Switched on pop

Introducción: Conectados al pop

• Aron, H. (24 de agosto de 2018). How Sia Saved Herself. Rolling Stone.
• Hall, S. (1981). Notes on Deconstructing “the Popular”. En R. Samuel (Ed.), People’s History and Socialist Theory. Routledge.
• Harding, H., Sloan, N. (Anfitriones). (19 de septiembre de 2018). The Side Effects of Pop Music with Emily Warren (Nº 94) [Episodio de Podcast] En Switched On Pop. Spotify. https://switchedonpop.com/episodes/94-the-side-effects-of-pop-music-with-emily-warren
• Pallet, O. (25 de marzo de 2014). Skin Tight Jeans and Syncopation. Slate.

1. No queréis escucharme, solo queréis bailar

• Baker, S. (2 de octubre de 2014). Andrew 3000 on Releasing ‘Hey Ya!’: ‘I Was Terrified’. HipHopDX. hiphopdx.com/news/id.30903/title.andre-3000-on-releasing-hey-ya-i-was-terrified

• Berlin, E. (1984). Ragtime: A Musical and Cultural History. University of California Press.
• Henderson, C. (27 de enero de 2016). Anthem of Freedom: How Whitney Houston Remade “The Star-Spangled Banner”. New Yorker. www.newyorker.com/culture/cultural-comment/anthem-of-freedom-how-whitney-houston-remade-the-star-spangled-banner
• MacDougall, H. G. y Moore, S. T. (2005). Marching to the Beat of the Same Drummer: The Spontaneous Tempo of Human Locomotion. Journal of Applied Physiology,99(3), 1164-1173.
• Mather, V. (8 de febrero de 2019). A Polarizing Anthem Performance — by Jose Feliciano in 1968. New York Times. www.nytimes.com/2017/10/06/sports/baseball/national-anthem.html
• Moelants, D. (2002). Preferred Tempo Reconsidered. En Stevens, C., Burnham, D., McPherson, G., Schubert, E. y Renwick, J. (Eds.), Proceedings of the 7th International Conference on Music Perception and Cognition (pp. 580-583). Causal Productions.
• Muhammad, A. S. y Kelley, F. (26 de septiembre de 2014). Andre 3000: ‘You Can Do Anything from Atlanta’. NPR Microphone Check Archive. www.npr.org/sections/microphonecheck/2014/09/26/351559126/andre-3000-you-can-do-anything-from-atlanta
• Rose, T. (2008). The Hip Hop Wars: What we talk about when we talk about hip hop — and why it matters. Basic Books.
• Slonimsky, N. (2000). Lexicon of Musical Invective Critical Assaults on Composers since Beethovens Time. W.W. Norton & Company.
• Welch, W. (30 de octubre de 2017). Earth to André 3000: The OutKast Icon Talks Life after “Hey Ya!”. GQ. www.gq.com/story/andre-3000-outkast-gq-style-interview
• Zauzmer, B. (20 de septiembre de 2017). These Are the Most Popular Wedding Songs in America — and the Ones Your State Loves. Washington Post. www.washingtonpost.com/news/soloish/wp/2017/09/20/these-are-the-most-popular-wedding-songs-in-america-and-the-ones-your-state-loves/

2. Las inconfundibles melodías de una estrella

• «Josquin utilizó esta combinación melódica un total de 704 veces»: Sabemos este número exacto gracias a los esfuerzos del Josquin Research Project (josquin.stanford.edu), un equipo liderado por los musicólogos Jesse Rodin, Craig Sapp y Clare Bokulich, que ha digitalizado y hecho accesible cada nota escrita por el gran compositor de música litúrgica católica. Solo podemos imaginar lo que se descubrirá sobre las inclinaciones melódicas de otros artistas una vez que los académicos creen el Taylor Swift Research Project (o el Beyoncé Research Project, el Michael Jackson Research Project, etc.). Hasta entonces, habrá que conformarse con una metodología menos científica, es decir, escuchar atentamente una gran cantidad de música.

• Bergeron, K. (2010). Voice Lessons: French Melodies in the Belle Époque. Oxford University Press.
• Caramanica, J. (23 de octubre de 2014). A Farewell to Twang. New York Times. www.nytimes.com/2014/10/26/arts/music/taylor-swift-1989-new-album-review.html
• Collier, J. [@jacobcollier]. (29 de marzo de 2018). x.com/jacobcollier?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor
• Everett, W. (1997). Swallowed by a Song: Paul Simon’s Crisis of Chromaticism en Covach, J. y Boone, G. (Eds.), Understanding Rock: Essays in Musical Analysis. Oxford University Press.
• Gannon, L. (Junio de 2015). All I Wanted to Be Was Strong. Elle UK (Digital).
• Grigoriadis, V. (2009). The Very Pink, Very Perfect Life of Taylor Swift. Rolling Stone.
• Lewis, R. (26 de octubre de 2008). She’s writing her future. Los Angeles Times. www.latimes.com/archives/la-xpm-2008-oct-26-ca-swift26-story.html
• Lieb, K. (2015). Gender, Branding, and the Modern Music Industry. Routledge.
• Morrison, S. (2010). The People’s Artist: Prokofiev’s Soviet Years. Oxford University Press.
• Savage, M. (8 de noviembre de 2017). Why Does Taylor Swift Write So Many One-Note Melodies. BBC News. www.bbc.com/news/entertainment-arts-41886475#:~:text=Repetitive%20melodies%20that%20centre%20around,are%20effortlessly%20conversational%20and%20vernacular.
• Stravinsky, I. (1970). Poetics of Music in the Form of Six Lessons. Harvard University Press.
• 3. Un épico viaje armónico
• Antonoff, J. (2017). Jack Antonoff on How to Write a Perfect Pop Song. New York Magazine.
• Christensen, T. (2004). Rameau and Musical Thought in the Enlightenment. Cambridge University Press.
• Tingen, P. (2012). Jeff Bhasker on Mixing ‘We Are Young’. Sound on Sound. www.soundonsound.com/techniques/jeff-bhasker-mixing-we-are-young

4. Cuando el drop irrumpió en la canción pop

• Canal BBC Radio 1. (1 de agosto de 2015). Calvin Harris from Radio 1 in Ibiza 2015. [Archivo de Vídeo]. Youtube. youtu.be/QylU_gVpJbo?si=r3hisRY15h5BoIat

• Peres, A. (31 de julio de 2018). Everything You Need to Know about the Postchorus. Top 40 Theory. www.top40theory.com/blog/everything-you-need-to-know-about-the-postchorus

5. Una voz sin rostro

• Agawu, K. (2016). The African imagination in music. Oxford University Press.

• Canal PopCrush. (4 de febrero de 2016). Sia’s Best Live Vocals [Archivo de Vídeo]. Youtube. youtu.be/bltLjnMw9bA?si=3MlsgLHLGpTDuQgo
• Cliff, A. (2016). How Sia’s Polarizing Vocals Have Invaded the Mainstream. Fader.
• Eidsheim, N. S. (2011). Marian Anderson and “Sonic Blackness” in American Opera. American Quarterly, 63(3).
• Fink, R., Latour, M. y Wallmark, Z. (2018). Introduction en The Relentless Pursuit of Tone. Oxford University Press.
• Font‐Navarette, D. (2015). Bass 101: Miami, Rio, and the Global Music South 1. Journal of Popular Music Studies, 27(4).
• Gallo, P. (2013). Sia: The Billboard Cover Story. Billboard. /www.billboard.com/music/pop/sia-the-billboard-cover-story-5770521/
• Geffen, S. (2014). Radical Strain. New Inquiry. hthenewinquiry.com/radical-strain/
• Hansen, K. A. (2017). Holding On for Dear Life: Gender, Celebrity Status and Vulnerability-on- Display in Sia’s ‘Chandelier’ en Hawkins, S. (Ed.), The Routledge Research Companion to Popular Music and Gender. Routledge.
• Holmes, J. A. (2017). Expert listening beyond the limits of hearing: Music and deafness. Journal of the American Musicological Society, 70(1).
• James, R. (1 de abril de 2016). These Are Sia’s Breaks: On Vocal Technique and Queering Feminine Resistance. It’s Her Factory. www.its-her-factory.com/2016/04/these-are-sias-breaks-on-vocal-technique-queering-feminine-resilience/
• Jensen, T., Roberts, G., Desantis, A. y Parshina-Kottas, Y. (25 de agosto de 2015). Justin Bieber, Diplo & Skrillex Make a Hit. New York Times. www.nytimes.com/interactive/2015/08/25/arts/music/justin-bieber-diplo-skrillex-make-a-hit-song.html
• Oyola, O. (2012). Everyone I listen to, fake patois… Sounding Out! soundstudiesblog.com/2012/04/09/everyone-i-listen-to-fake-patois/
• Sanders, S. (8 de julio de 2014). A Reluctant Star, Sia Deals with Fame on Her Own Terms. NPR Morning Edition. www.npr.org/2014/07/08/329500971/a-reluctant-star-sia-deals-with-fame-on-her-own-terms
• Soto-Morettini, D. (2014). Popular singing and style. Bloomsbury.
• Stark, J. (2003). Bel canto: a history of vocal pedagogy. University of Toronto Press.
• Tingen, P. (2012). Trevor Muzzy: Recording Nicki Minaj’s ‘Starships’. Sound on Sound. www.soundonsound.com/techniques/trevor-muzzy-recording-nicki-minajs-starships
• Wallmark, Z., Iacoboni, M., Deblieck, C., y Kendall, R. A. (2018). Embodied listening and timbre: Perceptual, acoustical, and neural correlates. Music Perception: An Interdisciplinary Journal, 35(3).

7. Lo que hace que el pop sea tan pegadizo

• Austin, D., Peterik, J. y Lynn, C. (2010). Songwriting for dummies. Wiley.
• Everett, W. (1999). The Beatles as Musicians: Revolver through the Anthology. Oxford University Press.
• Feeney, N. (2014). Ariana Grande Is Fully Aware That the Lyrics of ‘Break Free’ Make No Sense. Time. time.com/3088143/ariana-grande-break-free-lyrics/
• Guerrieri, M. (2014). The first four notes: Beethoven’s Fifth and the Human Imagination. Vintage.
• Heath, C. (2018). Quincy Jones Has a Story about That. GQ. www.gq.com/story/quincy-jones-has-a-story
• Kronengold, C. (2005). Accidents, hooks and theory en Perchard, T. (Ed.), From Soul to Hip Hop. Routledge.
• Peres, A. [@Top40Theory]. (30 de septiembre de 2018). Twitter. x.com/Top40Theory/status/1046482924567171073
• Seabrook, J. (2015). The Song Machine: Inside the Hit Factory. W.W. Norton.

8. La verdad no siempre rima

• Ahmed, I. (2013). The 50 Best Songs of 2013. Complex. www.complex.com/music/a/insanul-ahmed/best-songs-of-2013

• Auden, W. H. (1989). The Dyer’s Hand and Other Essays. Vintage.
• Clean Bandit featuring Demi Lovato. (2018). Solo [Canción]. En What Is Love? (Deluxe). Atlantic Records.
• Furia, P. (1992). The Poets of Tin Pan Alley: A History of America’s Great Lyricists. Oxford University Press.
• GZA. (2015). The Lost Art of Lyricism. Medium. medium.com/cuepoint/gza-speaks-the-lost-art-of-lyricism-ee84510e7268
• Gracias a Mike Posner por destacar esta letra de la canción de 2013 ‘Acid Rain’ cuando estuvo como invitado en Switched On Pop. Harding, H., Sloan, N. (Anfitriones). (28 de noviembre de 2018). Entering Beard Phase with Mike Posner (Nº 99) [Episodio de Podcast] En Switched On Pop. Spotify. https://switchedonpop.com/episodes/entering-beard-phase-with-mike-posner
• Harding, H., Sloan, N. (Anfitriones). (4 de noviembre de 2014). Hotline Hello: Drake and Adele (Nº 23) [Episodio de Podcast] En Switched On Pop. Spotify. https://switchedonpop.com/episodes/23-love-on-hold-with-drake-and-adele
• Hassan, A. y Kopf, D. (2018). The Reason Why Your Favorite Pop Songs Are Getting Shorter. Quartz. qz.com/quartzy/1438412/the-reason-why-your-favorite-pop-songs-are-getting-shorter
• Hirjee, H. y Brown, D. G. (2010). Using Automated Rhyme Detection to Characterize Rhyming Style in Rap Music. Empirical Musicology Review, 5(4).
• Reynolds, S. (2018). How Auto-Tune Revolutionized the Sound of Popular Music. Pitchfork. pitchfork.com/features/article/how-auto-tune-revolutionized-the-sound-of-popular-music/
• Sacks, O. (2007). Musicophilia: Tales of Music and the Brain. Knopf.
• Sondheim, S. (1995). Night Waltz 1 [Canción]. En A Little Night Music.
• Sondheim, S. (2010). Collected Lyrics (1954–1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes. Knopf.
• Suisman, D. (2009). Selling sounds: The commercial revolution in American music. Harvard University Press.
• The Black Eyed Peas. (2005). My Humps [Canción]. En Monkey Business. A&M, Interscope Records.
• Thicke, R. (2013). Blurred Lines [Canción]. En Blurred Lines. Star Trak, Interscope.

9. Borrachera de ritmo

• Adeyemi, K. (2015). Straight Leanin’: Sounding Black Life at the Intersection of Hip-hop and Big Pharma. Sounding Out! soundstudiesblog.com/2015/09/21/hip-hop-and-big-pharma/

• Ahmed, I. (2014). How to Make It in America: TDE’s MixedByAli on Becoming an Audio Engineer. Complex. www.complex.com/music/a/insanul-ahmed/mixedbyali-tde-how-to-be-studio-engineer
• Berger, J. (2014). How Music Hijacks Our Perception of Time. Nautilus. nautil.us/how-music-hijacks-our-perception-of-time-234738/
• Burton, J. A. (2017). Posthuman rap. Oxford University Press.
• Caswell, E. (2017). How the triplet flow took over rap. Vox. www.vox.com/2017/9/18/16328330/migos-triplet-flow-rap
• Chassin, J. (2014). How Did a Song with a Strong Anti-Drinking Message Turn into a Drinking Anthem? Huffpost. https://www.huffpost.com
• Harding, H., Sloan, N. (Anfitriones). (14 de noviembre de 2018). How Dirty Projectors Make You Feel Energy (Nº 98) [Episodio de Podcast] En Switched On Pop. Spotify. https://switchedonpop.com/episodes/98-how-dirty-projectors-make-you-feel-energy-with-david-longstreth
• Iadarola, A. (2014). 13 Things All Fruity Loops Producers Know to Be True. Fader. www.thefader.com/2014/10/31/13-things-all-fruity-loops-producers-know-to-be-true
• Jackson, R. (2015). The Story of Fruity Loops: How a Belgian Porno Game Company Employee Changed Modern Music. VICE. www.vice.com/da/article/fruity-loops-fl-studio-program-used-to-create-trap-music-sound/
• Jenkins, C. (2018). Travis Scott Made This Year’s Plushest Drug-Rap Album. New York. www.vulture.com/2018/08/travis-scott-made-this-years-plushest-drug-rap-album.html
• Mahal, T. (1968). Diving Duck Blues [Canción]. En TajMo. Sony BMG Music Entertainment.
• Poole, C. (1930). If the River Was Whiskey [Canción]. En Presenting Charlie Poole. Columbia Graphophone Co.
• Setaro, S. (2018). How Trap Music Came to Rule the World. Complex. www.complex.com/music/a/shawn-setaro/how-trap-music-came-to-rule-the-world
• Sule, A. y Inkster, B. (2015). The Lancet Psychiatry, 2(6). www.thelancet.com/journals/lanpsy/article/PIIS2215-0366%2815%2900216-3/fulltext
• van Wassenhove, V. Wittman, M., Craig, A.D. y Paulus, M. P. (2011). Psychological and Neural Mechanisms of Subjective Time Dilation. Frontiers in Neuroscience. www.frontiersin.org/journals/neuroscience/articles/10.3389/fnins.2011.00056/full
• Waters, M. (1950). Rollin’ and Tumblin’ [Canción]. En After the Rain. Chess Records.
• Witek, M. A., Clarke, E. F., Wallentin, M., Kringelbach, M. L. y Vuust, P. (2014). Syncopation, body-movement and pleasure in groove music. PLOS ONE, 9(4). journals.plos.org/plosone/article?id=10.1371/journal.pone.0094446

10. La música te eleva

• Anthony, J. R. (1997). French Baroque Music from Beaujoyeulx to Rameau. Amadeus Press.

• Beyoncé Remembers Whitney Houston. (2012). Rolling Stone. www.rollingstone.com/music/music-news/beyonce-remembers-whitney-houston-110709/#:~:text=Beyoncé%20honored%20the%20late%20Whitney,to%20be%20just%20like%20her.
• Harding, H., Sloan, N. (Anfitriones). (9 de septiembre de 2016). How Beyoncé to the Beatles Modulate Your Emotions (Nº 44) [Episodio de Podcast] En Switched On Pop. Spotify. https://switchedonpop.com/episodes/44-how-beyonce-to-the-beatles-modulate-your-emotions
• Savage, M. (2013). Charli XCX: Pop, Punk and Synaesthesia. BBC. www.bbc.com/news/entertainment-arts-25330600
• Stern, M. J. (2014). Neural Nostalgia: Why Do We Love the Music We Heard as Teenagers? Slate. slate.com/technology/2014/08/musical-nostalgia-the-psychology-and-neuroscience-for-song-preference-and-the-reminiscence-bump.html

11. La identidad adecuada

• Frith, S. (2001). Pop Music en The Cambridge Companion to Pop and Rock (p. 94). Cambridge University Press.

• Hall, S. (2015). Cultural Identity and Diaspora en Jonathan Rutherford (Ed.), Colonial discourse and post-colonial theory (p. 222). Routledge.
• Hamm, C. (1997). Irving Berlin: Songs from the melting pot: The formative years, 1907-1914. Oxford University Press.
• Klosterman, C. (2006). Chuck Klosterman IV: A decade of curious people and dangerous ideas. Simon and Schuster.
• McClary, S. (2002). Feminine Endings: Music, Gender, and Sexuality. University of Minnesota Press.
• Megan Lavengood (29 de octubre-1 de noviembre de 2015). ‘Oops!… I Did It Again’: Max Martin’s Complement Chorus [Presentación]. Runión anual N. 38 de la Society for Music Theory, San Luis, Misuri.
• Meier, L. (2017). Popular music as promotion: Music and branding in the digital age. Polity.
• Nicols, N. (2000). Review: Britney Spears’ ‘Oops!… I Did It Again’. Los Angeles Times. www.latimes.com/la-et-britney-review-oops-did-it-link-story.html
• Powers, A. (2018). Women on the Verge: At the End of the ‘90s, a Few Artists Set the Stage for a New Era. NPR Music. www.npr.org/2018/07/31/633968702/women-on-the-verge-at-the-end-of-the-90s-a-few-artists-set-the-stage-for-a-new-e
• Symonds, D. (2015). We’ll Have Manhattan: The Early Work of Rodgers & Hart. Oxford University Press.
• Thompson, S. (2000). Britney Spears: Oops…! I Did it Again. AV Club. www.avclub.com/britney-spears-oops-i-did-it-again-1798192389

12. ¿Es delito el collage?

• Brown, S. L. (2015). Fairlight CMI synthesiser, used by stars like Michael Jackson, added to Sounds of Australia registry. ABC Radio Melbourne. www.abc.net.au/news/2015-11-18/fairlight-cmi-synthesiser-included-in-sounds-of-australia/6950392

• Caswell, E. (2017). How this legendary hip-hop producer humanized a machine. Vox. www.vox.com/videos/2017/12/6/16742248/j-dilla-humanized-mpc3000
• Dery, M. (1990). Public enemy: confrontation. Keyboard. www.researchgate.net/publication/278667668_Public_Enemy_Confrontation
• El caso Grand Upright Music, Ltd. v. Warner Bros. Records Inc. (1991).
• Fink, R. (2005). The Story of ORCH5, or, the Classical Ghost in the Hip-Hop Machine. Popular Music, 24(3). www.jstor.org/stable/3877522
• Hutson, W. y Snipes, J., comunicación personal, julio de 2018.
• McLeod, K. (2010). How to Make a Documentary about Sampling—Legally. The Atlantic. www.theatlantic.com/entertainment/archive/2010/03/how-to-make-a-documentary-about-sampling-legally/38189/
• Nelson, M. (2008). Is Sampling Dying? Spin.
• Phillips, C. (1992). Songwriter Wins Large Settlement in Rap Suit: Pop Music: Following a Court Ruling, Biz Markie and Warner Bros. Agree to Pay Gilbert O’Sullivan for Rapper’s ‘Sampling’ of ‘Alone Again (Naturally)’. Los Angeles Times.
• Prince, R. (2019). Cowboys. Guggenheim Museums and Foundation. www.guggenheim.org/teaching-materials/richard-prince-spiritual-america/cowboys
• Rule, S. (1992). Record Companies Are Challenging ‘Sampling’ in Rap. The New York Times. www.nytimes.com/1992/04/21/arts/record-companies-are-challenging-sampling-in-rap.html
• Sullivan, B. J. (2013). La Bella Vie Worldwide De Diplo. l’Optimum.
• Van Buskirk, E. (2010). Diplo Talks Sample of the Millennium, the Return of Fun and Other Musical Secrets. Wired. www.wired.com/2010/04/diplo-major-lazer/
• Wagner, A. (2007). Video+Interview: MIA, “Jimmy”. Fader. www.thefader.com/2007/08/07/video-interview-mia-jimmy

13. Shock, asombro y síntesis

• Clarke, E. (2013). Music Space and Subjectivity en Born, G. (Ed.), Music, Sound and Space: Transformations of Public and Private Experience (p. 95). Cambridge University Press.

• Jensen, T., Roberts, G., Desantis, A. y Parshina-Kottas, Y. (25 de agosto de 2015). Justin Bieber, Diplo & Skrillex Make a Hit. New York Times. www.nytimes.com/interactive/2015/08/25/arts/music/justin-bieber-diplo-skrillex-make-a-hit-song.html
• Ratliff, B. (2016). Every Song Ever: Twenty Ways to Listen in an Age of Musical Plenty. Farrar, Straus and Giroux.
• Renshaw, D. (2014). LCD Soundsystem’s James Murphy: ‘Commercial dance music makes me want to vomit’. NME. www.nme.com/news/music/lcd-soundsystem-2-28-1230998
• Thompson, W. F., Geeves, A. M. y Olsen, K. N. (2016). Who Enjoys Listening to Violent Music and Why? Psychology of Popular Media Culture.

14. Buscando un hogar en la diáspora armónica

• Byrne, D. (2012). How Music Works. McSweeney’s.

• Cepeda, E. (2018). Urbano Reached Critical Mass in 2018. Now Can It Be Normalized? Pitchfork. pitchfork.com/thepitch/urbano-reached-critical-mass-in-2018/
• Joyce, J. (1961). Ulysses. Random House.
• Kliff, S. (2012). Pop Music Keeps Getting Sadder and Sadder. Washington Post.
• Levitin, D. J. (2011). This Is Your Brain on Music: Understanding a Human Obsession. Atlantic Books Ltd.
• Marshall, W. (2009). From Música Negra to Reggaeton Latino en Rivera, R. Z., Marshall, W., Hernandez, D. P., Radano, R. y Kun, J. (Eds.), Reggaeton (p. 63). Duke University Press.
• Richards, M. (2017). Tonal Ambiguity in Popular Music’s Axis Progressions. Music Theory Online, 23(3). mtosmt.org/issues/mto.17.23.3/mto.17.23.3.richards.html
• Schellenberg, E. G. y von Scheve, C. (2012). Emotional Cues in American Popular Music: Five Decades of the Top 40. Psychology of Aesthetics, Creativity, and the Arts, 6(3). www.researchgate.net/publication/230745983_Emotional_Cues_in_American_Popular_Music_Five_Decades_of_the_Top_40
• Shepherd, J. E. (2017). 2017 saw the “browning of America” infiltrate pop. Slate. slate.com/culture/2017/12/2017-saw-the-browning-of-america-infiltrate-pop.html
• Tagg, P. (2014-2018). Everyday Tonality II: Towards a Tonal Theory of What Most People Hear. Mass Media Music Scholars’ Press.

15. ¿Existe un sonido del pop?

• Hawking, T. (2013). The Real-Life Stories behind 10 Famous Love Songs. Flavorwire. www.flavorwire.com/363625/the-real-life-stories-behind-10-famous-love-songs

• Johnston, M. (2018). ‘Since U Been Gone’: The Crossover Pop Needed, The Anthem Rock Deserved. NPR. www.npr.org/2018/08/30/643017969/american-anthem-since-u-been-gone-kelly-clarkson-pop-rock-crossover
• 16. Escucho de todo… menos country y hip hop
• Agawu, V. K. (2014). Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton University Press.
• Chang, J. (2007). Can’t Stop Won’t Stop: A History of the Hip Hop Generation. St. Martin’s Press.
• Cobb, W. J. (2008). To the Break of Dawn: A Freestyle on the Hip Hop Aesthetic. New York University Press.
• Guralnick, P. (1999). Sweet Soul Music: Rhythm and Blues and the Southern Dream of Freedom. Black Bay Books.
• Guthman, J. (2015). Strangers Below: Primitive Baptists and American Culture. University of North Carolina Press.
• Hubbs, N. (2014). Rednecks, Queers, and Country Music. University of California Press.
• Miller, K. H. (2010). Segregating Sound. Duke University Press.
• Neal, J. (2018). The Twang Factor in Country Music en Fink, R., Latour, M., Wallmark, Z., The Relentless Pursuit of Tone. Oxford University Press.
• Thomas, T. (2013). Why African Americans Put the Banjo Down en Pecknold, D. (Ed.), Hidden in the Mix: The African American Presence in Country Music. Duke University Press.