| Disruptive Divas: Feminism, Identity & Popular Music L Burns, M Lafrance Taylor & Francis, 2002 | 205* | 2002 |
| Analytic Methodologies for Rock Music: Harmonic and Voice-Leading Strategies in Tori Amos’s ‘Crucify’ L Burns Expression in pop-rock music: critical and analytical essays 2, 63-92, 2008 | 81 | 2008 |
| Ubiquitous Musics: The Everyday Sounds That We Don't Always Notice S Hawkins, L Burns Ashgate Publishing, Ltd., 2013 | 74* | 2013 |
| The Pop Palimpsest: Intertextuality in Recorded Popular Music L Burns, S Lacasse University of Michigan Press, 2018 | 54 | 2018 |
| Vocal Authority and Listener Engagement: Musical and Narrative Expressive Strategies in Alternative Female Rock Artists (1993–95) L Burns Sounding Out Pop: Analytical Essays in Popular Music, 154-192, 2010 | 52* | 2010 |
| The Concept Album as Visual-Sonic-Textual Spectacle: The Transmedial Storyworld of Coldplay’s Mylo Xyloto L Burns IASPM@ Journal 6 (2), 91-116, 2016 | 48 | 2016 |
| Gender and the Billboard Top 40 Charts between 1997 and 2007 M Lafrance, L Worcester, L Burns Popular Music and Society 34 (5), 557-570, 2011 | 46 | 2011 |
| Bach's modal chorales L Burns Pendragon Press, 1995 | 43 | 1995 |
| Authenticity, Appropriation, Signification: Tori Amos on Gender, Race, and Violence in Covers of Billie Holiday and Eminem L Burns, A Woods Music Theory Online 10 (2), 2004 | 39 | 2004 |
| ‘Joanie’Get Angry: kd lang’s Feminist Revision L Burns Understanding Rock: Essays in Musical Analysis, 93-112, 1997 | 38 | 1997 |
| The Bloomsbury Handbook of Popular Music Video Analysis LA Burns, S Hawkins Bloomsbury Publishing USA, 2019 | 37 | 2019 |
| Embodied subjectivities in the lyrical and musical expression of PJ Harvey and Björk M Lafrance, L Hawley Music Theory Online 14 (4), 2008 | 36 | 2008 |
| Resisting exile and asserting musical voice: the Dixie Chicks are ‘Not Ready to Make Nice’1 J Watson, L Burns Popular Music 29 (3), 325-350, 2010 | 32 | 2010 |
| Feeling the style: Vocal gesture and musical expression in Billie Holiday, Bessie Smith, and Louis Armstrong L Burns Music Theory Online 11 (3), 2005 | 28 | 2005 |
| Race, gender, and the Billboard Top 40 charts between 1997 and 2007 M Lafrance, C Scheibling, L Burns, J Durr Popular Music and Society 41 (5), 522-538, 2018 | 27 | 2018 |
| Spectacle and Intimacy in Live Concert Film: Lyrics, Music, Staging, and Film Mediation in P! nk's Funhouse Tour (2009) L Burns, J Watson Music, Sound, and the Moving Image 7 (2), 103-140, 2013 | 26 | 2013 |
| The Genealogy of a Song: Lady Gaga's Musical Intertexts on The Fame Monster (2009) L Burns, A Woods, M Lafrance Twentieth-Century Music 12 (1), 3-35, 2015 | 24 | 2015 |
| Celebrity, Spectacle, and Surveillance: Understanding Lady Gaga’s ‘Paparazzi’and ‘Telephone’through Music, Image, and Movement L Burns, M Lafrance Lady Gaga and Popular Music, 125-155, 2014 | 23 | 2014 |
| Subjective Perspectives through Word, Image and Sound: Temporality, narrative agency and embodiment in the Dixie Chicks' video'Top of the World' L Burns, J Watson Music, Sound, and the Moving Image 4 (1), 3-37, 2010 | 22 | 2010 |
| Meaning in a Popular Song: The Representation of Masochistic Desire in Sarah McLachlan’s ‘Ice.’ L Burns Engaging music: Essays in music analysis, 136-48, 2005 | 21 | 2005 |
Stan HawkinsProfessor of Popular Music, University of Oslo and University of Agder, NorwayVerified email at imv.uio.no
