1 Rietveld Hillegonda C., This Is Our House: House Music, Cultural Spaces, and Technologies (Brookfield, Vt.: Ashgate, 1998); Malbon Ben, Clubbing: Dancing, Ecstasy, and Vitality (New York: Routledge, 1999); and Fikentscher Kai, “You Better Work!” Underground Dance Music in New York City (Hanover, N.H.: Wesleyan University Press, 2000).
2 Korsyn Kevin, Decentering Music: A Critique of Contemporary Musical Research (Oxford: Oxford University Press, 2003), 21–23.
3 Fikentscher , “You Better Work!” 58, quoted in Butler, Unlocking the Groove, 73. See also Small Christopher, Music of the Common Tongue: Survival and Celebration in African-American Music (Hanover, N.H.: Wesleyan University Press, 1998).
4 Radano Ronald and Bohlman Philip, eds., Music and the Racial Imagination (Chicago: University of Chicago Press, 2000), 1.
5 Rietveld, This Is Our House, 26, quoted in Butler, 8, and further cited in Butler, 8 n. 5.
6 Iyer Vijay, “Microstructures of Feel, Macrostructures of Sound: Embodied Cognition in West African and African-American Musics” (Ph.D. diss., University of California, Berkeley, 1998).
7 Temperley David, “Syncopation in Rock: A Perceptual Perspective,” Popular Music 18/1 (January 1999): 19–40; Lerdahl Fred and Jackendoff Ray, A Generative Theory of Tonal Music (Cambridge, Mass.: MIT Press, 1983).
8 Washburne Christopher, “The Clave of Jazz: A Caribbean Contribution to the Rhythmic Foundation of an African-American Music,” Black Music Research Journal 17/1 (Spring 1997): 59–80.
9 For further discussion, see Iyer, “Microstructures of Feel, Macrostructures of Sound.”
10 Bourdieu Pierre, Outline of a Theory of Practice, trans. Nice Richard (Cambridge: Cambridge University Press, 1977); and Berger Harris M., “The Practice of Perception: Multi-Functionality and Time in the Musical Experiences of a Heavy Metal Drummer,” Ethnomusicology 41/3 (Autumn 1997): 464–88.
11 Hasty Christopher, Meter as Rhythm (Oxford: Oxford University Press, 1997).