Adorno, Theodor W. 2002 [1941]. “On Popular Music.” In Essays on Music: Theodor W. Adorno, ed. Susan H. Gillespie and Richard D. Leppert, 437–69. Berkeley: University of California Press.
Attali, Jacques. 1985. Noise: The Political Economy of Music, trans. Brian Massumi. Minneapolis: University of Minnesota Press.
Attas, Robin. 2015. “Form as Process: The Buildup Introduction in Popular Music.” Music Theory Spectrum 37 (2): 275–96. https://doi.org/10.1093/mts/mtv020.
Benjamin, Walter. 1969 [1936]. “The Work of Art in the Age of Mechanical Reproduction.” In Illuminations, ed. Hannah Arendt, 217–52. New York: Schocken.
Butterfield, Matthew W. 2006. “The Power of Anacrusis: Engendered Feeling in Groove-Based Musics.” Music Theory Online 12, no. 4.
Butler, Mark J. 2006. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Bloomington: Indiana University Press.
________. 2014. Playing with Something That Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance. New York: Oxford University Press.
Danielsen, Anne. 2006. Presence and Pleasure: The Funk Grooves of James Brown. Middletown, Conn.: Wesleyan University Press.
Erlmann, Veit. 2000. “Communities of Style: Musical Figures of Black Diasporic Identity.” In The African Diaspora: A Musical Perspective, ed. Ingrid T. Monson. New York: Garland.
Fink, Robert. 2005. Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley: University of California Press.
———. 2011. “Goal-Directed Soul? Analyzing Rhythmic Teleology in African American Popular Music.” Journal of the American Musicological Society 64 (1): 179–238.
Freud, Sigmund. 1961 [1920]. Beyond the Pleasure Principle, trans. and ed. J. Strachey. New York: Liveright.
Garcia, Luis-Manuel. 2005. “On and On: Repetition as Process and Pleasure in Electronic Dance Music.” Music Theory Online 11, no. 4 (accessed 3 January 2009).
Gates, Henry Louis, Jr. 1988. The Signifying Monkey: A Theory of Afro-American Literary Criticism. New York: Oxford University Press.
Hasty, Christopher. 1997. Meter as Rhythm. New York: Oxford University Press.
Hughes, Timothy. 2003. “Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder.” Ph.D. dissertation, University of Washington.
Janata, Petr, Stefan T. Tomic, and Jason M. Haberman. 2012. “Sensorimotor Coupling in Music and the Psychology of the Groove.” Journal of Experimental Psychology: General 141 (1): 54–75.
Keil, Charles. 1987. “Participatory Discrepancies and the Power of Music.” Cultural Anthropology 2, no. 3: 275–83.
________. 1966. “Motion and Feeling through Music.” The Journal of Aesthetics and Art Criticism 24, no. 3: 337–49.
London, Justin. 2004. Hearing in Time: Psychological Aspects of Musical Meter. Oxford: Oxford University Press.
Margulis, Elizabeth Hellmuth. 2013. On Repeat: How Music Plays the Mind. New York, NY: Oxford University Press.
McClary, Susan. 2004. “Rap, Minimalism, and Structures of Time in Twentieth-Century Music.” In Audio Culture: Readings in Modern Music, ed. Christopher Cox and Daniel Warner, 289–98. New York: Continuum.
Middleton, Richard. 1983. “‘Play It Again Sam’: Some Notes on the Productivity of Repetition in Popular Music.” Popular Music 3: 235–70.
Monson, Ingrid T. 1999. “Riffs, Repetition, and Theories of Globalization.” Ethnomusicology 43: 31–65.
Osborn, Brad. 2013. “Subverting the Verse—Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music.” Music Theory Spectrum 35 (1): 23–47.
Pressing, Jeff. 2002. “Black Atlantic Rhythm: Its Computational and Transcultural Foundations.” Music Perception 19 (3): 285–310.
Russell, Potter. 1998. “Not the Same: Race, Repetition, and Difference in Hip-Hop and Dance Music.” In Mapping the Beat: Popular Music and Contemporary Theory, ed. Thomas Swiss, John Sloop, and Andrew Herman, 31–46. Oxford: Blackwell.
Schoenberg, Arnold. 1984 [1950]. “Brahms the Progressive.” In Style and Idea: Selected Writings of Arnold Schoenberg, ed. Leonard Stein and trans. Leo Black, 398–441. London: Faber.
Shelley, Braxton D. 2019. “Analyzing Gospel.” Journal of the American Musicological Society 72 (1): 181–243.
———. 2021. Healing for the Soul: Richard Smallwood, the Vamp, and the Gospel Imagination. AMS Studies in Music. New York: Oxford University Press.
Snead, James. 1981. “On Repetition in Black Culture.” Black American Literature Forum 15, no. 4: 146–54.
Spicer, Mark. 2004. “(Ac)Cumulative Form in Pop-Rock Music.” Twentieth-Century Music 1 (1): 29–64.
Witek, Maria A. G. 2017. “Filling In: Syncopation, Pleasure and Distributed Embodiment in Groove.” Music Analysis 36 (1): 138–60. |