{"id":11,"date":"2018-08-18T21:39:19","date_gmt":"2018-08-19T01:39:19","guid":{"rendered":"http:\/\/pages.vassar.edu\/justinpatch\/?page_id=11"},"modified":"2019-01-12T22:34:42","modified_gmt":"2019-01-13T03:34:42","slug":"scholarship-and-publications","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/justinpatch\/scholarship-and-publications\/","title":{"rendered":"Scholarship and Publications"},"content":{"rendered":"

Publications <\/u><\/strong><\/p>\n

Peer-reviewed Articles and Book Chapters<\/em><\/strong>
\n2018.\u00a0\u00a0\u00a0 Discordant Democracy: Audition, Affect and the Presidential Campaign<\/a>.<\/em>
\nLondon, Routledge.<\/p>\n

Forth. \u00a0\u00a0 \u201cTeaching Black Music: Pedagogically Connecting the Past to the Present\u201d
\nTeaching Popular Music in the Classroom: Essays<\/em>, Ed. David Whitt
\nMcFarland Press.<\/p>\n

Forth.\u00a0\u00a0 \u201cAs Heard on\u2026: The Changing Musical Language of Presidential Campaign Ads\u201d
\nOxford Handbook of Music and Advertising<\/em>, James Deaville, Ron Rodman, Siu-Lan Tan, eds.
\nForth.\u00a0\u00a0\u00a0 \u201cThis is what democracy sounds like: Reflections on the songs of 2016\u201d
\nYou Can\u2019t Always Campaign with the Song You Want<\/em>, Eric Kasper and Benjamin
\nSchoening, eds. University of North Texas Press<\/p>\n

2018\u00a0\u00a0\u00a0\u00a0 \u201cCommunication Breakdown: How Political and Musical Representations Fail\u201d
\nAmerican Music<\/em>, Special Edition on the 2016 Campaign, Sally Bick and Dana Gorzelany-Mostak, eds. Vol. 35 No. 2, Summer 2017<\/p>\n

2017\u00a0\u00a0\u00a0\u00a0 \u201cMaking Sense of 2016: Perspectives on Popular Music and the Presidential Campaigns\u201d\u00a0\u201cWhy do we listen (to pop music)?\u201d Conference Proceedings from 2017 IASPM-US Roundtable\u00a0Journal for the Study of Popular Music<\/em> 29.3, Fall 2017<\/p>\n

2017\u00a0\u00a0\u00a0\u00a0 \u201cThe Case for Pop Ensembles in the Curriculum: Amateurism, Leadership, Civics and\u00a0Lifelong Learners\u201d in Music Curricula for a New Century<\/em>, Robin Moore, ed.\u00a0Oxford University Press. <\/em><\/p>\n

2016 \u00a0\u00a0\u00a0\u00a0 \u201cNotes on Deconstructing Populism: Pop Music in the 2012 Campaign Trail\u201d
\nAmerican Music <\/em>Vol. 34 No. 3 Fall 2016.<\/p>\n

2014\u00a0\u00a0\u00a0\u00a0 \u201cScience and Fiction: A Polemic on the Role of the Humanities in the Economy of\u00a0Innovation,\u201d in Critical and New Literacies: Teaching towards Democracy <\/em>with Postmodern and Popular Culture Texts<\/em>, eds. Tricia Kress, Robert Lake,\u00a0and Patricia Paugh, Sense Publishers.<\/p>\n

2013\u00a0\u00a0\u00a0\u00a0 \u201cTotal War, Total Anti-War: Music, Holism and Anti-war Protest.\u201d\u00a0Ethnomusicology Review<\/em> 18 (2013), http:\/\/ethnomusicologyreview.ucla.edu\/
\n*Honorable Mention for the 2014 Waterman Prize<\/p>\n

2013\u00a0\u00a0\u00a0\u00a0 \u201cCaught in the Current: Writing Ethnography that Listens,\u201d Journal of Sonic Studies<\/em> 4, 1 (May 2013), http:\/\/journal.sonicstudies.org\/<\/a>.<\/p>\n

2012\u00a0\u00a0\u00a0\u00a0 \u201cThe Politics of Dancing: Jimmy Carter, Square Dancing and Embodied Populism on theCampaign Trail,\u201d Americana: The Journal of American Popular Culture (1900 \u2013 The <\/em>Present)<\/em> 11, n. 1 (Spring 2012), http:\/\/www.americanpopularculture.com\/journal\/<\/a>.
\n*Selected for the 3rd<\/sup> Edition E-book Americana: Readings in Popular Culture<\/em>.<\/p>\n

2011\u00a0\u00a0\u00a0\u00a0 \u201cFeeling Change: The 2008 Obama Campaign and Experiencing the Emotion of Participatory Politics,\u201d International Political Anthropology <\/em>4, n. 2 (2011): 113-133,
\nhttp:\/\/www.politicalanthropology.org<\/a>.<\/p>\n

2010\u00a0\u00a0\u00a0\u00a0 \u201cThe Song of the Sirens and the Non-Transcendental,\u201d in \u201cPhilosophy as Critical Theory: The Dialectic of Enlightenment Revisited,\u201d special issue, The European Legacy <\/em>15, n. 5 (August 2010): 619-637.<\/p>\n

2009\u00a0\u00a0\u00a0\u00a0 \u201cThe Art of Noise: Experiencing the Sound of Politics,\u201d in \u201cThe Art of Democracy,\u201d special issue, Soundings,<\/em> XCII, n. 3-4 (Fall\/Winter 2009): 303-330.<\/p>\n

General Audience Articles, Book Reviews, Educational Blogs, and Other Publications<\/em><\/strong><\/p>\n

2018 \u00a0\u00a0\u00a0 \u201cAlexandra Ocasio-Cortez and the DIY Aesthetic\u201d Society for American Music Newsletter, Fall 2018<\/p>\n

2018\u00a0\u00a0\u00a0\u00a0 \u201cWe\u2019re Not Gonna Take it: Trump and the Striking West Virginia Teachers\u201d SEM Student News, Fall 2018<\/p>\n

2018\u00a0\u00a0\u00a0\u00a0 \u201cPolitical Overtures: Music and the Presidential Campaign\u201d\u00a0Cabinet: A Quarterly of Art and Culture<\/em>, No. 64 Winter 2017<\/p>\n

2016\u00a0\u00a0\u00a0\u00a0 \u201cDeconstructing the Populism: Pop Music in the Modern Campaign Trail\u201d http:\/\/www.traxonthetrail.com<\/a><\/p>\n

2016\u00a0\u00a0\u00a0\u00a0 \u201cIt\u2019s not an ad: It\u2019s a Revolution\u201d http:\/\/mediacommons.futureofthebook.org\/imr\/<\/a><\/p>\n

2016\u00a0\u00a0\u00a0\u00a0 \u201cThe Power of Sound: The 2016 Campaign\u201d\u00a0http:\/\/www.theavidlistener.com\/2016\/03\/the-power-of-sound-the-2016-presidential-campaign.html<\/a><\/p>\n

2014\u00a0\u00a0\u00a0\u00a0 \u201cNotes on Listening to Democracy: Popular Music on the Contemporary Campaign Trail\u201d\u00a0Zeteo: The Journal of Interdisciplinary Writing<\/em><\/p>\n

Notes on Listening to Democracy<\/a><\/p><\/blockquote>\n