Adams, Kyle, ‘Aspects of the Music/Text Relationship in Rap’, Music Theory Online, 14.2 (n.d.) <http://www.mtosmt.org/issues/mto.08.14.2/mto.08.14.2.adams.html>
Amiri Baraka (LeRoi Jones), Blues People: Negro Music in White America (W. Morrow, 1963)
Arzumanova, Inna, ‘The Culture Industry and Beyoncé’s Proprietary Blackness’, Celebrity Studies, 7.3 (20160702), doi:10.1080/19392397.2016.1203613
Bertrand, Michael T., Race, Rock, and Elvis (University of Illinois Press, 2005)
‘Beyoncé in “Formation”: Entertainer, Activist, Both? - The New York Times’, n.d. <https://www.nytimes.com/2016/02/07/arts/music/beyonce-formation-super-bowl-video.html>
Brackett, David, ‘Chapter 19: The Growing Threat of Rhythm and Blues’, in The Pop, Rock, and Soul Reader: Histories and Debates (Oxford University Press, 2005), pp. 76–80
——, ‘Chapter 24: Rock and Roll Meets the Popular Press’, in The Pop, Rock, and Soul Reader: Histories and Debates (Oxford University Press, 2005)
——, ‘Chapter 25: The Chicago Defender Defends Rock and Roll’, in The Pop, Rock, and Soul Reader: Histories and Debates (Oxford University Press, 2005)
——, ‘Chapter 26: The Music Industry Fight against Rock “n” Roll’, in The Pop, Rock, and Soul Reader: Histories and Debates (Oxford University Press, 2005), pp. 100–09
Brooks, Kinitra Dechaun, and Kameelah L. Martin, The Lemonade Reader: Beyoncé, Black Feminism and Spirituality (Routledge, 2019)
Burnim, Mellonee V., and Portia K. Maultsby (eds), African American Music: An Introduction, Second edition (Routledge, Taylor & Francis Group, 2015)
——, and Portia K. Maultsby (eds), ‘Chapter 1: The Translated African Cultural and Musical Past’, in African American Music: An Introduction, Second edition (Routledge, 2015), pp. 3–22 <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&amp;ppg=20>
——, and Portia K. Maultsby (eds), ‘Chapter 3: Secular Folk Music’, in African American Music: An Introduction, Second edition (Routledge, 2015), pp. 34–49 <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&amp;ppg=51>
——, and Portia K. Maultsby (eds), ‘Chapter 4: Spirituals’, in African American Music: An Introduction, Second edition (Routledge, 2015), pp. 50–71
——, and Portia K. Maultsby (eds), ‘Chapter 6: Ragtime’, in African American Music: An Introduction, Second edition (Routledge, 2015), pp. 97–118
——, and Portia K. Maultsby (eds), ‘Chapter 7: Blues’, in African American Music: An Introduction, Second edition (Routledge, 2015), pp. 119–37
——, and Portia K. Maultsby (eds), ‘Chapter 7: Rhythm and Blues/R&B’, in African American Music: An Introduction, Second edition (Routledge, 2015), pp. 239–76 <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&amp;ppg=136>
——, and Portia K. Maultsby (eds), ‘Chapter 8: Art/Classical Music’, in African American Music: An Introduction, Second edition (Routledge, 2015), pp. 138–59 <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&amp;ppg=155>
——, and Portia K. Maultsby (eds), ‘Chapter 9: Jazz’, in African American Music: An Introduction, Second edition (Routledge, 2015), pp. 163–88
——, and Portia K. Maultsby (eds), ‘Chapter 11: Music Theater’, in African American Music: An Introduction, Second edition (Routledge, 2015), pp. 213–38
——, and Portia K. Maultsby (eds), ‘Chapter 14: Funk’, in African American Music: An Introduction, Second edition (Routledge, 2015), pp. 301–19 <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=317>
——, and Portia K. Maultsby (eds), ‘Chapter 15: Disco and House’, in African American Music: An Introduction, Second edition (Routledge, 2015), pp. 320–34 <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&amp;ppg=337>
——, and Portia K. Maultsby (eds), ‘Chapter 17: Hip-Hop and Rap’, in African American Music: An Introduction, Second edition (Routledge, 2015), pp. 354–90 <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=371>
Chang, Jeff, Can’t Stop Won’t Stop: A History of the Hip-Hop Generation (Ebury, 2007)
Cockrell, Dale, Demons of Disorder: Early Blackface Minstrels and Their World (Cambridge University Press, 1997), viii
——, Demons of Disorder: Early Blackface Minstrels and Their World (Cambridge University Press, 1997), viii
Cooke, Mervyn, and David Horn (eds), The Cambridge Companion to Jazz (Cambridge University Press, 2003), doi:10.1017/CCOL9780521663205
Danielsen, Anne, ‘Chapter 5: The Downbeat in Anticipation’, in Presence and Pleasure: The Funk Grooves of James Brown and Parliament (Wesleyan University Press, 2006)
David Brackett, ‘James Brown’s “Superbad” and the Double-Voiced Utterance’, Popular Music, 11.3 (1992), pp. 309–24 <http://www.jstor.org/stable/931312>
Dery, Mark (ed.), ‘Black to the Future’, in Flame Wars: The Discourse of Cyberculture (Duke University Press, 1994), pp. 179–222
Edgar, Amanda Nell, ‘“She Invited Other People to That Space”: Audience Habitus, Place, and Social Justice in Beyoncé’s Lemonade’, Feminist Media Studies, 19.1 (2019) <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=amanda nell edgar and ashton toone she invited other people&amp;clusterResults=true#/oclc/7994441038>
Eshun, Kodwo, ‘Further Considerations of Afrofuturism’, CR: The New Centennial Review, 3.2 (2003), pp. 287–302, doi:10.1353/ncr.2003.0021
——, 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>
Floyd, Samuel A., ‘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>
——, ‘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>
——, ‘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>
——, ‘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>
——, ‘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>
——, ‘Introduction’, in The Power of Black Music (Oxford University Press, 1995) <https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151>
Forman, Murray, and Mark Anthony Neal, That’s the Joint!: The Hip-Hop Studies Reader, 2nd ed (Routledge, 2012)
Frith, Simon, Will Straw, and John Street (eds), The Cambridge Companion to Pop and Rock (Cambridge University Press, 2001), doi:10.1017/CCOL9780521553698
Gates, Henry Louis, The Signifying Monkey: A Theory of African-American Literary Criticism (Oxford University Press, 1988) <https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=679616>
Hansen, Kai Arne, ‘Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition’, Popular Music and Society, 40.2 (20170315), doi:10.1080/03007766.2015.1104906
Harper, Paula, ‘BEYONCÉ: Viral Techniques and the Visual Album’, Popular Music and Society, 42.1 (20190101), doi:10.1080/03007766.2019.1555895
Hess, Mickey, ‘Hip-Hop Realness and the White Performer’, Critical Studies in Media Communication, 22.5 (2005), pp. 372–89, doi:10.1080/07393180500342878
Hodeir, Andre, and Gunther Schuller, Ellington, Duke, 20 AD <http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000008731?rskey=NN2YZA&amp;result=3>
‘How #BlackLivesMatter Started a Musical Revolution’, Guardian, 13 March 2016 <https://www.theguardian.com/us-news/2016/mar/13/black-lives-matter-beyonce-kendrick-lamar-protest>
Howland, John, ‘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)
Ibrahim, Amina, ‘Radical Re-Envisionings : Ancient Egypt, Afrofuturism, and FKA Twigs’ (unpublished, 2015), doi:10.15781/T2763F
Jones, LeRoi, ‘Blues People’, in The Pop, Rock, and Soul Reader: Histories and Debates (Oxford University Press, 2005), pp. 18–25
Kajikawa, Loren, Sounding Race in Rap Songs, First edition (University of California Press, 2015)
Kooijman, Jaap, ‘Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva’, Popular Music and Society, 42.1 (20190101), doi:10.1080/03007766.2019.1555888
Krims, Adam, Rap Music and the Poetics of Identity (Cambridge University Press, 2000)
Lordi, Emily J., The Meaning of Soul: Black Music and Resilience since the 1960s (Duke University Press, 2020)
Lott, Eric, Love and Theft: Blackface Minstrelsy and the American Working Class, 20th-anniversary edition edns (Oxford University Press, 2013)
Maultsby, Portia K., ‘Africanisms in African-American Music’, in Africanisms in American Culture (Indiana University Press, 1990)
——, ‘Chapter 13: Soul’, in African American Music: An Introduction, ed. by Mellonee V. Burnim and Portia K. Maultsby, Second edition (Routledge, Taylor & Francis Group, 2015) <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&amp;ppg=294>
——, ‘Soul Music: Its Sociological and Political Significance in American Popular Culture’, The Journal of Popular Culture, 17.2 (1983), pp. 51–60, doi:10.1111/j.0022-3840.1983.1702_51.x
McClary, Susan, ‘Bessie Smith: Thinking Blues’, in The Auditory Culture Reader (Berg, 2003), pp. 427–34
‘Moving Beyond Pain — Bell Hooks Institute’, n.d. <http://www.bellhooksinstitute.com/blog/2016/5/9/moving-beyond-pain>
Murchinson, Gayle, and Catherine Parsons Smith, Still, William Grant, n.d. <http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000026776?rskey=csDbiQ&amp;result=1>
Murray Forman, ‘“Represent”: Race, Space and Place in Rap Music’, Popular Music, 19.1 (2000), pp. 65–90 <http://www.jstor.org/stable/853712>
Naila Keleta-Mae, ‘A Beyoncé Feminist’, Atlantis: Critical Studies in Gender, Culture & Social Justice, 38.1 (2017), pp. 236-246 PDF <https://journals.msvu.ca/index.php/atlantis/article/view/3407>
Nathalie Weidhase, ‘“Beyoncé Feminism” and the Contestation of the Black Feminist Body’, Celebrity Studies, 6.1 (n.d.) <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=nathalie weidhase beyonce feminism &amp;clusterResults=true#/oclc/5734256448>
——, ‘“Beyoncé Feminism” and the Contestation of the Black Feminist Body’, Celebrity Studies, 6.1 (n.d.) <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=nathalie weidhase beyonce feminism &amp;clusterResults=true#/oclc/5734256448>
Oakley, Giles, ‘City Blues’, in The Devil’s Music: A History of the Blues, 2nd ed (Da Capo Press, 1997)
Patrick, Stephanie, ‘Becky with the Twitter: Lemonade, Social Media, and Embodied Academic Fandom’, Celebrity Studies, 10.2 (20190403), doi:10.1080/19392397.2018.1462721
Peterson, Richard A., ‘Why 1955? Explaining the Advent of Rock Music’, Popular Music, 9.1 (1990) <http://www.jstor.org/stable/852886>
Price, Emmett George, Tammy L. Kernodle, and Horace Joseph Maxile, Encyclopedia of African American Music: Volume 1: A-G (ABC-CLIO, 2011) <https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=620092>
Ramsey, Guthrie P. and Columbia College (Chicago, Ill.). Center for Black Music Research, Race Music: Black Cultures from Behop to Hip-Hop (University of California Press, 2003), vii
Rose, Tricia, Black Noise: Rap Music and Black Culture in Contemporary America (Wesleyan University Press, 1994) <https://bris.on.worldcat.org/oclc/610269566>
Schloss, Joseph Glenn, Making Beats: The Art of Sample-Based Hip-Hop (Wesleyan University Press, 2004)
Schuller, Gunther, ‘Origins’, in Early Jazz: Its Roots and Musical Development (Oxford University Press, 1968), v.1, pp. 3–62
Shank, Barry, ‘From Rice to Ice: The Face of Race in Rock and Pop’, in The Cambridge Companion to Pop and Rock (Cambridge University Press, 2001), pp. 256–71, doi:10.1017/CCOL9780521553698.016
Small, Christopher, Music of the Common Tongue: Survival and Celebration in African American Music (Wesleyan University Press, 1998)
Smith, Catherine Parsons, William Grant Still: A Study in Contradictions (University of California Press, 2000), ii
Southern, Eileen, The Music of Black Americans: A History, 3rd ed (W. W. Norton, 1997)
——, The Music of Black Americans: A History, 3rd ed (W. W. Norton, 1997)
Stan Hawkins, ‘Prince: Harmonic Analysis of “Anna Stesia”’, Popular Music, 11.3 (1992), pp. 325–35 <http://www.jstor.org/stable/931313>
Strauss, Neil, ‘Sampling Is (A) Creative or (B) Theft?’, in The Pop, Rock, and Soul Reader: Histories and Debates (Oxford University Press, 2005), pp. 422–23
Stuckey, Sterling, Slave Culture: Nationalist Theory and the Foundations of Black America, 25th anniversary edition (Oxford University Press, 2014) <https://bris.on.worldcat.org/oclc/870284452>
Szwed, John, ‘Chapter 2 - Excerpts’, in Space Is the Place: The Lives and Times of Sun Ra (Pantheon, 1997), pp. 64–73
Taylor, Timothy D., ‘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), pp. 163–82
Tim Hughes, ‘Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder’ (unpublished, University of Washington, 2003) <https://www.academia.edu/217945/_Groove_and_Flow_Six_Analytical_Essays_on_the_Music_of_Stevie_Wonder_>
Trier-Bieniek, Adrienne M. (ed.), The Beyoncé Effect: Essays on Sexuality, Race and Feminism (McFarland & Company, Inc., Publishers, 2016)
Wald, Elijah, Escaping the Delta: Robert Johnson and the Invention of the Blues (HarperCollins, 2005)
Walser, Robert, ‘Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy’, Ethnomusicology, 39.2 (1995), doi:10.2307/924425
Week 6: Reading Week, n.d.
Williams, Justin A (ed.), The Cambridge Companion to Hip-Hop (Cambridge University Press, 2015), doi:10.1017/CCO9781139775298
Williams, Justin A., ‘The Construction of Jazz Rap as High Art in Hip-Hop Music’, The Journal of Musicology, 27.4 (2010), pp. 435–59, doi:10.1525/jm.2010.27.4.435
Zak III, Albin J., ‘Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation “All along the Watchtower”’, Journal of the American Musicological Society, 57.3 (2004), pp. 599–644, doi:10.1525/jams.2004.57.3.599