Lori Burns


The Genealogy of a Song: Lady Gaga's Musical Intertexts on The Fame Monster (2009)
Twentieth Century Music (2015) Vol. 12, No. 1, pp. 3-35

Lady Gaga's work is noted for her references to the work of other artists and is often criticized for borrowed content that is perceived as exceeding mere generic norms. In this study, we engage closely with the musical and lyrical ...

Spectacle and Intimacy in Live Concert Film: Lyrics, Music, Staging, and Film Mediation in P!nk's Funhouse Tour (2009)
Music, Sound, and the Moving Image (2013) Vol. 7, No. 2, pp. 103-140

P!nk's Funhouse Tour concert film (2009) is produced to capture and enhance the effects of the musical performance, the stage composition and design, and the choreography of the artist with her musicians and dancers. Taking an interdisciplinary approach to the ...

The Soundtrack (2012) Vol. 5, No. 1, pp. 67-71

Music Video and the Politics of Representation, Diane Railton and Paul Watson (2011) Edinburgh: University of Edinburgh Press, 176 pages, ISBN 978-0-7486-3323-4 (U.S. $35 paperback)

Subjective Perspectives through Word, Image and Sound: Temporality, narrative agency and embodiment in the Dixie Chicks’ video ‘Top of the World’
Music, Sound, and the Moving Image (2010) Vol. 4, No. 1, pp. 3-37

The Dixie Chicks have claimed a prominent place in country music video while at the same time confronting the normative values of the traditional country music genre. Their 2003 collaboration with video director Sophie Muller set aside the sense of ...

Feeling the Style: Vocal Gesture and Musical Expression in Billie Holiday, Bessie Smith, and Louis Armstrong
Music Theory Online (2005) Vol. 11, pp. np

As Billie Holiday described her unique brand of vocal expression, she claimed that she wanted the "style" of Louis Armstrong and the "feeling" of Bessie Smith. These aesthetic and expressive goals can be interrogated for their analytic and interpretive potential. ...

Authenticity, Appropriation, Signification: Tori Amos on Gender, Race, and Violence in Covers of Billie Holiday and Eminem
Music Theory Online (2004) Vol. 10, pp. np

This paper studies alternative artist Tori Amos's cover versions of two original performances by Billie Holiday and Eminem. The narrative perspectives and musical structures of the original songs offer great potential to explore questions of authenticity, appropriation, and intertextuality, and ...