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Cited by

• 2010Authenticity Revisited: The Rock Critic and the Changing Real125 cited
• 2016The academisation of popular music in higher music education: the case of Norway97 cited
• 2008Why Pseudonyms? Deception as Identity Preservation Among Jazz Record Companies, 1920–192985 cited
• 2004Review - The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue74 cited
• 2006Orality, Literacy, and Mediating Musical Experience: Rethinking Oral Tradition in the Learning of Jazz Improvisation71 cited
• 2017Improvisation and Social Aesthetics60 cited
• 2003Disciplinary Landscaping, or Contemporary Challenges in the History of Rhetoric55 cited
• 2006“Everybody Step”: Irving Berlin, Jazz, and Broadway in the 1920s45 cited
• 2016Christopher Small's Concept of Musicking: Toward a Theory for Choral Singing Pedagogy in Prison Contexts43 cited
• 2014Gunther Schuller and the Challenge of Sonny Rollins:41 cited
• 2012American Stravinsky : The Style and Aesthetics of Copland's New American Music, the Early Works, 1921-193833 cited
• 2014Storytelling in jazz improvisation: Implications of a rich intermedial metaphor32 cited
• 2006"this sweet/sweet music": Jazz, Sam Cooke, and Reading Arab American Literary Identities30 cited