[1]
Adams, Kyle Aspects of the Music/Text Relationship in Rap. Music Theory Online. 14, 2.
[2]
Amiri Baraka (LeRoi Jones) 1963. Blues people: Negro music in white America. W. Morrow.
[3]
Arzumanova, I. 20160702. The culture industry and Beyoncé’s proprietary blackness. Celebrity Studies. 7, 3 (20160702). DOI:https://doi.org/10.1080/19392397.2016.1203613.
[4]
Bertrand, M.T. 2005. Race, rock, and Elvis. University of Illinois Press.
[5]
Beyoncé in ‘Formation’: Entertainer, Activist, Both? - The New York Times: https://www.nytimes.com/2016/02/07/arts/music/beyonce-formation-super-bowl-video.html.
[6]
Brackett, D. 2005. Chapter 19: The growing threat of Rhythm and Blues. The pop, rock, and soul reader: histories and debates. Oxford University Press. 76–80.
[7]
Brackett, D. 2005. Chapter 24: Rock and roll meets the popular press. The pop, rock, and soul reader: histories and debates. Oxford University Press.
[8]
Brackett, D. 2005. Chapter 25: The Chicago Defender defends rock and roll. The pop, rock, and soul reader: histories and debates. Oxford University Press.
[9]
Brackett, D. 2005. Chapter 26: The music industry fight against rock ‘n’ roll. The pop, rock, and soul reader: histories and debates. Oxford University Press. 100–109.
[10]
Brooks, K.D. and Martin, K.L. 2019. The Lemonade reader: Beyoncé, black feminism and spirituality. Routledge.
[11]
Burnim, M.V. and Maultsby, P.K. eds. 2015. African American music: an introduction. Routledge, Taylor & Francis Group.
[12]
Burnim, M.V. and Maultsby, P.K. eds. 2015. Chapter 1: The translated African Cultural and Musical Past. African American music: an introduction. Routledge. 3–22.
[13]
Burnim, M.V. and Maultsby, P.K. eds. 2015. Chapter 3: Secular Folk Music. African American music: an introduction. Routledge. 34–49.
[14]
Burnim, M.V. and Maultsby, P.K. eds. 2015. Chapter 4: Spirituals. African American music: an introduction. Routledge. 50–71.
[15]
Burnim, M.V. and Maultsby, P.K. eds. 2015. Chapter 6: Ragtime. African American music: an introduction. Routledge. 97–118.
[16]
Burnim, M.V. and Maultsby, P.K. eds. 2015. Chapter 7: Blues. African American music: an introduction. Routledge. 119–137.
[17]
Burnim, M.V. and Maultsby, P.K. eds. 2015. Chapter 7: Rhythm and Blues/R&B. African American music: an introduction. Routledge. 239–276.
[18]
Burnim, M.V. and Maultsby, P.K. eds. 2015. Chapter 8: Art/Classical Music. African American music: an introduction. Routledge. 138–159.
[19]
Burnim, M.V. and Maultsby, P.K. eds. 2015. Chapter 9: Jazz. African American music: an introduction. Routledge. 163–188.
[20]
Burnim, M.V. and Maultsby, P.K. eds. 2015. Chapter 11: Music Theater. African American music: an introduction. Routledge. 213–238.
[21]
Burnim, M.V. and Maultsby, P.K. eds. 2015. Chapter 14: Funk. African American music: an introduction. Routledge. 301–319.
[22]
Burnim, M.V. and Maultsby, P.K. eds. 2015. Chapter 15: Disco and House. African American music: an introduction. Routledge. 320–334.
[23]
Burnim, M.V. and Maultsby, P.K. eds. 2015. Chapter 17: Hip-hop and Rap. African American music: an introduction. Routledge. 354–390.
[24]
Chang, J. 2007. Can’t stop won’t stop: a history of the hip-hop generation. Ebury.
[25]
Cockrell, D. 1997. Demons of disorder: early blackface minstrels and their world. Cambridge University Press.
[26]
Cockrell, D. 1997. Demons of disorder: early blackface minstrels and their world. Cambridge University Press.
[27]
Cooke, M. and Horn, D. eds. 2003. The Cambridge Companion to Jazz. Cambridge University Press.
[28]
Danielsen, A. 2006. Chapter 5: The Downbeat in Anticipation. Presence and pleasure: the funk grooves of James Brown and Parliament. Wesleyan University Press.
[29]
David Brackett 1992. James Brown’s ‘Superbad’ and the Double-Voiced Utterance. Popular Music. 11, 3 (1992), 309–324.
[30]
Dery, M. ed. 1994. Black to the Future. Flame wars: the discourse of cyberculture. Duke University Press. 179–222.
[31]
Edgar, A.N. 2019. ‘She invited other people to that space’: audience habitus, place, and social justice in Beyoncé’s Lemonade. Feminist media studies. 19, 1 (2019).
[32]
Eshun, K. 2003. Further Considerations of Afrofuturism. CR: The New Centennial Review. 3, 2 (2003), 287–302. DOI:https://doi.org/10.1353/ncr.2003.0021.
[33]
Eshun, K. 1998. More brilliant than the sun: adventures in sonic fiction. Quartet Books.
[34]
Floyd, S.A. 1995. Chapter 3: Syncretization and Synthesis: Folk and Written Traditions. The Power of Black Music. Oxford University Press.
[35]
Floyd, S.A. 1995. Chapter 4: African-American Modernism, Signifyin(g) and Black Music. The power of black music: interpreting its history from Africa to the United States. Oxford University Press.
[36]
Floyd, S.A. 1995. Chapter 5: The Negro Renaissance: Harlem and Chicago Flowerings. The Power of Black Music. Oxford University Press.
[37]
Floyd, S.A. 1995. Chapter 9: Troping the Blues: From Spirituals to the Concert Hall. The Power of Black Music. Oxford University Press.
[38]
Floyd, S.A. 1995. Chapter 10: The Object of Call-Response: The Signifyin(g) Symbol. The Power of Black Music. Oxford University Press.
[39]
Floyd, S.A. 1995. Introduction. The Power of Black Music. Oxford University Press.
[40]
Forman, M. and Neal, M.A. 2012. That’s the joint!: the hip-hop studies reader. Routledge.
[41]
Frith, S. et al. eds. 2001. The Cambridge Companion to Pop and Rock. Cambridge University Press.
[42]
Gates, H.L. 1988. The signifying monkey: a theory of African-American literary criticism. Oxford University Press.
[43]
Hansen, K.A. 20170315. Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition. Popular Music and Society. 40, 2 (20170315). DOI:https://doi.org/10.1080/03007766.2015.1104906.
[44]
Harper, P. 20190101. BEYONCÉ: Viral Techniques and the Visual Album. Popular Music and Society. 42, 1 (20190101). DOI:https://doi.org/10.1080/03007766.2019.1555895.
[45]
Hess, M. 2005. Hip-hop Realness and the White Performer. Critical Studies in Media Communication. 22, 5 (Dec. 2005), 372–389. DOI:https://doi.org/10.1080/07393180500342878.
[46]
Hodeir, A. and Schuller, G. 20AD. Ellington, Duke. (20AD).
[47]
Howland, J. 2009. Chapter 3: The Blues Get Glorified: Harlem Entertainment, Negro Nuances, and Black Symphonic Jazz. ‘Ellington uptown’: Duke Ellington, James P. Johnson, & the birth of concert jazz. University of Michigan Press.
[48]
Ibrahim, A. 2015. Radical re-envisionings : ancient Egypt, Afrofuturism, and FKA twigs.
[49]
Jones, L. 2005. Blues People. The pop, rock, and soul reader: histories and debates. Oxford University Press. 18–25.
[50]
Kajikawa, L. 2015. Sounding race in rap songs. University of California Press.
[51]
Kooijman, J. 20190101. Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva. Popular Music and Society. 42, 1 (20190101). DOI:https://doi.org/10.1080/03007766.2019.1555888.
[52]
Krims, A. 2000. Rap music and the poetics of identity. Cambridge University Press.
[53]
Lordi, E.J. 2020. The meaning of soul: Black music and resilience since the 1960s. Duke University Press.
[54]
Lott, E. 2013. Love and theft: blackface minstrelsy and the American working class. Oxford University Press.
[55]
Maultsby, P.K. 1990. Africanisms in African-American Music. Africanisms in American culture. Indiana University Press.
[56]
Maultsby, P.K. 2015. Chapter 13: Soul. African American music: an introduction. M.V. Burnim and P.K. Maultsby, eds. Routledge, Taylor & Francis Group.
[57]
Maultsby, P.K. 1983. Soul Music: Its Sociological and Political Significance in American Popular Culture. The Journal of Popular Culture. 17, 2 (Sep. 1983), 51–60. DOI:https://doi.org/10.1111/j.0022-3840.1983.1702_51.x.
[58]
McClary, S. 2003. Bessie Smith: Thinking Blues. The auditory culture reader. Berg. 427–434.
[59]
Moving Beyond Pain — bell hooks Institute: http://www.bellhooksinstitute.com/blog/2016/5/9/moving-beyond-pain.
[60]
Murchinson, G. and Parsons Smith, C. Still, William Grant.
[61]
Murray Forman 2000. ‘Represent’: Race, Space and Place in Rap Music. Popular Music. 19, 1 (2000), 65–90.
[62]
Naila Keleta-Mae 2017. A Beyoncé Feminist. Atlantis: Critical Studies in Gender, Culture & Social Justice. 38, 1 (2017), 236-246 PDF.
[63]
Nathalie Weidhase ‘Beyoncé feminism’ and the contestation of the black feminist body. Celebrity Studies. 6, 1.
[64]
Nathalie Weidhase ‘Beyoncé feminism’ and the contestation of the black feminist body. Celebrity Studies. 6, 1.
[65]
Oakley, G. 1997. City Blues. The devil’s music: a history of the blues. Da Capo Press.
[66]
Patrick, S. 20190403. Becky with the Twitter: Lemonade, social media, and embodied academic fandom. Celebrity Studies. 10, 2 (20190403). DOI:https://doi.org/10.1080/19392397.2018.1462721.
[67]
Peterson, R.A. 1990. Why 1955? Explaining the Advent of Rock Music. Popular Music. 9, 1 (1990).
[68]
Price, E.G. et al. 2011. Encyclopedia of African American music: Volume 1: A-G. ABC-CLIO.
[69]
Ramsey, G.P. and Columbia College (Chicago, Ill.). Center for Black Music Research 2003. Race music: black cultures from behop to hip-hop. University of California Press.
[70]
Rose, T. 1994. Black noise: rap music and black culture in contemporary America. Wesleyan University Press.
[71]
Schloss, J.G. 2004. Making beats: the art of sample-based hip-hop. Wesleyan University Press.
[72]
Schuller, G. 1968. Origins. Early jazz: its roots and musical development. Oxford University Press. 3–62.
[73]
Shank, B. 2001. From Rice to Ice: The Face of Race in Rock and Pop. The Cambridge companion to pop and rock. Cambridge University Press. 256–271.
[74]
Small, C. 1998. Music of the common tongue: survival and celebration in African American music. Wesleyan University Press.
[75]
Smith, C.P. 2000. William Grant Still: a study in contradictions. University of California Press.
[76]
Southern, E. 1997. The music of black Americans: a history. W. W. Norton.
[77]
Southern, E. 1997. The music of black Americans: a history. W. W. Norton.
[78]
Stan Hawkins 1992. Prince: Harmonic Analysis of ‘Anna Stesia’. Popular Music. 11, 3 (1992), 325–335.
[79]
Strauss, N. 2005. Sampling is (A) Creative or (B) Theft? The pop, rock, and soul reader: histories and debates. Oxford University Press. 422–423.
[80]
Stuckey, S. 2014. Slave culture: nationalist theory and the foundations of black America. Oxford University Press.
[81]
Szwed, J. 1997. Chapter 2 - excerpts. Space is the place: the lives and times of Sun Ra. Pantheon. 64–73.
[82]
Taylor, T.D. 2000. His name was in Lights: Chuck Berry’s Johnny B. Goode. Reading pop: approaches to textual analysis in popular music. Oxford University Press. 163–182.
[83]
Tim Hughes 2003. Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder.
[84]
Trier-Bieniek, A.M. ed. 2016. The Beyoncé effect: essays on sexuality, race and feminism. McFarland & Company, Inc., Publishers.
[85]
Wald, E. 2005. Escaping the Delta: Robert Johnson and the invention of the Blues. HarperCollins.
[86]
Walser, R. 1995. Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy. Ethnomusicology. 39, 2 (Spring 1995). DOI:https://doi.org/10.2307/924425.
[87]
Williams, J.A. ed. 2015. The Cambridge Companion to Hip-Hop. Cambridge University Press.
[88]
Williams, J.A. 2010. The Construction of Jazz Rap as High Art in Hip-Hop Music. The Journal of Musicology. 27, 4 (Oct. 2010), 435–459. DOI:https://doi.org/10.1525/jm.2010.27.4.435.
[89]
Zak III, A.J. 2004. Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation ‘All along the Watchtower’. Journal of the American Musicological Society. 57, 3 (Dec. 2004), 599–644. DOI:https://doi.org/10.1525/jams.2004.57.3.599.
[90]
2016. How #BlackLivesMatter started a musical revolution. Guardian. (Mar. 2016).
[91]
Week 6: Reading Week.