| The Historical Consciousness of Sunshine Pop | 2011/09/01 | English | 3 |
| How to Write About Bob Dylan: A Step-by-Step Guide | 2011/09/01 | English | 3 |
| Biomusic and Popular Culture: The Use of Animal Sounds in the Music of the Beatles | 2012/03/01 | English | 3 |
| Fania Records and its Nuyorican Imaginary: Representing Salsa as Commodity and Cultural Sign inOur Latin Thing | 2015/09/01 | English | 3 |
| The Music of Wish Images: Walter Benjamin, Filesharing, and Utopia | 2014/06/01 | English | 2 |
| Hip Hop Studies in Black | 2014/06/01 | English | 2 |
| Digital Downsizing: The Effects of Digital Music Production on Labor | 2014/12/01 | English | 2 |
| LEONARD BERNSTEIN ON TELEVISION: BRIDGING THE GAP BETWEEN CLASSICAL MUSIC AND POPULAR CULTURE | 1999/03/01 | English | 2 |
| SELLING MOZART TO THE MASSES: CROSSOVER MARKETING AS CULTURAL DIPLOMACY | 1999/03/01 | English | 2 |
| “Something Inside So Strong”: The Flirtations and the Queer Politics of A Cappella | 2016/05/11 | English | 2 |
| Drive Slow: Rehearing Hip Hop Automotivity | 2012/09/01 | English | 2 |
| Elvis Presley and Susan Boyle: Bodies of Controversy | 2011/06/01 | English | 2 |
| Talking Popular Music in the Field and off the Field | 2011/06/01 | English | 2 |
| “We’re Talking about Practice(-Based Research)”: Serious Play and Serious Performance in the Practice of Popular Music Ethnography | 2011/06/01 | English | 2 |
| Big Business, Real Estate Determinism, and Dance Culture in New York, 1980-88 | 2011/09/01 | English | 2 |
| The Lollipop Girl's voice: Respectability, migration, and Millie Small's “My Boy Lollipop” | 2016/12/01 | English | 2 |
| What does Beyoncé mean to young girls? | 2017/06/01 | English | 2 |
| One Like No Other? Blaxploitation in the Performance of Afro-German Rapper Lisi | 2013/06/01 | English | 2 |
| Conservative Innovators: Reviving Israeli Spirit Through Black Music | 2015/06/01 | English | 2 |
| “What Chew Know About Down the Hill?”: Baltimore Club Music, Subgenre Crossover, and the New Subcultural Capital of Race and Space | 2007/12/06 | English | 2 |
| Introduction: Audio Work: Labor, Value, and the Making of Musical Aesthetics | 2012/12/01 | English | 2 |
| Sometimes a Microphone is Just a Microphone: Karaoke and the Performance of Gender | 2014/03/01 | English | 2 |
| Who Are the “Emos” Anyway? Youth Violence in Mexico City and the Myth of the Revolution | 2014/03/01 | English | 2 |
| From “No Future” to “Delete Yourself (You Have No Chance to Win)”: Death, Queerness, and the Sound of Neoliberalism | 2013/12/01 | English | 2 |
| This Safer Space: Janelle Monáe's “Cold War” | 2011/12/01 | English | 2 |
| Post-Fidelity: A New Age of Music Consumption and Technological Innovation | 2011/12/01 | English | 2 |
| Neverland | 2011/03/01 | English | 2 |
| Working Day and Night: Black Masculinity and the King of Pop | 2011/03/01 | English | 2 |
| “Luring Disco Dollies to a Life of Vice”: Queer Pop Music's Moment | 2013/12/01 | English | 2 |
| Pop songs on political platforms | 2017/08/18 | English | 2 |