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Cited by

• 2006Deconstructin(g) Jazz Improvisation: Derrida and the Law of the Singular Event58 cited
• 2014Music and the Myth of Universality: Sounding Human Rights and Capabilities51 cited
• 2010Political Pop, Political Fans? A Content Analysis of Music Fan Blogs26 cited
• 2011Cuba Rebelión: Underground Music in Havana21 cited
• 2013The September 11 generation, hip-hop and human rights18 cited
• 2011Popular Musicians and Their Songs as Threats to National Security: A World Perspective17 cited
• 2014Funds of (Difficult) Knowledge and the Affordances of Multimodality: The Case of Victor16 cited
• 1970Political Protest Songs and Actual Protest Values: Analysis of Fela’s “Sorrow, Tears & Blood” and Bob Marley’s “Stand up, Get up”14 cited
• 2005The Challenge of the Changing Same: The Jazz Avant-Garde of the 1960s, the Black Aesthetic and the Black Arts Movement12 cited
• 2013Making a Point and Making a Noise: A Punk Prayer11 cited
• 2013Jeanne Lee’s Voice8 cited
• 2007“I Feel My True Colors Began to Show.” Designing and Teaching a Course on Improvisation7 cited
• 2007Ethics as Re/Cognition in the Novels of Marie-Célie Agnant: Oral Knowledge, Cognitive Change, and Social Justice6 cited
• 2012Song and genocide: investigating the function of Yvonne Chaka Chaka's ‘Umqombothi’ inHotel Rwanda