| Clarity and Order in Sonic Youth's Early Noise Rock | 2013/03/01 | English | 4 |
| Contours through Covers: Voice and Affect in the Music of Lucas Silveira | 2013/12/01 | English | 4 |
| Antiphon: Notes on the People's Microphone* | 2012/06/01 | English | 4 |
| Rocktimism?: Pop Music Writing in the Age of Rock Criticism | 2012/12/01 | English | 4 |
| “Welcome to the Tundra”: Tanya Tagaq's creative and communicative agency as political strategy | 2017/12/01 | English | 4 |
| From Background Music to Above-the-Line Actor: The Rise of the Music Supervisor in Converging Televisual Environments | 2013/09/01 | English | 4 |
| Coachella Fans, Online and Translocal | 2015/06/01 | English | 4 |
| Counterorienting the war on terror: Arab hip hop and diasporic resistance | 2017/06/01 | English | 4 |
| Girls, girlhood, and popular music | 2016/12/01 | English | 4 |
| Sexual knowledge and practiced feminisms: On moral panic, black girlhoods, and hip hop | 2016/12/01 | English | 4 |
| Minimal Understandings: The Berlin Decade, The Minimal Continuum, and Debates on the Legacy of German Techno | 2013/06/01 | English | 3 |
| Get on the Mic: Recording Studios as Symbolic Spaces in Rap Music | 2014/03/01 | English | 3 |
| “The Space, the Gear, and Two Big Cans of Beer”: Fora do Eixo and the Debate over Circulation, Remuneration, and Aesthetics in the Brazilian Alternative Market | 2012/12/01 | English | 3 |
| Embodied Kawaii: Girls’ voices in J-pop | 2016/12/01 | English | 3 |
| Yeah yeah yeah: The sixties screamscape of Beatlemania | 2017/06/01 | English | 3 |
| Connection and Complicity in the Global South: Hip Hop Musicians and US Cultural Diplomacy | 2015/12/01 | English | 3 |
| Dorking Out with Taylor and Kanye: Nerd Pop via Goffman and the Performance of Stigma | 2016/02/23 | English | 3 |
| Take Control: The Labor of Immediacy in Yoruba Christian Music | 2012/12/01 | English | 3 |
| “Brown Girl in the Ring”: Poly Styrene, Annabella Lwin, and the Politics of Anger | 2011/12/01 | English | 3 |
| “I Can't Go to an Indigo Girls Concert, I Just Can’t”: Glee's Shameful Lesbian Musicality | 2011/12/01 | English | 3 |
| Performance, Materiality, and Heritage: What Does an Archaeology of Popular Music Look Like? | 2013/03/01 | English | 3 |
| “Rise and Obey the Command”: Performative Fidelity and the Exercise of Phonographic Power | 2012/09/01 | English | 3 |
| “This Is Who I Am”: Jero, Young, Gifted, Polycultural | 2012/09/01 | English | 3 |
| “Michael, eles não ligam pra gente!” Brazilian Rentboys, Queer Affinity, and the Michael Jackson Exception | 2011/03/01 | English | 3 |
| Interpretations of Tradition: From Gaelic Song to Celtic Pop | 2010/09/09 | English | 3 |
| Musical Property: Widening or Withering? | 2014/03/01 | English | 3 |
| An Examination of the Bootleg Record Industry and Its Impact upon Popular Music Consumption | 2014/06/01 | English | 3 |
| How Copyright Affected the Musical Style and Critical Reception of Sample-Based Hip-Hop | 2014/06/01 | English | 3 |
| Toward an Epistemology of Prince | 2014/12/01 | English | 3 |
| Excitement is Made, Not Born: Jack Good, Television, and Rock and Roll | 2013/09/01 | English | 3 |