1.
Burnim MV, Maultsby PK, eds. Chapter 1: The translated African Cultural and Musical Past. In: African American Music: An Introduction. Second edition. Routledge; 2015:3-22. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=20
2.
Floyd SA. Introduction. In: The Power of Black Music. Oxford University Press; 1995. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151
3.
Southern E. The Music of Black Americans: A History. 3rd ed. W. W. Norton; 1997.
4.
Burnim MV, Maultsby PK, eds. Chapter 3: Secular Folk Music. In: African American Music: An Introduction. Second edition. Routledge; 2015:34-49. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=51
5.
Burnim MV, Maultsby PK, eds. Chapter 11: Music Theater. In: African American Music: An Introduction. Second edition. Routledge; 2015:213-238.
6.
Burnim MV, Maultsby PK, eds. Chapter 6: Ragtime. In: African American Music: An Introduction. Second edition. Routledge; 2015:97-118.
7.
Shank B. From Rice to Ice: The Face of Race in Rock and Pop. In: The Cambridge Companion to Pop and Rock. Cambridge University Press; 2001:256-271. doi:10.1017/CCOL9780521553698.016
8.
Burnim MV, Maultsby PK, eds. Chapter 4: Spirituals. In: African American Music: An Introduction. Second edition. Routledge; 2015:50-71.
9.
Lott E. Love and Theft: Blackface Minstrelsy and the American Working Class. 20th-anniversary edition ed. Oxford University Press; 2013.
10.
Cockrell D. Demons of Disorder: Early Blackface Minstrels and Their World. Vol 8. Cambridge University Press; 1997.
11.
Burnim MV, Maultsby PK, eds. African American music: an introduction. In: Second edition. Routledge, Taylor & Francis Group; 2015.
12.
Burnim MV, Maultsby PK, eds. Chapter 7: Blues. In: African American Music: An Introduction. Second edition. Routledge; 2015:119-137.
13.
Floyd SA. Chapter 3: Syncretization and Synthesis: Folk and Written Traditions. In: The Power of Black Music. Oxford University Press; 1995. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151
14.
Floyd SA. Chapter 9: Troping the Blues: From Spirituals to the Concert Hall. In: The Power of Black Music. Oxford University Press; 1995. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151
15.
Jones L. Blues People. In: The Pop, Rock, and Soul Reader: Histories and Debates. Oxford University Press; 2005:18-25.
16.
Oakley G. City Blues. In: The Devil’s Music: A History of the Blues. 2nd ed. Da Capo Press; 1997.
17.
Wald E. Escaping the Delta: Robert Johnson and the Invention of the Blues. HarperCollins; 2005.
18.
McClary S. Bessie Smith: Thinking Blues. In: The Auditory Culture Reader. Berg; 2003:427-434.
19.
Burnim MV, Maultsby PK, eds. Chapter 9: Jazz. In: African American Music: An Introduction. Second edition. Routledge; 2015:163-188.
20.
Floyd SA. Chapter 4: African-American Modernism, Signifyin(g) and Black Music. In: The Power of Black Music: Interpreting Its History from Africa to the United States. Oxford University Press; 1995. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151
21.
Schuller G. Origins. In: Early Jazz: Its Roots and Musical Development. Vol v.1. Oxford University Press; 1968:3-62.
22.
Burnim MV, Maultsby PK, eds. Chapter 8: Art/Classical Music. In: African American Music: An Introduction. Second edition. Routledge; 2015:138-159. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=155
23.
Floyd SA. Chapter 5: The Negro Renaissance: Harlem and Chicago Flowerings. In: The Power of Black Music. Oxford University Press; 1995. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151
24.
Howland J. Chapter 3: The Blues Get Glorified: Harlem Entertainment, Negro Nuances, and Black Symphonic Jazz. In: ‘Ellington Uptown’: Duke Ellington, James P. Johnson, & the Birth of Concert Jazz. University of Michigan Press; 2009.
25.
Smith CP. William Grant Still: A Study in Contradictions. Vol 2. University of California Press; 2000.
26.
Hodeir A, Schuller G. Ellington, Duke. Published online 20AD. http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000008731?rskey=NN2YZA&result=3
27.
Murchinson G, Parsons Smith C. Still, William Grant. http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000026776?rskey=csDbiQ&result=1
28.
Week 6: Reading Week.
29.
Burnim MV, Maultsby PK, eds. Chapter 7: Rhythm and Blues/R&B. In: African American Music: An Introduction. Second edition. Routledge; 2015:239-276. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=136
30.
Floyd SA. Chapter 10: The Object of Call-Response: The Signifyin(g) Symbol. In: The Power of Black Music. Oxford University Press; 1995. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151
31.
Brackett D. Chapter 19: The growing threat of Rhythm and Blues. In: The Pop, Rock, and Soul Reader: Histories and Debates. Oxford University Press; 2005:76-80.
32.
Brackett D. Chapter 24: Rock and roll meets the popular press. In: The Pop, Rock, and Soul Reader: Histories and Debates. Oxford University Press; 2005.
33.
Brackett D. Chapter 25: The Chicago Defender defends rock and roll. In: The Pop, Rock, and Soul Reader: Histories and Debates. Oxford University Press; 2005.
34.
Brackett D. Chapter 26: The music industry fight against rock ‘n’ roll. In: The Pop, Rock, and Soul Reader: Histories and Debates. Oxford University Press; 2005:100-109.
35.
Taylor TD. His name was in Lights: Chuck Berry’s Johnny B. Goode. In: Reading Pop: Approaches to Textual Analysis in Popular Music. Oxford University Press; 2000:163-182.
36.
Peterson RA. Why 1955? Explaining the Advent of Rock Music. Popular Music. 1990;9(1). http://www.jstor.org/stable/852886
37.
Bertrand MT. Race, Rock, and Elvis. University of Illinois Press; 2005.
38.
Maultsby PK. Chapter 13: Soul. In: Burnim MV, Maultsby PK, eds. African American Music: An Introduction. Second edition. Routledge, Taylor & Francis Group; 2015. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=294
39.
Burnim MV, Maultsby PK, eds. Chapter 14: Funk. In: African American Music: An Introduction. Second edition. Routledge; 2015:301-319. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=317
40.
Danielsen A. Chapter 5: The Downbeat in Anticipation. In: Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Wesleyan University Press; 2006.
41.
Lordi EJ. The Meaning of Soul: Black Music and Resilience since the 1960s. Duke University Press; 2020.
42.
Dery M, ed. Black to the Future. In: Flame Wars: The Discourse of Cyberculture. Duke University Press; 1994:179-222.
43.
Szwed J. Chapter 2 - excerpts. In: Space Is the Place: The Lives and Times of Sun Ra. Pantheon; 1997:64-73.
44.
Ibrahim A. Radical Re-Envisionings : Ancient Egypt, Afrofuturism, and FKA Twigs. 2015. doi:10.15781/T2763F
45.
Eshun K. More Brilliant than the Sun: Adventures in Sonic Fiction. Quartet Books; 1998. https://monoskop.org/images/b/b2/Eshun_Kodwo_More_Brilliant_Than_the_Sun_Adventures_in_Sonic_Fiction.pdf
46.
Eshun K. Further Considerations of Afrofuturism. CR: The New Centennial Review. 2003;3(2):287-302. doi:10.1353/ncr.2003.0021
47.
Burnim MV, Maultsby PK, eds. Chapter 15: Disco and House. In: African American Music: An Introduction. Second edition. Routledge; 2015:320-334. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=337
48.
Chang J. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. Ebury; 2007.
49.
Burnim MV, Maultsby PK, eds. Chapter 17: Hip-hop and Rap. In: African American Music: An Introduction. Second edition. Routledge; 2015:354-390. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=371
50.
Strauss N. Sampling is (A) Creative or (B) Theft? In: The Pop, Rock, and Soul Reader: Histories and Debates. Oxford University Press; 2005:422-423.
51.
Hess M. Hip-hop Realness and the White Performer. Critical Studies in Media Communication. 2005;22(5):372-389. doi:10.1080/07393180500342878
52.
Krims A. Rap Music and the Poetics of Identity. Cambridge University Press; 2000.
53.
Rose T. Black Noise: Rap Music and Black Culture in Contemporary America. Wesleyan University Press; 1994. https://bris.on.worldcat.org/oclc/610269566
54.
Schloss JG. Making Beats: The Art of Sample-Based Hip-Hop. Wesleyan University Press; 2004.
55.
Hansen KA. Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition. Popular Music and Society. 20170315;40(2). doi:10.1080/03007766.2015.1104906
56.
Naila Keleta-Mae. A Beyoncé Feminist. Atlantis: Critical Studies in Gender, Culture & Social Justice. 2017;38(1):236-246 PDF. https://journals.msvu.ca/index.php/atlantis/article/view/3407
57.
How #BlackLivesMatter started a musical revolution. Guardian. Published online 13 March 2016. https://www.theguardian.com/us-news/2016/mar/13/black-lives-matter-beyonce-kendrick-lamar-protest
58.
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
59.
Moving Beyond Pain — bell hooks Institute. http://www.bellhooksinstitute.com/blog/2016/5/9/moving-beyond-pain
60.
Harper P. BEYONCÉ: Viral Techniques and the Visual Album. Popular Music and Society. 20190101;42(1). doi:10.1080/03007766.2019.1555895
61.
Kooijman J. Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva. Popular Music and Society. 20190101;42(1). doi:10.1080/03007766.2019.1555888
62.
Nathalie Weidhase. ‘Beyoncé feminism’ and the contestation of the black feminist body. Celebrity Studies. 6(1). https://bris.on.worldcat.org/search?databaseList=638&queryString=nathalie weidhase beyonce feminism &clusterResults=true#/oclc/5734256448
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Nathalie Weidhase. ‘Beyoncé feminism’ and the contestation of the black feminist body. Celebrity Studies. 6(1). https://bris.on.worldcat.org/search?databaseList=638&queryString=nathalie weidhase beyonce feminism &clusterResults=true#/oclc/5734256448
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Edgar AN. ‘She invited other people to that space’: audience habitus, place, and social justice in Beyoncé’s Lemonade. Feminist media studies. 2019;19(1). https://bris.on.worldcat.org/search?databaseList=638&queryString=amanda nell edgar and ashton toone she invited other people&clusterResults=true#/oclc/7994441038
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Arzumanova I. The culture industry and Beyoncé’s proprietary blackness. Celebrity Studies. 20160702;7(3). doi:10.1080/19392397.2016.1203613
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Patrick S. Becky with the Twitter: Lemonade, social media, and embodied academic fandom. Celebrity Studies. 20190403;10(2). doi:10.1080/19392397.2018.1462721
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Brooks KD, Martin KL. The Lemonade Reader: Beyoncé, Black Feminism and Spirituality. Routledge; 2019.
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Trier-Bieniek AM, ed. The Beyoncé Effect: Essays on Sexuality, Race and Feminism. McFarland & Company, Inc., Publishers; 2016.
69.
Adams, Kyle. Aspects of the Music/Text Relationship in Rap. Music Theory Online. 14(2). http://www.mtosmt.org/issues/mto.08.14.2/mto.08.14.2.adams.html
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David Brackett. James Brown’s ‘Superbad’ and the Double-Voiced Utterance. Popular Music. 1992;11(3):309-324. http://www.jstor.org/stable/931312
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Cockrell D. Demons of Disorder: Early Blackface Minstrels and Their World. Vol 8. Cambridge University Press; 1997.
72.
Cooke M, Horn D, eds. The Cambridge Companion to Jazz. Cambridge University Press; 2003. doi:10.1017/CCOL9780521663205
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Murray Forman. ‘Represent’: Race, Space and Place in Rap Music. Popular Music. 2000;19(1):65-90. http://www.jstor.org/stable/853712
74.
Frith S, Straw W, Street J, eds. The Cambridge Companion to Pop and Rock. Cambridge University Press; 2001. doi:10.1017/CCOL9780521553698
75.
Gates HL. The Signifying Monkey: A Theory of African-American Literary Criticism. Oxford University Press; 1988. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=679616
76.
Stan Hawkins. Prince: Harmonic Analysis of ‘Anna Stesia’. Popular Music. 1992;11(3):325-335. http://www.jstor.org/stable/931313
77.
Tim Hughes. Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder. 2003. https://www.academia.edu/217945/_Groove_and_Flow_Six_Analytical_Essays_on_the_Music_of_Stevie_Wonder_
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Amiri Baraka (LeRoi Jones). Blues People: Negro Music in White America. W. Morrow; 1963.
79.
Kajikawa L. Sounding Race in Rap Songs. First edition. University of California Press; 2015.
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Price EG, Kernodle TL, Maxile HJ. Encyclopedia of African American Music: Volume 1: A-G. ABC-CLIO; 2011. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=620092
81.
Maultsby PK. Africanisms in African-American Music. In: Africanisms in American Culture. Indiana University Press; 1990.
82.
Maultsby PK. Soul Music: Its Sociological and Political Significance in American Popular Culture. The Journal of Popular Culture. 1983;17(2):51-60. doi:10.1111/j.0022-3840.1983.1702_51.x
83.
Forman M, Neal MA. That’s the Joint!: The Hip-Hop Studies Reader. 2nd ed. Routledge; 2012.
84.
Ramsey GP, Columbia College (Chicago, Ill.). Center for Black Music Research. Race Music: Black Cultures from Behop to Hip-Hop. Vol 7. University of California Press; 2003.
85.
Small C. Music of the Common Tongue: Survival and Celebration in African American Music. Wesleyan University Press; 1998.
86.
Southern E. The Music of Black Americans: A History. 3rd ed. W. W. Norton; 1997.
87.
Stuckey S. Slave Culture: Nationalist Theory and the Foundations of Black America. 25th anniversary edition. Oxford University Press; 2014. https://bris.on.worldcat.org/oclc/870284452
88.
Walser R. Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy. Ethnomusicology. 1995;39(2). doi:10.2307/924425
89.
Williams JA, ed. The Cambridge Companion to Hip-Hop. Cambridge University Press; 2015. doi:10.1017/CCO9781139775298
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Williams JA. The Construction of Jazz Rap as High Art in Hip-Hop Music. The Journal of Musicology. 2010;27(4):435-459. doi:10.1525/jm.2010.27.4.435
91.
Zak III AJ. Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation ‘All along the Watchtower’. Journal of the American Musicological Society. 2004;57(3):599-644. doi:10.1525/jams.2004.57.3.599