1.
Chapter 1: The translated African Cultural and Musical Past. in African American music: an introduction (eds. Burnim, M. V. & Maultsby, P. K.) 3–22 (Routledge, 2015).
2.
Floyd, S. A. Introduction. in The Power of Black Music (Oxford University Press, 1995).
3.
Southern, E. The music of black Americans: a history. (W. W. Norton, 1997).
4.
Chapter 3: Secular Folk Music. in African American music: an introduction (eds. Burnim, M. V. & Maultsby, P. K.) 34–49 (Routledge, 2015).
5.
Chapter 11: Music Theater. in African American music: an introduction (eds. Burnim, M. V. & Maultsby, P. K.) 213–238 (Routledge, 2015).
6.
Chapter 6: Ragtime. in African American music: an introduction (eds. Burnim, M. V. & Maultsby, P. K.) 97–118 (Routledge, 2015).
7.
Shank, B. From Rice to Ice: The Face of Race in Rock and Pop. in The Cambridge companion to pop and rock 256–271 (Cambridge University Press, 2001). doi:10.1017/CCOL9780521553698.016.
8.
Chapter 4: Spirituals. in African American music: an introduction (eds. Burnim, M. V. & Maultsby, P. K.) 50–71 (Routledge, 2015).
9.
Lott, E. Love and theft: blackface minstrelsy and the American working class. (Oxford University Press, 2013).
10.
Cockrell, D. Demons of disorder: early blackface minstrels and their world. vol. 8 (Cambridge University Press, 1997).
11.
African American music: an introduction. in (eds. Burnim, M. V. & Maultsby, P. K.) (Routledge, Taylor & Francis Group, 2015).
12.
Chapter 7: Blues. in African American music: an introduction (eds. Burnim, M. V. & Maultsby, P. K.) 119–137 (Routledge, 2015).
13.
Floyd, S. A. Chapter 3: Syncretization and Synthesis: Folk and Written Traditions. in The Power of Black Music (Oxford University Press, 1995).
14.
Floyd, S. A. Chapter 9: Troping the Blues: From Spirituals to the Concert Hall. in The Power of Black Music (Oxford University Press, 1995).
15.
Jones, L. Blues People. in The pop, rock, and soul reader: histories and debates 18–25 (Oxford University Press, 2005).
16.
Oakley, G. City Blues. in The devil’s music: a history of the blues (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 427–434 (Berg, 2003).
19.
Chapter 9: Jazz. in African American music: an introduction (eds. Burnim, M. V. & Maultsby, P. K.) 163–188 (Routledge, 2015).
20.
Floyd, S. A. 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).
21.
Schuller, G. Origins. in Early jazz: its roots and musical development vol. v.1 3–62 (Oxford University Press, 1968).
22.
Chapter 8: Art/Classical Music. in African American music: an introduction (eds. Burnim, M. V. & Maultsby, P. K.) 138–159 (Routledge, 2015).
23.
Floyd, S. A. Chapter 5: The Negro Renaissance: Harlem and Chicago Flowerings. in The Power of Black Music (Oxford University Press, 1995).
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, C. P. William Grant Still: a study in contradictions. vol. 2 (University of California Press, 2000).
26.
Hodeir, A. & Schuller, G. Ellington, Duke. (20AD).
27.
Murchinson, G. & Parsons Smith, C. Still, William Grant.
29.
Chapter 7: Rhythm and Blues/R&B. in African American music: an introduction (eds. Burnim, M. V. & Maultsby, P. K.) 239–276 (Routledge, 2015).
30.
Floyd, S. A. Chapter 10: The Object of Call-Response: The Signifyin(g) Symbol. in The Power of Black Music (Oxford University Press, 1995).
31.
Brackett, D. Chapter 19: The growing threat of Rhythm and Blues. in The pop, rock, and soul reader: histories and debates 76–80 (Oxford University Press, 2005).
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 100–109 (Oxford University Press, 2005).
35.
Taylor, T. D. His name was in Lights: Chuck Berry’s Johnny B. Goode. in Reading pop: approaches to textual analysis in popular music 163–182 (Oxford University Press, 2000).
36.
Peterson, R. A. Why 1955? Explaining the Advent of Rock Music. Popular Music 9, (1990).
37.
Bertrand, M. T. Race, rock, and Elvis. (University of Illinois Press, 2005).
38.
Maultsby, P. K. Chapter 13: Soul. in African American music: an introduction (eds. Burnim, M. V. & Maultsby, P. K.) (Routledge, Taylor & Francis Group, 2015).
39.
Chapter 14: Funk. in African American music: an introduction (eds. Burnim, M. V. & Maultsby, P. K.) 301–319 (Routledge, 2015).
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, E. J. The meaning of soul: Black music and resilience since the 1960s. (Duke University Press, 2020).
42.
Black to the Future. in Flame wars: the discourse of cyberculture (ed. Dery, M.) 179–222 (Duke University Press, 1994).
43.
Szwed, J. Chapter 2 - excerpts. in Space is the place: the lives and times of Sun Ra 64–73 (Pantheon, 1997).
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).
46.
Eshun, K. Further Considerations of Afrofuturism. CR: The New Centennial Review 3, 287–302 (2003).
47.
Chapter 15: Disco and House. in African American music: an introduction (eds. Burnim, M. V. & Maultsby, P. K.) 320–334 (Routledge, 2015).
48.
Chang, J. Can’t stop won’t stop: a history of the hip-hop generation. (Ebury, 2007).
49.
Chapter 17: Hip-hop and Rap. in African American music: an introduction (eds. Burnim, M. V. & Maultsby, P. K.) 354–390 (Routledge, 2015).
50.
Strauss, N. Sampling is (A) Creative or (B) Theft? in The pop, rock, and soul reader: histories and debates 422–423 (Oxford University Press, 2005).
51.
Hess, M. Hip-hop Realness and the White Performer. Critical Studies in Media Communication 22, 372–389 (2005).
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).
54.
Schloss, J. G. Making beats: the art of sample-based hip-hop. (Wesleyan University Press, 2004).
55.
Hansen, K. A. Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition. Popular Music and Society 40, (20170315).
56.
Naila Keleta-Mae. A Beyoncé Feminist. Atlantis: Critical Studies in Gender, Culture & Social Justice 38, 236-246 PDF (2017).
57.
How #BlackLivesMatter started a musical revolution. Guardian (2016).
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 42, (20190101).
61.
Kooijman, J. Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva. Popular Music and Society 42, (20190101).
62.
Nathalie Weidhase. ‘Beyoncé feminism’ and the contestation of the black feminist body. Celebrity Studies 6,.
63.
Nathalie Weidhase. ‘Beyoncé feminism’ and the contestation of the black feminist body. Celebrity Studies 6,.
64.
Edgar, A. N. ‘She invited other people to that space’: audience habitus, place, and social justice in Beyoncé’s Lemonade. Feminist media studies 19, (2019).
65.
Arzumanova, I. The culture industry and Beyoncé’s proprietary blackness. Celebrity Studies 7, (20160702).
66.
Patrick, S. Becky with the Twitter: Lemonade, social media, and embodied academic fandom. Celebrity Studies 10, (20190403).
67.
Brooks, K. D. & Martin, K. L. The Lemonade reader: Beyoncé, black feminism and spirituality. (Routledge, 2019).
68.
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,.
70.
David Brackett. James Brown’s ‘Superbad’ and the Double-Voiced Utterance. Popular Music 11, 309–324 (1992).
71.
Cockrell, D. Demons of disorder: early blackface minstrels and their world. vol. 8 (Cambridge University Press, 1997).
72.
The Cambridge Companion to Jazz. (Cambridge University Press, 2003). doi:10.1017/CCOL9780521663205.
73.
Murray Forman. ‘Represent’: Race, Space and Place in Rap Music. Popular Music 19, 65–90 (2000).
74.
The Cambridge Companion to Pop and Rock. (Cambridge University Press, 2001). doi:10.1017/CCOL9780521553698.
75.
Gates, H. L. The signifying monkey: a theory of African-American literary criticism. (Oxford University Press, 1988).
76.
Stan Hawkins. Prince: Harmonic Analysis of ‘Anna Stesia’. Popular Music 11, 325–335 (1992).
77.
Tim Hughes. Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder. (2003).
78.
Amiri Baraka (LeRoi Jones). Blues people: Negro music in white America. (W. Morrow, 1963).
79.
Kajikawa, L. Sounding race in rap songs. (University of California Press, 2015).
80.
Price, E. G., Kernodle, T. L. & Maxile, H. J. Encyclopedia of African American music: Volume 1: A-G. (ABC-CLIO, 2011).
81.
Maultsby, P. K. Africanisms in African-American Music. in Africanisms in American culture (Indiana University Press, 1990).
82.
Maultsby, P. K. Soul Music: Its Sociological and Political Significance in American Popular Culture. The Journal of Popular Culture 17, 51–60 (1983).
83.
Forman, M. & Neal, M. A. That’s the joint!: the hip-hop studies reader. (Routledge, 2012).
84.
Ramsey, G. P. & 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. (W. W. Norton, 1997).
87.
Stuckey, S. Slave culture: nationalist theory and the foundations of black America. (Oxford University Press, 2014).
88.
Walser, R. Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy. Ethnomusicology 39, (1995).
89.
The Cambridge Companion to Hip-Hop. (Cambridge University Press, 2015). doi:10.1017/CCO9781139775298.
90.
Williams, J. A. The Construction of Jazz Rap as High Art in Hip-Hop Music. The Journal of Musicology 27, 435–459 (2010).
91.
Zak III, A. J. Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation ‘All along the Watchtower’. Journal of the American Musicological Society 57, 599–644 (2004).