Music and Disability Studies, edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus, 191–209. Oxford and New York: Oxford University Press, 2016.disability
Howe, Blake. “Music and Disability Studies.” Music Research Annual 1 (2020): 1–29.disabilitymethodology
Howe, Blake. “Music and the Agents of Obsession.” Music Theory Spectrum 38/2 (2017): 218–40.disabilitytonality18thcentury19thcentury20thcentury
Howe, Blake. “Paul Wittgenstein and the Performance Of Disability.” The Journal of Musicology 27/2 (2010): 135–80.disability20thcentury
Hoyt, Peter A. “The Savage and Subconscious as Sources of Analytical Authority.” In Music Theory and Natural Order from the Renaissance to the Early Twentieth Century, edited by Suzannah Clark and Alexander Rehding, 197–212. Cambridge: Cambridge University Press, 2001.colonialismrace
Hubbs, Nadine. “‘I Will Survive’: Musical Mappings of Queer Social Space in a Disco Anthem.” Popular Music 26/2 (2007): 231–44.genderpopularmusicqueertheorysexuality20thcentury
Hubbs, Nadine. “‘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 Vol. 19 (2015): 71–76.genderpopularmusicqueertheorysexuality20thcentury
Hubbs, Nadine. “A French Connection: Modernist Codes in the Musical Closet.” GLQ: A Journal of Lesbian and Gay Studies 6/3 (2000): 389–412.genderposttonalqueertheorysexuality20thcentury
Hubbs, Nadine. “Homophobia in Twentieth-Century Music: The Crucible of America’s Sound.” Daedalus 142/4 (2013): 45–50.genderposttonalqueertheorysexuality20thcentury
Hubbs, Nadine. Rednecks, Queers, and Country Music. Berkeley: University of California Press, 2014.genderpopularmusicsexuality20thcentury
Hubbs, Nadine. The Queer Composition of America’s Sound: Gay Modernists, American Music, and National Identity. Berkeley: University of California Press, 2004.gendersexuality20thcentury
Irving, D.R.M. Colonial Counterpoint: Music in Early Modern Manila. Oxford and New York: Oxford University Press, 2010.colonialismhistoryoftheoryinterculturality16thcentury17thcentury18thcentury
Iverson, Jennifer. “Dancing out of the Dark: How Music Refutes Disability Stereotypes in Dancer in the Dark.” In Sounding Off: Theorizing Disability in Music, edited by Neil Lerner and Joseph N. Straus, 57–74. New York: Routledge, 2006. disabilitypopularmusic21stcentury
Iverson, Jennifer. “Designing for Access in the Classroom and Beyond.” In The Routledge Companion to Music Theory Pedagogy, edited by Leigh VanHandel, 397–406. New York: Routledge, 2019.
Iverson, Jennifer. “Disabling the Avant-Garde: Listening to Berberian and Lucier.” Journal of Interdisciplinary Voice Studies 4/2 (2019): 157–77.disability20thcentury
Iverson, Jennifer. “Mechanized Bodies: Technology and Supplements in Björk's Electronica.” In The Oxford Handbook of Music and Disability Studies, edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus, 155–75. Oxford and New York: Oxford University Press, 2016.disabilityembodimentpopularmusic21stcentury
Iverson, Jennifer. “Sounding Traumatized Bodies.” Journal of the American Musicological Society 69/2 (2016): 536–541.disability20thcentury
Iyer, Vijay. “Beneath Improvisation.” In The Oxford Handbook of Critical Concepts in Music Theory, edited by Alexander Rehding and Steven Rings, 760–80. New York: Oxford University Press, 2019.embodiment
Iyer, Vijay. “Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music.” Music Perception 19/3 (2002): 387–414blackmusicembodimentimprovisationinterculturalityrhythmandmeter
Iyer, Vijay. “Improvisation, Action Understanding, and Music Cognition with and without Bodies.” In The Oxford Handbook of Critical Improvisation Studies, vol. 1, edited by George E. Lewis and Benjamin Piekut, 74–90. Oxford: Oxford University Press, 2016.embodimentrace
Iyer, Vijay. Review of Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music, by Mark Butler. Journal of the Society for American Music 2/2 (2008): 269–76.blackmusiccolonialismembodimentmethodologypopularmusicracerhythmandmeter20thcentury
Jackson, Travis A. Blowin’ the Blues Away: Performance and Meaning on the New York Jazz Scene. Berkeley: University of California Press, 2012.blackmusicimprovisationjazzrace20thcentury21stcentury
Jairazbhoy, Nazir Ali. “What Happened to Indian Music Theory? Indo-Occidentalism?” Ethnomusicology 52/3 (2008): 349–77.colonialismhistoryoftheoryinterculturalitynonwesternmusictonality
James, Robin. “Why is there no Music Analysis in Feminist Theory?” It’s Her Factory, November 18, 2015. https://www.its-her-factory.com/2015/11/why-is-there-no-music-analysis-in-feminist-theory/.feminismgendermethodology
Jensen-Moulton, Stephanie. “Finding Autism in the Compositions of a 19th-century Prodigy: Reconsidering ‘Blind Tom’ Wiggins.” In Sounding Off: Theorizing Disability in Music, edited by Neil Lerner and Joseph N. Straus, 199–216. New York: Routledge, 2006.disabilityrace19thcentury
Johnson, Shersten. “Music Analysis and Accessibility in the Music Theory Classroom.” In The Routledge Companion to Music Theory Pedagogy, edited by Leigh VanHandel, 407–12. New York: Routledge, 2019.disabilitypedagogy
Johnson, Shersten. “Understanding Is Seeing: Music Analysis and Blindness.” In The Oxford Handbook of Music and Disability Studies, edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus, 131–53. New York: Oxford University Press, 2016.disabilitymethodologypedagogyschenker
Johnson, Stephen. “Hybrid in Form, Socialist in Content: The Formal Politics of Chŏlga in the North Korean Revolutionary Opera Sea of Blood.” Twentieth-century Music 18/3 (2021): 419–45.colonialisminterculturalitynonwesternmusicpopularmusicrace
Johnson, Tom. “Chance the Rapper, Spotify, and Musical Categorization in the 2010s.” American Music 38/2 (2020): 176–96.blackmusichiphoppopularmusicrace21stcentury
Jost, Ekkehard. Free Jazz. New York: Da Capo Press, 1981.
Kajikawa, Loren. “Leaders of the New School? Music Departments, Hip-Hop, and the Challenge of Significant Difference.” Twentieth-Century Music 18/1 (2020): 45–64.blackmusichiphopmethodologypedagogypopularmusicrace
Kajikawa, Loren. “The Possessive Investment in Classical Music: Confronting Legacies of White Supremacy in U.S. Schools and Departments of Music.” in Seeing Race Again: Countering Colorblindness across the Disciplines, edited by Kimberlé Williams Crenshaw et al., 155–74. Oakland: University of California Press, 2019.primerpedagogyrace
Kajikawa, Loren. Sounding Race in Rap Songs. Oakland: University of California Press, 2015.blackmusichiphoppopularmusicrace
Kielian-Gilbert, Marianne. “Beyond Abnormality: Dis/ability and Music’s Metamorphic Subjectivities.” In Sounding Off: Theorizing Disability in Music , edited by Neil Lerner and Joseph N. Straus, 217–34. New York: Routledge, 2006.disabilityintersectionalityphilosophytonality
Kielian-Gilbert, Marianne. “Disabled Moves: Multidimensional Music Listening, Disturbing/Activating Differences of Identity.” In The Oxford Handbook of Music and Disability Studies, edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner and Joseph Straus, 371–400. Oxford and New York: Oxford University Press, 2016.disability
Kielian-Gilbert, Marianne. “Musical Bordering, Connecting Histories, Becoming Performative.” Music Theory Spectrum 33/2 (2011): 200–207.feminismgenderinterculturalityintersectionalitymethodologyposttonal21stcentury
Kielian-Gilbert, Marianne. “Of Poetics and Poesis, Pleasure and Politics: Music Theory and Modes of the Feminine.” Perspectives of New Music 32/1 (1994): 44–67.feminismgender
Kielian-Gilbert, Marianne. “On Rebecca Clarke’s Sonata for Viola and Piano: Feminine Spaces and Metaphors of Reading.” In Audible Traces: Gender, Identity, and Music, edited by Elaine Barkin and Lydia Hamessley, 71–114. Zürich: Carciofoli Verlagshaus, 1999.feminismgender20thcentury
Kim, Kyung Hyun. “Becoming-Black: Exploring Korean Hip-hop in the Age of Hallyu.” Situations 12/1 (2019): 23–46.blackmusiccolonialismhiphopinterculturalitypopularmusicrace20thcentury21stcentury
Kirilov, Kalin S. Bulgarian Harmony: In Village, Wedding, and Choral Music of the Last Century. Farnham and Burlington: Ashgate, 2015.interculturalitynonwesternmusicschenkertonality20thcentury
Kisserwan, Ali. Meeting of the Great Pyramids: The Compositions of Mohammad ʿAbdel Wahab for Umm Kulthum: An Analytical Study with Complete Musical Transcriptions, Tables, and Appendices. Edited by Lama Zein. Translated by Beau Bothwell. Beirut: al Maaref Forum, 2018.nonwesternmusic20thcentury
Kochavi, Jon. “How Do You Hear That? Autism, Blindness, and Teaching Music Theory.” Music Theory Online Vol. 15 Nos. 3–4 (2009). https://mtosmt.org/issues/mto.09.15.3/mto.09.15.3.kochavi.html disabilitypedagogy
Kordmafi, Saeid. “Reviving the Mukhammas and Thaqīl: Collaborative Composition on Long Metric Cycles Across the Iranian-Tajik Divide.” The World of Music Vol. 7 Nos. 1–2 (2018): 179–202.interculturalitymethodologynonwesternmusicrhythmandmeter21stcentury
Krims, Adam. Rap Music and the Poetics of Identity. New York: Cambridge University Press, 2000.blackmusichiphoppopularmusic20thcentury
Lafrance, Marc, and Lori Burns. “Finding Love in Hopeless Places: Complex Relationality and Impossible Heterosexuality in Popular Music Videos by Pink and Rihanna.” Music Theory Online 23/2 (2017). https://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.lafrance_burns.htmlgenderpopularmusicsexuality
Lai, Eric C. The Music of Chou Wen-chung. London: Routledge, 2009.interculturalityphilosophyposttonal20thcentury
Lam, Joseph S.C. “Analyses and Interpretations of Chinese Seven-String Zither Music: The Case of the Lament of Empress Chen.” Ethnomusicology 37/3 (1993): 353–85.embodimentinterculturalitynonwesternmusic
Lam, Joseph S.C. “Embracing ‘Asian American Music’ as an Heuristic Device.” Journal of Asian American Studies 2/1 (1999). https://muse.jhu.edu/article/14545 race20thcentury
Lam, Joseph S.C. “Huizong’s Dashengyue, a Musical Performance of Emperorship and Officialdom.” In Emperor Huizong and Late Northern Song China: The Politics of Culture and the Culture of Politics, edited by Patricia Buckley Ebrey and Maggie Bickford, 395–452. Cambridge: Harvard University Press, 2006.historyoftheorynonwesternmusic
Lam, Joseph S.C. “Musical Confucianism The Case of ‘jikong yuewu.’” In On Sacred Grounds: Culture, Society, Politics, and the Formation of the Cult of Confucius, edited by Thomas A. Wilson, 134–72. Cambridge: Harvard University Press, 2002.historyoftheorynonwesternmusicphilosophy
Latartara, John. “The Timbre of Thai Classical Singing.” Asian Music 43/2 (2012): 88–114.nonwesternmusictimbre
Lau, Frederick. “Context, Agency and Chineseness: The Music of Law Wing Fai.” Contemporary Music Review Vol. 26 Nos. 5–6 (2007): 585–603.interculturalitynonwesternmusic20thcentury
Lavengood, Megan. “Timbre, Rhythm, and Texture within Music Theory’s White Racial Frame.” In The Oxford Handbook of Electronic Dance Music, edited by Luis Manuel Garcia-Mispireta and Robin James. Oxford: Oxford University Press, 2021. 10.1093/oxfordhb/9780190093723.013.17. embodimentmethodologypopularmusicracerhythmandmetertimbre21stcentury
Le Guin, Elisabeth. Boccherini’s Body: An Essay in Carnal Musicology. Berkeley: University of California Press, 2006.Embodimentgender18thcentury
Leach, Elizabeth Eva. “Gendering the Semitone, Sexing the Leading Tone: Fourteenth-Century Music Theory and the Directed Progression.” Music Theory Spectrum 28/1 (2006): 1–22.feminismgenderhistoryoftheorysexualitytonality
Leante, Laura. “The Lotus and the King: Imagery, Gesture and Meaning in a Hindustani Rāg.” Ethnomusicology Forum 18/2 (2009): 185–206.embodimentnonwesternmusic
Lee, Christopher. “Rhythm and the Cold War Imaginary: Listening to John Adams’s Nixon in China.” differences: A Journal of Feminist Cultural Studies Vol. 22 Nos. 2–3 (2011): 190–210.colonialismphilosophyrhythmandmeter20thcentury
Lee, Gavin. “Postcolonial Bifurcation: On John Sharpley’s Emptiness.” Music Analysis 38/3 (2019): 316–57.colonialismnonwesternmusic21stcentury
Lee, Gavin. “Queer Music Theory.” Music Theory Spectrum 42/1 (2020): 143–53.methodologyqueertheorysexuality
Lee, Katherine In-Young. Dynamic Korea and Rhythmic Form. Middletown: Wesleyan University Press, 2018.nonwesternmusicrhythmandmeter
Leppänen, Taru, and Milla Tiainen. “Trans-Becomings in Western ‘Classical’ Singing: An Intra-Active Approach.” Ruukku–Studies in Artistic Research 9 (2018). https://www.researchcatalogue.net/view/372940/372941.embodimentfeminismgendermethodologyphilosophyqueertheory
Leppänen, Taru. “Unfolding Non-Audist Methodologies in Music Research: Signing Hip Hop Artist Signmark and Becoming Deaf with Music.” In Musical Encounters with Deleuze and Guattari, edited by Pirkko Moisala, Taru Leppänen, Milla Tiainen and Hanna Väätäinen, 33–49. New York: Bloomsbury Academic, 2017. disabilityembodimenthiphopmethodologypopularmusic21stcentury
Lett, Stephen. “De-Scripting Schenker, Scripting Music Theory.” Journal of Schenkerian Studies 12 (2019): 167–72.methodologySchenker
Lett, Stephen. “The Psychedelic Listener: Theorizing Music in Therapeutic Practice.” Ph.D. diss., University of Michigan, 2019.methodology
Levitz, Tamara, et al. “Musicology Beyond Borders?” Journal of the American Musicological Society 65/3 (2012): 821–61.primercolonialismfeminismgenderinterculturalityrace
Levitz, Tamara. “Decolonizing the Society for American Music.” The Bulletin of the Society for American Music 43/3 (2017): 1–13.colonialismrace
Lewis, Eric. Intents and Purposes: Philosophy and the Aesthetics of Improvisation. Ann Arbor: University of Michigan Press, 2019.blackmusicgenderimprovisationjazzphilosophyrace20thcentury
Lewis, George E. “Improvised Music after 1950: Afrological and Eurological Perspectives.” Black Music Research Journal 16/1 (1996): 91–122.blackmusiccolonialismimprovisationmetatheorymethodologyrace20thcentury
Leydon, Rebecca. “Utopias of the Erotics: The Exotic Music of Les Baxter and Yma Sumac.” In Widening the Horizon: Exoticism in Post-War Popular Music, edited by Philip Hayward, 45–71. Bloomington: Indiana University Press, 1999.colonialismnonwesternmusicpopularmusic20thcentury
Li, Edwin K.C. “Cantopop and Speech-Melody Complex.” Music Theory Online 27/1 (2021). https://mtosmt.org/issues/mto.21.27.1/mto.21.27.1.li.html. interculturalitymethodologynonwesternmusicphilosophypopularmusic21stcentury
Lochhead, Judy. “The Sublime, the Ineffable, and Other Dangerous Aesthetics.” Women and Music: A Journal of Gender and Culture 12 (2008): 63–74.
Lochhead, Judy. Reconceiving Structure in Contemporary Music: New Tools in Music Theory and Analysis. New York and Abingdon: Routledge, 2016.gendermethodologyphilosophyposttonaltimbre21stcentury
Lock, Graham. Forces in Motion: Anthony Braxton and the Meta-reality of Creative Music. New York: Dover, 2018.blackmusicimprovisationjazzmethodologyposttonalrace20thcentury
Love, Nancy S. “From Settler Colonialism to Standing Rock.” College Music Symposium 58/3 (2018): 1–16.colonialismindigenousmusicpopularmusicrace21stcentury
Loya, Shay. Liszt’s Transcultural Modernism and the Hungarian-Gypsy Tradition. Rochester: University of Rochester Press, 2011.interculturalitymethodology19thcentury
Lucas, Ann E. Music of a Thousand Years: A New History of Persian Musical Traditions. Oakland: University of California Press, 2019.historyoftheorynonwesternmusic
Lucia, Christine. “‘Yet None with Truer Fervour Sing’: Coronation Song and the (De)colonization of African Choral Composition.” African Music: Journal of the International Library of African Music 10/3 (2017): 23–44.blackmusiccolonialismracetonality20thcentury
Lucia, Christine. “Back to the Future? Idioms of ‘Displaced Time’ in South African Composition.” In Composing Apartheid: Music For and Against Apartheid, edited by Grant Olwage, 11–34. Johannesburg : Wits University Press, 2008.blackmusiccolonialismhistoryoftheoryinterculturalityracetonality20thcentury
Lumsden, Rachel. “‘The Music Between Us’: Ethel Smyth, Emmeline Pankhurst, and ‘Possession.’” Feminist Studies 41/2 (2015): 335–70.feminismgender20thcentury
Lumsden, Rachel. “‘The Pulse Of Life Today’: Borrowing in Johanna Beyer's String Quartet No. 2.” American Music 35/3 (2017): 303–42.feminismgenderposttonal20thcentury
Lumsden, Rachel. “‘You Too Can Compose’: Ruth Crawford’s Mentoring of Vivian Fine.” Music Theory Online 23/2 (2017). https://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.lumsden.htmlfeminismgender20thcentury
Lumsden, Rachel. “Enriching Classroom Discussions: Some Strategies from Feminist Pedagogy.” In The Norton Guide to Teaching Music Theory, edited by Rachel Lumsden and Jeffrey Swinkin, 313–30. New York: W. W. Norton, 2018.feminismpedagogy
Lumsden, Rachel. “Music Theory for the ‘Weaker Sex’: Oliveria Prescott’s Columns for The Girl’s Own Paper.” Music Theory Online 26/3 (2020). https://mtosmt.org/issues/mto.20.26.3/mto.20.26.3.lumsden.html.feminismgenderhistoryoftheorypedagogypublicmusictheory19thcentury
Lumsden, Rachel. “Uplift, Gender, and Scott Joplin's Treemonisha.” Black Music Research Journal 35/1 (2015): 41–69.blackmusicgenderintersectionalityrace20thcentury
Luong, Vivian. “Analysis as Ethics: Experiments with Music Loving.” Ph.D. diss., University of Michigan, 2019.primerfeminismgenderintersectionalitymethodologyphilosophyschenkersexuality
Luong, Vivian. “Rethinking Music Loving.” Music Theory Online 23/2 (2017). https://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.luong.htmlfeminismgendermethodologyphilosophy
Maceda, José. “A Concept of Time in a Music of Southeast Asia (A Preliminary Account).” Ethnomusicology 30/1 (1986): 11–53.interculturalitynonwesternmusicphilosophyrhythmandmetertonality
Maceda, José. “Introduction: A Search in Asia for a New Theory of Music.” In A Search in Asia for a New Theory of Music, edited by José Buenconsejo, ix–xxv. Quezon City: University of the Philippines Center for Ethnomusicology, 2003.colonialismnonwesternmusic
Maceda, José. “The Structure of Principal Court Musics of East and Southeast Asia.” Asian Music 32/2 (2001): 143–78.historyoftheoryinterculturalitynonwesternmusicrhythmandmetertonality
Madrid, Alejandro. “Diversity, Tokenism, Non-Canonical Musics, and the Crisis of the Humanities in U.S. Academia.” Journal of Music History Pedagogy 7/2 (2017): 124–29.primercolonialismmethodologypedagogyrace
Malawey, Victoria. “‘Find Out What It Means to Me’: Aretha Franklin’s Gendered Re-authoring of Otis Redding’s ‘Respect.’” Popular Music 33/2 (2014): 185–207.blackmusicgenderintersectionalitypopularmusicracetimbre20thcentury
Malawey, Victoria. A Blaze of Light in Every Word: Analyzing the Popular Singing Voice. New York: Oxford University Press, 2020. feminismgenderpopularmusicsexuality21stcentury
Maler, Anabel. “Musical Expression among Deaf and Hearing Song Signers.” In The Oxford Handbook of Music and Disability Studies, edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus, 73–91. Oxford and New York: Oxford University Press, 2016.disabilitypopularmusic
Maler, Anabel. “Songs for Hands: Analyzing Interactions of Sign Language and Music.” Music Theory Online 19/1 (2013). https://mtosmt.org/issues/mto.13.19.1/mto.13.19.1.maler.htmldisabilitypopularmusic21stcentury
Manabe, Noriko. “Chants of the Resistance: Flow, Memory, and Inclusivity.” Music and Politics 13/1 (2019). https://doi.org/10.3998/mp.9460447.0013.105feminismgenderintersectionalityrhythmandmeter21stcentury
Manabe, Noriko. “Globalization and Japanese Creativity: Adaptation of Japanese Language to Rap.” Ethnomusicology 50/1 (2006): 1–36.hiphopinterculturalitynonwesternmusicpopularmusicrace21stcentury
Manabe, Noriko. “Representing Japan: ‘National’ Style Among Japanese Hip-Hop DJs.” Popular Music 32/1 (2013): 35–50.hiphopnonwesternmusicpopularmusicrace21stcentury
Manabe, Noriko. “We Gon’ Be Alright? The Ambiguities of Kendrick Lamar’s Protest Anthem.” Music Theory Online 25/1 (2019). https://mtosmt.org/issues/mto.19.25.1/mto.19.25.1.manabe.htmlblackmusichiphoppopularmusicracerhythmandmeter21stcentury
Maus, Fred E. “Glamour and Evasion: The Fabulous Ambivalence of the Pet Shop Boys.” Popular Music 20/3 (2001): 379–93.genderpopularmusicsexuality20thcentury
Maus, Fred Everett. “LGBTQ+ Lives in Professional Music Theory.” Music Theory Online 26/1 (2020). https://mtosmt.org/issues/mto.20.26.1/mto.20.26.1.maus.html.gendersexuality
Maus, Fred Everett. “Love Stories.” Repercussions 4/2 (1995): 86–96.popularmusic
Maus, Fred Everett. “Masculine Discourse in Music Theory.” Perspectives of New Music 31/2 (1993): 264–93.primerfeminismgendermethodologysexuality
Maus, Fred Everett. “Sexual and Musical Categories.” In The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology, edited by Arved Ashby, 153–75. Rochester: University of Rochester Press, 2004.methodologysexuality
Maus, Fred Everett. “Sexuality, Trauma, and Dissociated Expression.” In The Oxford Handbook of Music and Disability Studies, edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus, 345–56. New York: Oxford University Press, 2016.disabilitypopularmusicqueertheorysexuality
Maus, Fred Everett. “The Disciplined Subject of Musical Analysis.” In Beyond Structural Listening?: Postmodern Modes of Hearing, edited by Andrew Dell’Antonio, 13–44. Berkeley: University of California Press, 2004.methodology
Maus, Fred. “Intimacy and Distance: On Stipe’s Queerness.” Journal of Popular Music Studies 18/2 (2006): 191–214.popularmusicqueertheorysexuality
Maxile, Jr., Horace J. “Churchy Blues, Bluesy Church: Vernacular Trops, Expression, and Structure in Charles Mingus’s ‘Ecclusiastics.’” Annual Review of Jazz Studies 14 (2009): 65–81.blackmusicjazzraceschenkertonality20thcentury
Maxile, Jr., Horace J. “Extensions to the Pedagogical Canon: Expanding Perspectives on William Grant Still and the Teaching Applications as Realized in the Seven Traceries.” College Music Symposium Vol. 55 (2015). http://dx.doi.org/10.18177/sym.2015.55.sr.10881 blackmusicpedagogyposttonal20thcentury
Maxile, Jr., Horace J. “Hale Smith's ‘Evocation’: The Interaction of Cultural Symbols and Serial Composition.” Perspectives of New Music 42/2 (2004): 122–43.blackmusicposttonalrace20thcentury
Maxile, Jr., Horace J. “Implication, Quotation, and Coltrane in Selected Works by David N. Baker.” Journal of the Society for American Music 7/2 (2013): 147–64.blackmusicinterculturalityjazzpopularmusicrace20thcentury
Maxile, Jr., Horace J. “Olly Wilson’s Contemporary Reflection on ‘I've Been 'Buked,’ an African-American Spiritual.” Perspectives of New Music 54/2 (2016): 107–38.blackmusicphilosophyposttonalrace20thcentury
Maxile, Jr., Horace J. “On Vernacular Emblems and Signification in David N. Baker's The Black Experience.” American Music 32/2 (2014): 223–51.blackmusicinterculturalityrace20thcentury
Maxile, Jr., Horace J. “Reverent References: African American Cultural Topics in William Grant Still's Symphonic ‘Prayer.’” American Music Research Center 13 (2003): 91–104.blackmusicinterculturalityracetonality20thcentury
Maxile, Jr., Horace J. “Signs, Symphonies, Signifyin(g): African-American Cultural Topics as Analytical Approach to the Music of Black Composers.” Black Music Research Journal 28/1 (2008): 123–38.blackmusicmethodologyrace20thcentury
McClary, Susan. “Constructions of Subjectivity in Schubert's Music.” In Queering the Pitch: The New Gay and Lesbian Musicology, edited by Philip Brett, Elizabeth Wood, and Gary C. Thomas, 205–34. New York: Routledge, 2006.queertheorysexualitytonality19thcentury
McClary, Susan. “Paradigm Dissonances: Music Theory, Cultural Studies, Feminist Criticism.” Perspectives of New Music 32/1 (1994): 68–85.feminismgendermetatheorymethodologysexuality
McClary, Susan. Conventional Wisdom: The Content of Musical Form. Berkeley: University of California Press, 2000.blackmusicfeminismgenderhiphopmethodologypopularmusictonality18thcentury20thcentury
McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press, 1991.feminismgenderpopularmusicposttonalsexuality
McGraw, Andrew. Radical Traditions: Reimagining Culture in Balinese Contemporary Music. New York: Oxford University Press, 2013.colonialisminterculturalitynonwesternmusic21stcentury
Miller, Leta. “Beneath the Hybrid Surface: Baban as a Tool for Self-Definition in the Music of Chen Yi.” American Music 37/3 (2019): 330–57.interculturalityposttonal20thcentury21stcentury
Miyakawa, Felicia M., and Richard Mook. “Avoiding the ‘Culture Vulture’ Paradigm: Constructing an Ethical Hip-hop Curriculum.” Journal of Music History Pedagogy 5/1 (2014): 41–58.hiphoppedagogypopularmusicrace
Modirzadeh, Hafez. “Aural Archetypes and Cyclic Perspectives in the Work of John Coltrane and Ancient Chinese Music Theory.” Black Music Research Journal 21/1 (2001): 75–105.blackmusichistoryoftheoryinterculturalityjazznonwesternmusic20thcentury
Molk, Dave, and Michelle Ohnona. “Promoting Equity: Developing an Antiracist Music Theory Classroom.” NewMusicBox USA. January 29, 2020. https://nmbx.newmusicusa.org/promoting-equity-developing-an-antiracist-music-theory-classroom/ genderpedagogyrace
Molk, Dave. “Teaching Inequality: Consequences of Traditional Music Theory Pedagogy.” NewMusicBox USA. December 11, 2019. https://nmbx.newmusicusa.org/teaching-inequality-consequences-of-traditional-music-theory-pedagogy/colonialismgenderpedagogyrace
Momii, Toru. “A Transformational Approach to Gesture in Shō Performance.” Music Theory Online 26/4 (2020). https://mtosmt.org/issues/mto.20.26.4/mto.20.26.4.momii.html.embodimentinterculturalitymethodologynonwesternmusictonality
Momii, Toru. “Music Analysis and the Politics of Knowledge Production: Interculturality in the Music of Honjoh Hidejirō, Miyata Mayumi, and Mitski.” Ph.D. diss., Columbia University. https://doi.org/10.7916/d8-c13z-p455. colonialismembodimentgenderinterculturalitymetatheorymethodologynonwesternmusicpopularmusicracetimbre21stcentury
Monson, Ingrid. “Riffs, Repetition, and Theories of Globalization.” Ethnomusicology 43/1 (1999): 31–65.blackmusicimprovisationinterculturalityjazznonwesternmusicpopularmusicrace20thcentury
Monson, Ingrid. Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press, 1996.blackmusicImprovisationjazz20thcentury
Moon, Steven. “Queer Theory, Ethno/Musicology, and the Disorientation of the Field.” Current Musicology Vol. 106 (2020): 9–33. https://doi.org/10.7916/cm.v106iSpring.6768.gendermethodologyqueertheoryracesexuality
Morrison, Matthew D. “(De)Constructing Musicology's Borders along the Color Line.” Journal of the American Musicological Society 65/3 (2012): 849–55.race
Morrison, Matthew D. “Race, Blacksound, and the (Re)Making of Musicological Discourse.” Journal of the American Musicological Society 72/3 (2019): 781–823.blackmusicintersectionalitymethodologypopularmusicrace19thcentury20thcentury
Mundy, Rachel. “Evolutionary Categories and Musical Style from Adler to America.” Journal of the American Musicological Society 67/3 (2014): 735–68.colonialismhistoryoftheoryinterculturalitynonwesternmusicrace19thcentury20thcentury
Neal, Jocelyn R. “‘Tennessee Whiskey’ and the Politics of Harmony.” Journal of Popular Music Studies 32/2 (2020): 214–37.blackmusicpopularmusicrace20thcentury21stcentury
Neal, Jocelyn R. “Dancing Together: The Rhythms of Gender in the Country Dance Hall.” In A Boy Named Sue: Gender and Country Music, edited by Kristine M. McCusker and Diane Pecknold, 132–54. Jackson: University Press of Mississippi, 2004.genderpopularmusic21stcentury
Neal, Jocelyn R. “Why ‘Ladies Love Country Boys’: Gender, Class, and Economics in Contemporary Country Music.” In Country Boys and Redneck Women: New Essays in Gender and Country Music, edited by Diane Pecknold and Kristine M. McCusker, 3–25. Jackson: University Press of Mississippi, 2016.genderpopularmusic21stcentury
Nooshin, Laudan. “Improvisation as 'Other': Creativity, Knowledge and Power—The Case of Iranian Classical Music.” Journal of the Royal Musical Association 128/2 (2003): 242–96.improvisationnonwesternmusicrace
Oh, Hee Sook. “Threnody and the Aesthetics of Interculturality in Twenty-First-Century East Asian Composition.” Acta Musicologica 89/2 (2017): 195–213.interculturalitymethodology21stcentury
Okiji, Fumi. Jazz as Critique: Adorno and Black Expression Revisited. Stanford: Stanford University Press, 2018.blackmusicjazzphilosophyrace20thcentury
Olwage, Grant. “John Knox Bokwe, Colonial Composer: Tales about Race and Music.” Journal of the Royal Musical Association 131/1 (2006): 1–37.blackmusiccolonialismrace19thcentury20thcentury
Olwage, Grant. “The Class and Colour of Tone: An Essay on the Social History of Vocal Timbre.” Ethnomusicology Forum 13/2 (2004): 203–26.blackmusiccolonialismnonwesternmusicracetimbre
Omojola, Bode. “African Pianism as an Intercultural Compositional Framework: A Study of the Piano Works of Akin Euba.” Research in African Literatures 32/2 (2001): 153–74.blackmusiccolonialisminterculturalitynonwesternmusicrhythmandmetertonality20thcentury
Palfy, Cora S., and Eric Gilson. “The Hidden Curriculum in the Music Theory Classroom.” Journal of Music Theory Pedagogy 32 (2018): 79–110.pedagogy
Park, Jinny. “Rhyming Techniques and Identity in Korean Hip Hop.” Journal of World Popular Music 7/2 (2020): 45–67.blackmusichiphopinterculturalitynonwesternmusicpopularmusicrhythmandmeter20thcentury21stcentury
Parsons, Laurel, and Brenda Ravenscroft, eds. Analytical Essays on Music by Women Composers: Concert Music 1960–2000. New York: Oxford University Press, 2016.feminismgenderposttonaltimbre20thcentury
Parsons, Laurel, and Brenda Ravenscroft, eds. Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900. New York: Oxford University Press, 2018.feminismgendertonality16thcentury17thcentury18thcentury19thcentury
Peiris, Eshantha. “Changing Conceptualizations of Rhythm in Sri Lankan Up-Country Percussion Music.” Analytical Approaches to World Music 6/2 (2018). http://www.aawmjournal.com/articles/2018a/Peiris_AAWM_Vol_6_2.htmlcolonialismnonwesternmusicrhythmandmeter
Pennington, Stephan. “Transgender Passing Guides and the Vocal Performance of Gender and Sexuality.” In The Oxford Handbook of Music and Queerness, edited by Fred Everett Maus and Sheila Whiteley. New York: Oxford University Press, 2018. genderintersectionalitypopularmusicqueertheoryracesexualitytimbre20thcentury
Peraino, Judith, and Suzanne G. Cusick, et al. “Music and Sexuality.” Journal of the American Musicological Society 66/3 (2013): 825–72.genderintersectionalityqueertheoryracesexuality
Perchard, Tom. “New Riffs on the Old Mind-Body Blues: ‘Black Rhythm,’ ‘White Logic,’ and Music Theory in the Twenty-First Century.” Journal of the Society for American Music 9/3 (2015): 321–48.primerblackmusicmethodologyracerhythmandmeter21stcentury
Perlman, Marc. Unplayed Melodies: Javanese Gamelan and the Genesis of Music Theory. Berkeley: University of California Press, 2004.colonialismnonwesternmusic
Plesch, Melanie. “Resisting the Malambo: On the Musical Topic in the Works of Alberto Ginastera.” The Musical Quarterly Vol. 101 Nos. 2–3 (2018): 157–215.colonialismmethodology20thcentury
Plesch, Melanie. “Topic Theory and the Rhetorical Efficacy of Musical Nationalisms: The Argentine Case.” In Proceedings of the International Conference on Music Semiotics in Memory of Raymond Monelle, 328–37. Edinburgh: Edinburgh College of Art and the University of Edinburgh, 2013.colonialismmethodologynonwesternmusic19thcentury20thcentury
Porter, Eric. “‘Born Out of Jazz…Yet Embracing All Music’: Race, Gender, and Technology in George Russell’s Lydian Chromatic Concept.” In Big Ears: Listening for Gender in Jazz Studies, edited by Nichole T. Rustin and Sherrie Tucker, 210–34. Durham: Duke University Press, 2008.blackmusicjazzpopularmusic20thcentury
Powell, Elliott H. Sounds from the Other Side: Afro-South Asian Collaborations in Black Popular Music. Minneapolis: University of Minnesota Press, 2020.blackmusiccolonialismgenderhiphopimprovisationinterculturalityintersectionalityjazzpopularmusicqueertheoryracesexuality20thcentury21stcentury
Quaglia, Bruce W. “Musical Prosthesis: Form, Expression, and Narrative Structure in Beethoven’s Sonata Movements.” In The Oxford Handbook of Music and Disability Studies, edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus, 618–39. Oxford and New York: Oxford University Press, 2016.disability19thcentury
Quaglia, Bruce W. “Planning for Student Variability: Universal Design for Learning in the Music Theory Classroom and Curriculum.” Music Theory Online 21/1 (2015). https://mtosmt.org/issues/mto.15.21.1/mto.15.21.1.quaglia.htmldisabilitypedagogy
Radano, Ronald M. New Musical Figurations: Anthony Braxton’s Cultural Critique. Chicago: University of Chicago Press, 1994.blackmusicimprovisationinterculturalityjazzmethodologyphilosophyposttonal20thcentury
Radano, Ronald, and Philip V. Bohlman. “Introduction: Music and Race, Their Past, Their Presence.” In Music and the Racial Imagination, edited by Ronald Radano and Philip V. Bohlman, 1–53. Chicago: University of Chicago Press, 2000.race
Rahaim, Matthew. Musicking Bodies: Gesture and Voice in Hindustani Music. Middletown: Wesleyan University Press, 2012.embodimentnonwesternmusic
Ramsey Jr., Guthrie P. “Secrets, Lies, and Transcriptions: Revisions on Race, Black Music, and Culture.” In Western Music and Race, edited by Julie Brown, 24–36. Cambridge: Cambridge University Press, 2007.blackmusicrace
Ramsey Jr., Guthrie P. “Who Hears Here? Black Music, Critical Bias, and the Musicological Skin Trade.” The Musical Quarterly 85/1 (2001): 1–52.blackmusicrace
Ramsey Jr., Guthrie P. Race Music: Black Cultures from Bebop to Hip-Hop. Berkeley: University of California Press, 2003.blackmusichiphopjazzmethodologyrace
Ramsey Jr., Guthrie P. The Amazing Bud Powell: Black Genius, Jazz History, and the Challenge of Bebop. Berkeley: University of California Press, 2013.blackmusicgenderimprovisationjazzmetatheorymethodologyrace20thcentury
Rao, Nancy Yunhwa. “American Compositional Theory in the 1930s: Scale and Exoticism in ‘The Nature of Melody’ by Henry Cowell.” The Musical Quarterly 85/4 (2001): 595–640.historyoftheoryinterculturalityposttonalrace20thcentury
Rao, Nancy Yunhwa. “Chen Yi, Symphony No. 2 (1993).” In Analytical Essays on Music by Women Composers: Concert Music from 1960–2000, edited by Laurel Parsons and Brenda Ravenscroft, 127–50. New York: Oxford University Press, 2016.interculturalitynonwesternmusicrhythmandmeter20thcentury
Rao, Nancy Yunhwa. “Cultural Boundary and National Border: Recent Works of Tan Dun, Chen Yi, and Bright Sheng.” In Contemporary Music in East Asia, edited by Hee Sook Oh, 211-240. Seoul: Seoul National University Press, 2014.colonialisminterculturalitymethodologynonwesternmusic20thcentury21stcentury
Rao, Nancy Yunhwa. “From Chinatown Opera to The First Emperor: Racial Imagination, the Trope of ‘Chinese Opera,’ and New Hybridity.” In Opera in a Multicultural World: Coloniality, Culture, Performance, edited by Mary Ingraham, Joseph K. So, and Roy Moodley, 50–67. New York: Routledge, 2015.colonialisminterculturalitynonwesternmusicrace21stcentury
Rao, Nancy Yunhwa. “Hearing Pentatonicism Through Serialism: Integrating Different Traditions in Chinese Contemporary Music.” Perspectives of New Music 40/2 (2002): 190–231.interculturalitynonwesternmusicposttonalrace20thcentury
Rao, Nancy Yunhwa. “Henry Cowell and His Chinese Music Heritage: Theory of Sliding Tone and His Orchestral Work of 1953-1965.” In Locating East Asia in Western Art Music, edited by Yayoi Everett and Frederick Lau, 119–45. Middletown: Wesleyan University Press, 2004.interculturalitynonwesternmusictimbre20thcentury
Rao, Nancy Yunhwa. “On Division of Intellectual Labor.” Intégral 33 (2019): 77–81.interculturalityrace
Rao, Nancy Yunhwa. “Partnership in Modern Music: Charles Seeger and Ruth Crawford, 1929-1931.” American Music 15/3 (1997): 352–80.genderhistoryoftheoryposttonal20thcentury
Rao, Nancy Yunhwa. “Ruth Crawford's Imprint on Contemporary Composition.” In Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-century American Music, edited by Ellie Hisama and Ray Allen, 110–47. Rochester: University of Rochester Press, 2007.feminismgenderposttonalrhythmandmetertimbre20thcentury
Rao, Nancy Yunhwa. “The Color of Music Heritage: Chinese America in American Ultra-Modern Music.” Journal of Asian American Studies 12/1 (2009): 83–119.historyoftheoryinterculturalityposttonalrace20thcentury
Rao, Nancy Yunhwa. “The Tradition of Luogu Dianzi (Percussion Classics) and Its Signification in Contemporary Music.” Contemporary Music Review 5/6 (2007): 511–27.interculturalityposttonaltimbre20thcentury21stcentury
Rehding, Alexander. “Can the History of Theory Be Decentered? Part I – Prequel: Five Classics.” History of Music Theory: SMT Interest Group & AMS Study Group. April 3, 2020. https://historyofmusictheory.wordpress.com/2020/04/03/can-the-history-of-theory-be-decentered-part-i-prequel-five-classics/genderhistoryoftheoryrace
Rehding, Alexander. “Can the History of Theory Be Decentered? Part II – Five Different Classics.” History of Music Theory: SMT Interest Group & AMS Study Group. April 3, 2020. https://historyofmusictheory.wordpress.com/2020/04/03/can-the-history-of-theory-be-decentered-part-ii-five-different-classics/genderhistoryoftheoryrace
Rehding, Alexander. “Can the History of Theory Be Decentered? Part III – Some Consequences.” History of Music Theory: SMT Interest Group & AMS Study Group. April 3, 2020. https://historyofmusictheory.wordpress.com/2020/04/03/can-the-history-of-theory-be-decentered-part-iii-some-consequences/genderhistoryoftheoryrace
Rehding, Alexander. “Can the History of Theory Be Decentered? Part IV – Pros and cons.” History of Music Theory: SMT Interest Group & AMS Study Group. April 3, 2020. https://historyofmusictheory.wordpress.com/2020/04/03/can-the-history-of-theory-be-decentered-part-iv/genderhistoryoftheoryrace
Rehding, Alexander. “Can the History of Theory Be Decentered? Part V – Some FAQs (and not-so-FAQs).” History of Music Theory: SMT Interest Group & AMS Study Group. April 3, 2020. https://historyofmusictheory.wordpress.com/2020/04/03/can-the-history-of-theory-be-decentered-part-v-some-faqs-and-not-so-faqs/genderhistoryoftheoryrace
Roberts, T. Carlis. Resounding Afro Asia: Interracial Music and the Politics of Collaboration. New York: Oxford University Press, 2016.blackmusichiphopinterculturalitypopularmusicrace20thcentury21stcentury
Robinson, Dylan. Hungry Listening: Resonant Theory for Indigenous Sound Studies. Minneapolis: University of Minnesota Press, 2020.colonialismindigenousmusic
Rodgers, Stephen. “Mental Illness and Musical Metaphor in the First Movement of Hector Berlioz’s Symphonie fantastique.” In Sounding Off: Theorizing Disability in Music, edited by Neil Lerner and Joseph N. Straus, 235–56. New York: Routledge, 2006.disability19thcentury
Romano, Charlene. “Accomodating Dyslexia in Aural Skills: A Case Study.” In The Routledge Companion to Music Theory Pedagogy, edited by Leigh VanHandel, 413–19. New York: Routledge, 2019.disabilitypedagogy
Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover: Wesleyan University Press, 1994.blackmusicfeminismgenderhiphopintersectionalitypopularmusicracesexuality2othcentury
Royster, Francesca T. Sounding Like a No-No?: Queer Sounds and Eccentric Acts in the Post-Soul Era. Ann Arbor: University of Michigan Press, 2013.blackmusicembodimentgenderpopularmusicqueertheoryracesexuality21stcentury
Rusch, René, Keith Salley, and Chris Stover. “Capturing the Ineffable: Three Transcriptions of a Jazz Solo by Sonny Rollins.” Music Theory Online 22/3 (2016). https://mtosmt.org/issues/mto.16.22.3/mto.16.22.3.rusch.htmlblackmusicimprovisationjazzmethodologyrhythmandmeter20thcentury
Russell, George. Lydian Chromatic Concept of Tonal Organization. Brookline: Concept Publishing, [1953] 2001.blackmusichistoryoftheoryjazztonality20thcentury
Rustin, Nichole T., and Sherrie Tucker, eds. Big Ears: Listening for Gender in Jazz Studies. Durham: Duke University Press, 2008.jazzmethodologypopularmusic
Saslaw, Janna. “‘Teaching Blind’: Methods for Teaching Music Theory to Visually Impaired Students.” Music Theory Online Vol. 15 Nos. 3–4 (2009). https://mtosmt.org/issues/mto.09.15.3/mto.09.15.3.saslaw.htmldisabilitypedagogy
Scherzinger, Martin. “Afro-Electric Counterpoint.” In Rethinking Reich, edited by Sumanth Gopinath and Pwyll ap Siôn, 259–99. New York: Oxford University Press, 2019.blackmusiccolonialisminterculturalitynonwesternmusicrhythmandmeter20thcentury
Scherzinger, Martin. “György Ligeti and the Aka Pygmies Project.” Contemporary Music Review 25/3 (2006): 227–62.blackmusiccolonialisminterculturalitynonwesternmusicrhythmandmeter20thcentury
Scherzinger, Martin. “Negotiating the Music-Theory/African-Music Nexus: A Political Critique of Ethnomusicological Anti-Formalism and a Strategic Analysis of the Harmonic Patterning of the Shona Mbira Song Nyamaropa.” Perspectives of New Music 39/1 (2001): 5–117.blackmusiccolonialismmethodologynonwesternmusicrace
Scherzinger, Martin. “Temporal Geometries of an African Music: A Preliminary Sketch.” Music Theory Online 16/4 (2010). https://mtosmt.org/issues/mto.10.16.4/mto.10.16.4.scherzinger.htmlblackmusicmethodologynonwesternmusicrhythmandmeter
Scherzinger, Martin. “Temporalities.” The Oxford Handbook of Critical Concepts in Music Theory, edited by Alexander Rehding and Steven Rings, 234–70. New York: Oxford University Press, 2019.colonialisminterculturalitynonwesternmusicphilosophyrhythmandmeter
Schuller, Gunther. “Sonny Rollins and the Challenge of Thematic Improvisation.” In Keeping Time: Readings in Jazz History, edited by Robert Walser, 212–22. Oxford: Oxford University Press, [1958] 1999.blackmusicjazz20thcentury
Schuller, Gunther. Early Jazz: Its Roots and Musical Development. Oxford: Oxford University Press, [1968] 1986.blackmusicimprovisationjazzmethodology
Schuller, Gunther. The Swing Era: The Development of Jazz, 1930–1945. Oxford: Oxford University Press, 1989.blackmusicimprovisationjazzmethodology20thcentury
Service, Jonathan. “Harmony Outside the Iron Cage: Tanaka Shōhei’s Strategic Deconstruction of the Music-Theoretical Edifice.” History of Humanities 2/2 (2017): 375–87.historyoftheory20thcentury
Service, Jonathan. “Orchestrating Modernity, Singing the Self: Theories of Music in Meiji and Taisho Japan.” Ph.D. diss., Harvard University, 2012.historyoftheoryinterculturality20thcentury
Shelley, Braxton D. “Analyzing Gospel.” Journal of the American Musicological Society 72/1 (2019): 181–243.blackmusicpopularmusicrace
Shelley, Braxton D. “Sounding Belief: ‘Tuning Up’ and ‘The Gospel Imagination’.” In Exploring Christian Song, edited by M. Jennifer Bloxam and Andrew D. Shelton, 173–94. Lanham: Lexington Books, 2017.blackmusicpopularmusicrace
Shelley, Braxton D. “Sounding Black, Acting White: Hearing Race and Racism in Gospel Performance.” In Sounding Together: Collaborative Perspectives on U.S. Music in the 21st Century, edited by Charles Hiroshi Garrett and Carol J. Oja, 113–37. Ann Arbor: University of Michigan Press, 2021.blackmusicgenderpopularmusicracerhythmandmetertonality21stcentury
Shumays, Sami Abu. “Maqam Analysis: A Primer.” Music Theory Spectrum 35/2 (2013): 235–55.nonwesternmusic
Sofer, Danielle. “Breaking Silence, Breaching Censorship: ‘Ongoing Interculturality’ in Alice Shields's Electronic Opera Apocalypse.” American Music 36/2 (2018): 135–62.colonialismfeminismgenderinterculturalitysexuality21stcentury
Sofer, Danielle. “Specters of Sex: Tracing the Tools and Techniques of Contemporary Music Analysis.” Zeitschrift der Gesellschaft für Musiktheorie 17/1 (2020): 31–63. https://www.gmth.de/zeitschrift/artikel/1029.aspx.primerfeminismgendermethodologyqueertheorysexuality21stcentury
Sofer, Danielle. “The Macropolitics of Microsound: Gender and sexual identities in Barry Truax’s Song of Songs.” Organised Sound 23/1 (2017): 80–90.embodimentgendersexualitytimbre20thcentury
Solis, Gabriel. “Thoughts on an Interdiscipline: Music Theory, Analysis, and Social Theory in Ethnomusicology.” Ethnomusicology 56/3 (2012): 530–54.interculturalitymethodologynonwesternmusic
Spiller, Henry. “Tunes That Bind: Paul J. Seeling, Eva Gauthier, Charles T. Griffes, and the Javanese Other.” Journal of the Society for American Music 3/2 (2009): 129–54.colonialisminterculturalitynonwesternmusic20thcentury
Stamatis, Yona. “Towards a Philosophy of Student-Centered Music and Social Justice Learning.” Engaging Students: Essays in Music Pedagogy Vol. 2 (2014). http://flipcamp.org/engagingstudents2/essays/stamatis.html pedagogy
Steege, Benjamin. “Between Race and Culture: Hearing Japanese Music in Berlin.” History of Humanities 2/2 (2017): 361–74.historyoftheoryinterculturalitynonwesternmusic20thcentury
Steinbeck, Paul. “The Art Ensemble of Chicago’s ‘Get in Line’: Politics, Theatre, and Play.” Twentieth-Century Music 10/1 (2013): 3–23.blackmusicjazz20thcentury
Steinbeck, Paul. Message to Our Folks: The Art Ensemble of Chicago. Chicago: University of Chicago Press, 2017.blackmusicjazz20thcentury
Steingo, Gavin. “Producing Kwaito: ‘Nkosi Sikelel’ iAfrika’ After Apartheid.” The World of Music 50/2 (2008): 103–20.blackmusiccolonialismnonwesternmusicpopularmusicrace20thcentury
Sterbenz, Maeve. “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 (2017). https://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.sterbenz.htmlblackmusicembodimentfeminismgenderhiphoppopularmusicqueertheoryrhythmandmetersexuality21stcentury
Stimeling, Travis D., and Kayla Tokar. “Narratives of Musical Resilience and the Perpetuation of Whiteness in the Music History Classroom.” Journal of Music History Pedagogy 10/1 (2020): 20–38.blackmusiccolonialismindigenousmusicpedagogyrace
Stover, Chris. “Contextual Theory, or Theorizing between the Discursive and the Material.” Analytical Approaches to World Music 7/2 (2019). http://www.aawmjournal.com/articles/2019b/Stover_AAWM_Vol_7_2.htmlmethodology
Stover, Chris. “Time, Territorialization, and Improvisational Spaces.” Music Theory Online 23/1 (2017). https://mtosmt.org/issues/mto.17.23.1/mto.17.23.1.stover.htmlblackmusicembodimentimprovisationjazzmethodology
Stras, Laurie. “White Face, Black Voice: Race, Gender, and Region in the Music of the Boswell Sisters.” Journal of the Society for American Music 1/1 (2007): 107–255.blackmusic20thcentury
Straus, Joseph N. “Disability and ‘Late Style’ in Music.” The Journal of Musicology 25/1 (2008): 3–45.disabilitytonality20thcentury
Straus, Joseph N. “Idiot Savants, Retarded Savants, Talented Aments, Mono-Savants, Autistic Savants, Just Plain Savants, People with Savant Syndrome, and Autistic People Who Are Good at Things: A View from Disability Studies.” Disability Studies Quarterly 34/3 (2014).disability
Straus, Joseph N. “Normalizing the Abnormal: Disability in Music and Music Theory.” Journal of the American Musicological Society 59/1 (2006): 113–84.disabilityembodimentmethodology18thcentury19thcentury20thcentury
Straus, Joseph N. Broken Beauty: Musical Modernism and the Representation of Disability. New York: Oxford University Press, 2018.disabilityposttonalrhythmandmeter20thcentury
Straus, Joseph N. Extraordinary Measures: Disability in Music. New York: Oxford University Press, 2011.primerdisabilitymethodologyposttonal18thcentury19thcentury20thcentury
Straus, Joseph. "Music Theory’s Therapeutic Imperative and the Tyranny of the Normal.” Music Theory Spectrum 43/2 (2021): 339–48.disabilitymethodologyposttonal20thcentury
Sullivan, James. “The Queer Context and Composition of Samuel Barber’s Despite and Still.” In Twentieth- and Twenty-First-Century Song Cycles: Analytical Pathways Toward Performance, edited by Gordon Sly and Michael R. Callahan, 79–96. New York: Routledge, 2020.queertheoryrhythmandmetersexuality20thcentury
Tan, Shzr Ee. “New Chinese Masculinities on the Piano: Lang Lang and Yundi Li.” In Gender in Chinese Music, edited by Rachel Harris, Rowan Pease, and Shzr Ee Tan, 132–51. Rochester: University of Rochester Press, 2013.embodimentgender21stcentury
Taylor, Jeffrey. “With Lovie and Lil: Rediscovering Two Chicago Pianists of the 1920s.” In Big Ears: Listening for Gender in Jazz Studies, edited by Nichole T. Rustin and Sherrie Tucker, 48–63. Durham: Duke University Press, 2008.blackmusicjazz20thcentury
Taylor, Paul C. “Make It Funky; Or, Music’s Cognitive Travels and the Despotism of Rhythm.” In Black is Beautiful: A Philosophy of Black Aesthetics, 155–81. Hoboken: Wiley, 2016.blackmusicembodimenthiphopjazzmetatheorypopularmusicracerhythmandmeter
Taylor, Timothy. “Colonialism, Modernity, and Music: Preliminary Notes on the Rise of Tonality and Opera.” In Beyond Exoticism: Western Music and the World, 17–42. Durham: Duke University Press, 2007.colonialismgenderhistoryoftheorytonality17thcentury18thcentury
Tenzer, Michael, and John Roeder, eds. Analytical and Cross-Cultural Studies in World Music. New York: Oxford University Press, 2011.interculturalitynonwesternmusicrhythmandmeter
Tenzer, Michael, ed. Analytical Studies in World Music. Oxford and New York: Oxford University Press, 2006.interculturalitynonwesternmusicrhythmandmeter
Tenzer, Michael. Gamelan Gong Kebyar: The Art of Twentieth-century Balinese Music. Chicago: Chicago University Press, 2000.colonialismnonwesternmusic20thcentury
Thompson, Jewel Taylor. Samuel Coleridge-Taylor: The Development of His Compositional Style. Metuchen: Scarecrow Press, 1994.blackmusicinterculturalityrace19thcentury20thcentury
Thurman, Kira, and Kristen Turner. “Six Easy Ways to Immediately Address Racial and Gender Diversity in Your Music History Classroom.” Musicology Now. July 17, 2017. https://musicologynow.org/2017/07/six-easy-ways-to-immediately-address.htmlgenderpedagogyrace
Thurman, Kira. “Singing Against the Grain: Playing Beethoven in the #BlackLivesMatter era.” The Point, Issue 17. September 29, 2018. https://thepointmag.com/examined-life/singing-against-grain-playing-beethoven-blacklivesmatter-era/ race21stcentury
Tilley, Leslie A. Making It Up Together: The Art of Collective Improvisation in Balinese Music and Beyond. Chicago: Chicago University Press, 2019.Improvisationinterculturalitymethodologynonwesternmusic21stcentury
Tilley, Leslie. “Analytical Ethnomusicology: How We Got Out of Analysis and How to Get Back In.” In The Springer Handbook of Systematic Musicology, edited by Rolf Bader, 953–77. Berlin and Heidelberg: Springer, 2018.colonialismhistoryoftheorynonwesternmusic
Titus, Barbara. “‘Walking Like a Crab’: Analyzing Maskanda Music in Post-Apartheid South Africa.” Ethnomusicology 57/2 (2013): 286–310.blackmusiccolonialismmethodologynonwesternmusic20thcentury
Turino, Thomas. Music as Social Life: The Politics of Participation. Chicago: University of Chicago Press, 2008.interculturalitynonwesternmusicpedagogyphilosophy
Välimäki, Susanna. “Transgender Hearing and Healing: The Musical Processing of Trauma in Boys Don’t Cry and The Brandon Teena Story.” Radical Musicology 7 (2019). http://www.radical-musicology.org.uk/2019/Valimaki.htm.genderpopularmusicqueertheory
Venter, Carina, et al. “Decolonising Musicology: A Response and Three Positions.” SAMUS: South African Music Studies Vol. 36–37 No. 1 (2018): 129–56.colonialismmethodology
Villegas Vélez, Daniel. “The Matter of Timbre: Listening, Genealogy, Sound.” In The Oxford Handbook of Timbre, edited by Emily I. Dolan and Alexander Rehding. New York: Oxford University Press, 2020. https://doi.org/10.1093/oxfordhb/9780190637224.013.20.colonialismembodimenthistoryoftheoryinterculturalitymethodologynonwesternmusicphilosophyracetimbre17thcentury18thcentury19thcentury
Walden, Daniel. “Pitch vs. Timbre.” In The Oxford Handbook of Timbre, edited by Emily I. Dolan and Alexander Rehding. New York: Oxford University Press, 2020. https://doi.org/10.1093/oxfordhb/9780190637224.013.33.colonialismhistoryoftheoryindigenousmusicnonwesternmusictimbre20thcentury
Walden, Daniel. “The Politics of Tuning and Temperament: Transnational Exchange and the Production of Music Theory in 19th-Century Europe, Asia, and North America.” Ph.D. diss., Harvard University, 2019.colonialismhistoryoftheoryinterculturality19thcentury20thcentury
Walker, Margaret E. “Towards a Decolonized Music History Curriculum.” Journal of Music History Pedagogy 10/1 (2020): 1–19.colonialismpedagogy
Wallace, Robin. Hearing Beethoven: A Story of Musical Loss and Discovery. Chicago: The University of Chicago Press, 2018.disabilityembodimenttonality18thcentury19thcentury
Wang, Grace. “‘This is No Monkey Show’: Racializing Musical Performance.” In Soundtracks of Asian America: Navigating Race Through Musical Performance, 64–100. Durham: Duke University Press, 2015.embodimentfeminismgenderrace21stcentury
Waters, Keith. The Studio Recordings of the Miles Davis Quintet, 1965–68. Oxford: Oxford University Press, 2011.blackmusicjazzmethodologytonality20thcentury
Williams, James Gordon. “Black Muse 4 U: Liminality, Self-Determination, and Racial Uplift in the Music of Prince.” Journal of African American Studies 21 (2017): 296–319.blackmusicphilosophypopularmusicracesexuality
Williams, James Gordon. “Crossing Cinematic and Sonic Bar Lines: T-Pain’s ‘Can’t Believe It.’” Ethnomusicology Review 19 (2014). https://ethnomusicologyreview.ucla.edu/journal/volume/19/piece/799blackmusicembodimentgenderhiphopintersectionalityphilosophypopularmusicracerhythmandmetersexualitytimbre21stcentury
Williams, James Gordon. Crossing Bar Lines: The Politics and Practices of Black Musical Space. Jackson: University Press of Mississippi, 2021.blackmusicgenderimprovisationintersectionalityjazzmetatheoryphilosophypopularmusicracerhythmandmeter
Wilson, Imogen. “Music and Queered Temporality in Slave Play.” Current Musicology 106 (2020): 9–27. https://doi.org/10.7916/cm.v106iSpring.6759.feminismintersectionalityphilosophypopularmusicqueertheoryracesexuality21stcentury
Wilson, Olly. “The Black-American Composer and the Orchestra in the Twentieth Century.” The Black Perspective in Music 14, no. 1 (1986): 26-34.blackmusicinterculturalityrace20thcentury
Wilson, Olly. “The Heterogeneous Sound Ideal in African-American Music.” In New Perspectives on Music: Essays in Honor of Eileen Southern, edited by Josephine Wright, 327–38. Warren, MI: Harmonic Park Press, 1992.blackmusicinterculturalityracetimbre20thcentury
Winkler, Peter. “Writing Ghost Notes: The Poetics and Politics of Transcription.” In Keeping Score: Music, Disciplinarity, Culture, edited by David Schwarz, Anahid Kassabian and Lawrence Siegel, 169–203. Charlottesville: University Press of Virginia, 1997.blackmusic
Winzenburg, John. “Heteroglossia and Traditional Vocal Genres in Chinese-Western Fusion Concertos.” Perspectives of New Music 51/2 (2004): 101–40.nonwesternmusictimbre20thcentury
Winzenburg, John. “Spanning the Timbral Divide: Insiders, Outsiders, and Novelty in Chinese-Western Fusion Concertos.” In China and the West: Music, Representation, and Reception, edited by Hon-Lun Yang and Michael Saffle, 186–204. Ann Arbor: University of Michigan Press, 2017.nonwesternmusictimbre20thcentury
Wong, Deborah. “Looking, Listening, and Moving.” In Louder and Faster: Pain, Joy, and the Body Politic in Asian American Taiko, 29–53. Oakland: University of California Press, 2019.embodimentmethodologypopularmusicrace
Wong, Deborah. “The Asian American Body in Performance.” In Speak It Louder: Asian Americans Making Music, 161–93. New York: Routledge, 2004.blackmusicembodimentgenderhiphopintersectionalityjazzpopularmusicrace
Wright, Owen. Music Theory in Mamluk Cairo: The Ġāyat al-Maṭlūb fī ʿIlm al-Adwār wa- ’l-Ḍurūb by Ibn Kurr. Burlington: Ashgate, 2014.historyoftheorynonwesternmusic
Wright, Owen. Music Theory in the Safavid Era: The taqsīm al-naġamāt. London and New York: Routledge, 2019.historyoftheorynonwesternmusic
Yang, Hon-Lun. “Music, China, and the West: A Musical-Theoretical Introduction.” In China and the West: Music, Representation, and Reception, edited by Michael Saffle and Hon-Lun Yang, 1–17. Ann Arbor: University of Michigan Press, 2017.interculturalitynonwesternmusic
Yano, Christine Reiko. “Clichés of Excess: Words, Music, Bodies, and Beyond.” In Tears of Longing: Nostalgia and the Nation in Japanese Popular Song, 90–123. Cambridge: Harvard University Press, 2002.embodimentnonwesternmusicpopularmusicsexuality20thcentury
Young, Samson. “Reconsidering Cultural Politics in the Analysis of Contemporary Chinese Music: The Case of Ghost Opera.” Contemporary Music Review Vol. 26 Nos. 5–6 (2007): 605–18.interculturalityrace20thcentury
Yung, Bell. “Choreographic and Kinesthetic Elements in Performance on the Chinese Seven-String Zither.” Ethnomusicology 28/3 (1984): 505–17.embodimentnonwesternmusic
Boyd, Clifton. “Race, Retention, and Identity-Based Service in Music Theory.” Theory and Practice 46 (2021): 1–22.metatheoryrace
Kim, Catrina. “Issues in Teaching Music Theory Ethically: Reframing University Directives of Antiracist and Decolonized Curricula.” Theory and Practice 46 (2021): 23–45.colonialismfeminismgendermetatheorypedagogyrace
Hannaford, Marc. “Fugitive Music Theory and George Russell’s Theory of Tonal Gravity.” Theory and Practice 46 (2021): 47–81.blackmusichistoryoftheorymetatheorymethodologypedagogyposttonalracetonality20thcentury
Luong, Vivian, and Taylor Myers. “Reframing Musical Genius: Toward a Queer, Intersectional Approach.” Theory and Practice 46 (2021): 83–96.embodimentfeminismgenderhistoryoftheoryintersectionalitymetatheoryphilosophyqueertheorysexuality