| 1 | “Make It Right”: Why #BlackLivesMatter(s) to K-pop, BTS, and… (10.5429/2079-3871(2021)v11i1.7en) | Abstract References ORCID License | 134.24 | 21 |
| 2 | “Something’s Happening Here!”: Popular Music Education in th… (10.5429/2079-3871(2015)v5i1.2en) | Abstract References ORCID License | 132.22 | 20 |
| 3 | Female, Mosher, Transgressor: A 'Moshography' of Transgressi… (10.5429/2079-3871(2014)v4i1.7en) | Abstract References ORCID License | 107.92 | 11 |
| 4 | The Work Realities of Professional Studio Musicians in the G… (10.5429/2079-3871(2018)v8i2.3en) | Abstract References ORCID License | 107.92 | 11 |
| 5 | The Concept Album as Visual—Sonic—Textual Spectacle: The Tra… (10.5429/2079-3871(2016)v6i2.6en) | Abstract References ORCID License | 104.14 | 10 |
| 6 | Grunting Alone? Online Gender Inequality in Extreme Metal Mu… (10.5429/2079-3871(2014)v4i1.8en) | Abstract References ORCID License | 100.00 | 9 |
| 7 | Crisis as a Catalyst for Change: COVID-19, Spatiality and th… (10.5429/2079-3871(2021)v11i1.3en) | Abstract References ORCID License | 100.00 | 9 |
| 8 | Rock Clubs and Gentrification in New York City: The Case of… (10.5429/2079-3871(2014)v4i1.3en) | Abstract References ORCID License | 95.42 | 8 |
| 9 | Gender Politics in the Music Industry (10.5429/2079-3871(2018)v8i1.2en) | Abstract References ORCID License | 95.42 | 8 |
| 10 | "A Young Girls Dream": Examining the Barriers Facing Female… (10.5429/2079-3871(2010)v1i1.1en) | Abstract References ORCID License | 90.31 | 7 |
| 11 | "Analysing Live Music in the UK" Findings One Year into a Th… (10.5429/2079-3871(2010)v1i1.3en) | Abstract References ORCID License | 90.31 | 7 |
| 12 | Travelling Songs: on Popular Music Transfer and Translation (10.5429/2079-3871(2015)v5i2.2en) | Abstract References ORCID License | 90.31 | 7 |
| 13 | Never Waste a Crisis!? – The Impact of the COVID-19 Crisis o… (10.5429/2079-3871(2021)v11i1.5en) | Abstract References ORCID License | 90.31 | 7 |
| 14 | “Something’s Happening Here!”: Popular Music Education in th… (10.5429/ij.v5i1.718) | References ORCID License | 88.21 | 14 |
| 15 | Songs of the Stones: An Investigation into the Acoustic Hist… (10.5429/2079-3871(2010)v1i2.10en) | Abstract References ORCID License | 84.51 | 6 |
| 16 | Popular music studies and the problems of sound, society and… (10.5429/2079-3871(2013)v3i2.2en) | Abstract References ORCID License | 84.51 | 6 |
| 17 | Sonic Artefacts: "Record Collecting" in the Digital Age (10.5429/2079-3871(2016)v6i1.6en) | Abstract References ORCID License | 84.51 | 6 |
| 18 | Producing music, producing myth? Creativity in Recording Stu… (10.5429/2079-3871(2016)v6i2.5en) | Abstract References ORCID License | 84.51 | 6 |
| 19 | Editorial Introduction: Music Journalism (10.5429/2079-3871(2014)v4i2.1en) | Abstract References ORCID License | 77.82 | 5 |
| 20 | Art to Commerce: The Trajectory of Popular Music Criticism (10.5429/2079-3871(2014)v4i2.2en) | Abstract References ORCID License | 77.82 | 5 |
| 21 | Fandom, Music and Personal Relationships through Media: How… (10.5429/2079-3871(2016)v6i1.4en) | Abstract References ORCID License | 77.82 | 5 |
| 22 | Making Women in Jazz Visible: Negotiating Discourses of Unit… (10.5429/2079-3871(2018)v8i1.5en) | Abstract References ORCID License | 77.82 | 5 |
| 23 | Gender Ventriloquism in Studio Production (10.5429/2079-3871(2018)v8i1.6en) | Abstract References ORCID License | 77.82 | 5 |
| 24 | “Surely people who go clubbing don’t read”: Dispatches from… (10.5429/2079-3871(2014)v4i2.6en) | Abstract References ORCID License | 69.90 | 4 |
| 25 | Beyond Adorno: Post-Critical Teaching of Popular Music in th… (10.5429/2079-3871(2015)v5i1.12en) | Abstract References ORCID License | 69.90 | 4 |
| 26 | Editorial Introduction: Popular Music in Education, Special… (10.5429/2079-3871(2015)v5i1.1en) | Abstract References ORCID License | 69.90 | 4 |
| 27 | El discurso sobre la práctica de un guitarrista de jazz semi… (10.5429/2079-3871(2015)v5i1.5es) | Abstract References ORCID License | 69.90 | 4 |
| 28 | Teaching and Learning Popular Music in Higher Education Thro… (10.5429/2079-3871(2015)v5i1.7en) | Abstract References ORCID License | 69.90 | 4 |
| 29 | Staying in Sync: Keeping Popular Music Pedagogy Relevant to… (10.5429/2079-3871(2015)v5i1.8en) | Abstract References ORCID License | 69.90 | 4 |
| 30 | Air Flows: Breath, Voice, and Authenticity in Three Recordin… (10.5429/2079-3871(2016)v6i2.7en) | Abstract References ORCID License | 69.90 | 4 |
| 31 | "The Whole Feminist Taking-Your-Clothes-off-Thing": Negotiat… (10.5429/2079-3871(2018)v8i1.4en) | Abstract References ORCID License | 69.90 | 4 |
| 32 | Keeping it Country while Dancing with the Elite (10.5429/2079-3871(2019)v9i1.5en) | Abstract References ORCID License | 69.90 | 4 |
| 33 | Understanding World Music Festivals as Sites of Musical Educ… (10.5429/2079-3871(2019)v9i1.6en) | Abstract References ORCID License | 69.90 | 4 |
| 34 | Creative Crisis? Performing Artists in Vienna’s Live Music S… (10.5429/2079-3871(2021)v11i1.4en) | Abstract References ORCID License | 69.90 | 4 |
| 35 | Female, Mosher, Transgressor: A 'Moshography' of Transgressi… (10.5429/652) | References ORCID License | 67.73 | 7 |
| 36 | Grunting Alone? Online Gender Inequality in Extreme Metal Mu… (10.5429/675) | References ORCID License | 63.38 | 6 |
| 37 | Maximum output for minimum input - 1G3B and the reterritoria… (10.5429/2079-3871(2010)v1i2.1en) | Abstract References ORCID License | 60.21 | 3 |
| 38 | Caught on the Back Foot: epistemic inertia and visible music (10.5429/2079-3871(2011)v2i1-2.2en) | Abstract References ORCID License | 60.21 | 3 |
| 39 | Looking for something new:The provision of Popular Music Stu… (10.5429/2079-3871(2013)v3i2.5en) | Abstract References ORCID License | 60.21 | 3 |
| 40 | The Touring Musician: Repetition and Authenticity in Perform… (10.5429/2079-3871(2014)v4i1.5en) | Abstract References ORCID License | 60.21 | 3 |
| 41 | “This Is Our Music”: Italian Teen Pop Press and Genres in th… (10.5429/2079-3871(2014)v4i2.3en) | Abstract References ORCID License | 60.21 | 3 |
| 42 | Music and (Touristic) Meaning on Cruise Ships: The Musicscap… (10.5429/2079-3871(2014)v4i2.7en) | Abstract References ORCID License | 60.21 | 3 |
| 43 | Opening Minds: Style Copies as Didactical Initiators (10.5429/2079-3871(2015)v5i1.11en) | Abstract References ORCID License | 60.21 | 3 |
| 44 | Not Only Little Monsters: Diversity in Music Fandom in LGBTQ… (10.5429/2079-3871(2016)v6i1.3en) | Abstract References ORCID License | 60.21 | 3 |
| 45 | From Juke Joints to Jazz Jams: The Political Economy of Fema… (10.5429/2079-3871(2018)v8i1.3en) | Abstract References ORCID License | 60.21 | 3 |
| 46 | Urban Women Week: Promoting Women on the Senegalese Rap Scen… (10.5429/2079-3871(2018)v8i1.7en) | Abstract References ORCID License | 60.21 | 3 |
| 47 | Musical and Social Structures: Marxist Interpretations of Po… (10.5429/2079-3871(2018)v8i2.2en) | Abstract References ORCID License | 60.21 | 3 |
| 48 | "A Young Girls Dream": Examining the Barriers Facing Female… (10.5429/334) | References ORCID License | 58.36 | 5 |
| 49 | Appropriation, Additive Approaches and Accidents: The Sample… (10.5429/2079-3871(2010)v1i2.3en) | Abstract References ORCID License | 47.71 | 2 |
| 50 | How did popular music come to mean música popular? (10.5429/2079-3871(2011)v2i1-2.3en) | Abstract References ORCID License | 47.71 | 2 |