Taylor Swift and the Work of Songwriting

References

• Aguirre, A. 2019. “Taylor Swift on Sexism, Scrutiny, and Standing Up for Herself.” Vogue, August 8.
   Google Scholar
• Ali, Radhia. 2019. “‘A Trick Rather Than a Skill’: Taylor Swift Says Success Is Judged Differently for Women.” USA Today, October 30.
   Google Scholar
• Anonymous. 2012. “John Mayer: Taylor Swift's ‘Dear John' Song ‘Humiliated Me’.” Rolling Stone, June 6.
   Google Scholar
• Anonymous. 2016. “Taylor Swift Secretly Wrote ‘This is What You Came For’ and Calvin ‘Disrespected’ Her.” TMZ, July 13.
   Google Scholar
• Anonymous. 2019a. “Hit the Roof: Number of Writers on Biggest Hits Soars Again—but is Ceiling in Sight?” Music Week, May 20.
   Google Scholar
• Anonymous. 2019b. “No Country for Female Artists: Artist and Songwriter Gender on Popular Country Charts from 2014 to 2018.” Annenberg Inclusion Initiative Research Brief.
   Google Scholar
• Billboard Staff. 2016. “Taylor Swift on Winning Album of the Year at the 2016 Grammys.” Billboard, February 15.
   Google Scholar
• Caramanica, J. 2014. “A Farewell to Twang.” New York Times, October 26.
   Google Scholar
• Coroneos, K. 2009. “Taylor Swift is Not Country!” Saving Country Music, Blog, September 14.
   Google Scholar
• Coscarelli, J. 2019. “How Taylor Swift Writes a Love Song.” New York Times, December 24.
   Google Scholar
• Fox, A. 1992. “The Jukebox of History: Narratives of Loss and Desire in the Discourse of Country Music.” Popular Music 11 (1): 53–72.
   Google Scholar
• Frith, S. 1996. Performing Rites: On the Value of Popular Music. Cambridge, MA: Harvard University Press.
   Google Scholar
• Grigoriadis, V. 2009. “The Very Pink, Very Perfect Life of Taylor Swift.” Rolling Stone, March 5.
   Google Scholar
• Hickson, A. 2016. “Taylor Swift Performed ‘This is What You Came For' during Her Only Concert of 2016.” Yahoo Finance, October 23.
   Google Scholar
• Hopper, J. [2013] 2015. The First Collection of Criticism by a Living Female Rock Critic. Chicago, IL: Featherproof Books.
   Google Scholar
• Ingham, T. 2019. “Hardly Anyone on the Pop Charts Writes Their Own Music (Alone) Anymore.” Rolling Stone, April 1.
   Google Scholar
• Isaksen, J. L., and N. Eltantawy. 2019. “What Happens When a Celebrity Feminist Slings Microaggressive Shade? Twitter and the Pushback Against Neoliberal Feminism.” Celebrity Studies. doi:10.1080/19392397.2019.1678229.
   Google Scholar
• James, R. 2019. The Sonic Episteme: Acoustic Resonance, Neoliberalism, and Biopolitics. Durham, NC: Duke University Press.
   Google Scholar
• Keenan, E. “Intersectionality in Third-Wave Popular Music: Sexuality, Race, and Class.” Oxford Handbooks, November 2015.
   Google Scholar
• Klein, B., L. M. Meier, and D. Powers. 2017. “Selling Out: Musicians, Autonomy, and Compromise in the Digital Age.” Popular Music and Society 40 (2): 222–238.
   Web of Science ®Google Scholar
• Klosterman, C. 2015. “Taylor Swift on ‘Bad Blood’, Kanye West, and How People Interpret Her Lyrics.” GQ, October 15.
   Google Scholar
• Knopper, S. 2018. “The Assembly Line: Today’s Biggest Pop Stars Are Harvesting Hits, and Sometimes Their Entire Personas, in Songwriting Camps.” Vulture. August 12.
   Google Scholar
• Lieb, K. 2015. Gender, Branding, and the Modern Music Industry: The Social Construction of Female Popular Music Stars. New York, NY: Routledge.
   Google Scholar
• Lipsitz, G. 2007. Footsteps in the Dark: The Hidden Histories of Popular Music. Minneapolis, MN: University of Minnesota Press.
   Google Scholar
• Mansfield, B. 2014. “How Taylor Swift Created ‘Out of the Woods’.” USA Today, October 14.
   Google Scholar
• McClary, S. 1991. Feminine Endings: Music, Gender, and Sexuality. Minneapolis, MN: University of Minnesota Press.
   Google Scholar
• Music Copyright Infringement Resource. 2019. Database, The George Washington University Law School. https://blogs.law.gwu.edu/mcir/cases-2/2010-2019/
   Google Scholar
• Neal, J. 2007. “Narrative Paradigms, Musical Signifiers, and Form as Function in Country Music.” Music Theory Spectrum 29 (1): 41–72.
   Web of Science ®Google Scholar
• Neal, J. 2013. “Nothing but a Little Ole Pop Song’: Patsy Cline’s Music Style and the Evolution of Genre in the 1950s.” In Sweet Dreams: The World of Patsy Cline, edited by W. R. Hofstra, 128–153. Champaign, IL: University of Illinois Press.
   Google Scholar
• Negus, K. 2011. “Authorship and the Popular Song.” Music and Letters 92 (4): 607–629.
   Google Scholar
• Nissim, M., and L. Corner. 2016. “This is Why Calvin Harris Named Himself Calvin Harris.” DigitalSpy, April 6.
   Google Scholar
• Peres, A. 2018. “Everything You Need to Know About the Postchorus.” Top 40 Theory, Blog, July 31. https://www.top40theory.com/blog/everything-you-need-to-know-about-the-postchorus
   Google Scholar
• Renshaw, D. 2014. “Taylor Swift to Release ‘Very First Official Pop Album’ in October.” NME, August 19.
   Google Scholar
• Rosen, J. 2013. “Platinum Underdog: Why Taylor Swift is the Biggest Pop Star in the World.” Vulture, November 17.
   Google Scholar
• Sanjek, D. 1998. “Blue Moon of Kentucky Rising Over the Mystery Train: The Complex Construction of Country Music.” In Reading Country Music, edited by C. Tichi, 22–44. Durham, NC: Duke University Press.
   Google Scholar
• Savage, M. 2017. “Why Does Taylor Swift Write So Many One-Note Melodies?” BBC.com, November 8.
   Google Scholar
• Seabrook, J. 2015. The Song Machine: Inside the Hit Factory. New York, NY: Norton.
   Google Scholar
• Shah, N. 2021. “Who Really Wrote Your Favorite Song? It’s Complicated: From Bob Dylan to Shakira, Music Catalogs Are Selling for Big Bucks, but Songwriters Increasingly Struggle to Get Paid. Here’s Why.” The Wall Street Journal, February 24.
   Google Scholar
• Sloan, N., and C. Harding. 2020. “The Perils of Confessional Pop.” Los Angeles Review of Books. May.
   Google Scholar
• Spanos, B. 2016. “Taylor Swift Co-Wrote Calvin Harris’ Smash Hit ‘This is What You Came For’.” Rolling Stone, July 13.
   Google Scholar
• Stahl, M. 2015. “Popular Musical Labor in North America.” In The SAGE Handbook of Popular Music, edited by A. Bennett, and S. Waksman, 135–153. Thousand Oaks, CA: SAGE Publishing.
   Google Scholar
• Stimeling, T. 2016. “Taylor Swift’s ‘Pitch Problem’ and the Place of Adolescent Girls in Country Music.” In Country Boys and Redneck Women: New Essays in Gender and Country Music, edited by D. Pecknold and K. M. McCusker, 84–101. Jackson, MS: University of Mississippi Press.
   Google Scholar
• Sutherland, M. 2018. “‘The Tennessee Commandments’: Nashville has Always Been the Centre of Country Music. But Now it’s Also a Serious Contender to be the Songwriting Capital of the World.” Music Week, March 5.
   Google Scholar
• Swift, T. 2019. “For Taylor Swift, Pop is Personal.” Elle, February 28.
   Google Scholar
• Tingen, P. 2011. “Taylor Swift Speak Now. Inside Track: Secrets of The Mix Engineers.” SoundOnSound, Februrary. https://www.soundonsound.com/people/taylor-swift-speak-now
   Google Scholar
• Unterberger, A. 2017. “'You Don't Get Many Songs Like That’: Liz Rose on Co-Writing Taylor Swift's ‘You Belong With Me’ Chorus.” Billboard, April 26.
   Google Scholar
• Vaidhyanathan, S. 2001. Copyrights and Copywrongs: The Rise of Intellectual Property and How it Threatens Creativity. New York, NY: New York University Press.
   Google Scholar
• Vander Wel, S. 2017. “The Singing Voice in Country Music.” In The Oxford Handbook of Country Music, edited by T. Stimeling, 157–176. New York, NY: Oxford University Press.
   Google Scholar
• Weber, T. 2010. “The Iceberg Songs of Taylor Swift.” Village Voice, November 3.
   Google Scholar
• Wickman, F. 2015. “It’s Not Just Björk: Women Are Tired of Not Getting Credit for Their Own Music.” Slate, January 21.
   Google Scholar
• Wilkinson, M. 2019. “‘Taylor Swift: The Hardest Working, Zaniest Girl in Show Business … ’.” Celebrity Studies 10 (3): 441–444.
   Web of Science ®Google Scholar