Recent Changes

Friday, January 12

  1. page Homepage edited ... Popular Music Interest Group Welcome to the Society for Music Theory's Popular Music Interest…
    ...
    Popular Music Interest Group
    Welcome to the Society for Music Theory's Popular Music Interest Group wiki. We rely on our members to help edit this resource -- this cooperation will help continually improve the presence of popular music in our classrooms and scholarship. Many thanks!
    ...
    of PMIG, Nancy MurphyMegan Lavengood
    Contact Webmaster of PMIG, Cora S. PalfyJeff Ensign
    (view changes)
    12:40 pm

Wednesday, October 11

  1. page PMIG Bibliography edited ... Standbridge, Alan. “A Question of Standards: ‘My Funny Valentine’ and Musical Intertextuality.…
    ...
    Standbridge, Alan. “A Question of Standards: ‘My Funny Valentine’ and Musical Intertextuality.” Popular Music History 1/1 (2004): 83-108.
    Tawa, Nicholas E. The Way to Tin Pan Alley: American Popular Song, 1866-1910. Schirmer, 1990. <Intertextuality> <Lyrics and text> <Meaning and signification>
    ...
    <General Reader>
    prog-rockprogressive rock
    Cotner, John S. “Archetypes of Progressiveness in Rock, ca. 1966-1973.” Ph.D. dissertation, University of Wisconsin–Madison, 2001. <Aesthetics> <Harmony and Melody> <Form>
    (view changes)
    12:21 pm
  2. page PMIG Bibliography edited ... ANALYTICAL APPROACHES formform Attas, Robin. 2011. “Sarah Setting the Terms: Defining Phras…
    ...
    ANALYTICAL APPROACHES
    formform
    Attas, Robin. 2011. “Sarah Setting the Terms: Defining Phrase in Popular Music.” Music Theory Online 17 (3). <Form>
    Biamonte, Nicole. 2014. “Formal Functions of Metric Dissonance in Rock Music.” Music Theory Online 20 (2). http://www.mtosmt.org/issues/mto.14.20.2/mto.14.20.2.biamonte.pdf. <Form> <Rhythm and Meter>
    Blake, David. 2012. “Timbre as Differentiation in Indie Music.” Music Theory Online 18 (2). http://mtosmt.org/issues/mto.12.18.2/mto.12.18.2.blake.php. <Timbre> <Form>
    Boone, Christine. 201AD. “Mashing: Toward a Typology of Recycled Music.” Music Theory Online 19 (3). <Intertextuality> <Form>
    Callahan, Michael R. 2013. “Sentential Lyric-Types in the Great American Songbook.” Music Theory Online 19 (3). <Lyrics and text> <Form>

    Covach, John. “Form in Rock Music: A Primer.” Engaging Music, ed. Deborah Stein. Oxford University Press, 2004. <Form>
    Covach, John. “From ‘Craft’ to ‘Art’: Formal Structure in the Music of the Beatles.” Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four, ed. Kenneth Womack and Todd F. Davis, 37-54. State University of New York Press, 2006. <Form>
    Doll, Christopher. 2011. “Rockin’ Out: Expressive Modulation in Verse-Chorus Form.” Music Theory Online 17 (3). <Form> <Harmony and Melody>
    Lundberg, Mattias. 2014. “‘To Let It Be without Pretense’: Canon, Fugue, and Imitation in Progressive Rock 1968-1979.” Music Theory Online 20 (3). <Form>

    McClary, Susan. Conventional Wisdom: The Content of Musical Form. University of California Press, 2001. <Form> <Aesthetics>
    Nurmesjarvi, Terhi. “You Need Another Chorus: Problems with Formal Concepts in Popular Music.” Beatlestudies 2: History, Identity, Authenticity, ed.Yrjo Heinonen, Terhi Nurmesjarvi, Jouni Koskimaki, Seppo Niemi, and Francis Kiernan, 147-168. University of Jyvaskyla, 2000. <Form> <Issues in current popular music>
    Osborn, Brad. "Beyond Verse and Chorus: Experimental Formal Structures in Post-Millennial Rock Music." Ph.D. dissertation, University of Washington, 2010. https://digital.lib.washington.edu/xmlui/handle/1773/15910. <Form>
    Osborn, Brad. "Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres." Music Theory Online 17, no. 3. 2011. <Form>
    Osborn, Brad. "Subverting the Verse/Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music." Music Theory Spectrum 35, no. 1, 23–47. 2013. <Form>

    Spicer, Mark. “(Ac)cumulative Form in Pop-Rock Music.” Twentieth-Century Music 1/1 (2004): 29-54. <Form>
    Spicer, Mark. “Large-Scale Strategy and Compositional Design in the Early Music of Genesis.” Expression in Pop-Rock Music, 2nded., ed. Walter Everett, 313-344. <Form>
    Summach, Jay. 2011. “The Structure, Function, and Genesis of the Prechorus.” Music Theory Online 17 (3). <Form>
    Temperley, David. 2011. “The Cadential IV in Rock.” Music Theory Online 17 (1). <Harmony and Melody> <Form>

    Zak, Albin. “Rock and Roll Rhapsody: Pop Epics of the 1970s.” Expression in Pop-Rock Music, 2nded., ed. Walter Everett, 345-360. <Form>
    pitch-structurespitch structures
    ...
    Smith, Christopher John. “Broadway the Hard Way: Techniques of Allusion in the Music of Frank Zappa.” College Music Symposium 35 (1995): 35-60. <Intertextuality> <Lyrics and text>
    Watson, Ben. “Frank Zappa as Dadaist: Recording Technology and the Power to Repeat.” Contemporary Music Review 15/1-2 (1996): 109-137. <Aesthetics> <Recording and mediation>
    form
    Attas, Robin. 2011. “Sarah Setting the Terms: Defining Phrase in Popular Music.” Music Theory Online 17 (3). <Form>
    Biamonte, Nicole. 2014. “Formal Functions of Metric Dissonance in Rock Music.” Music Theory Online 20 (2). http://www.mtosmt.org/issues/mto.14.20.2/mto.14.20.2.biamonte.pdf. <Form> <Rhythm and Meter>
    Blake, David. 2012. “Timbre as Differentiation in Indie Music.” Music Theory Online 18 (2). http://mtosmt.org/issues/mto.12.18.2/mto.12.18.2.blake.php. <Timbre> <Form>
    Boone, Christine. 201AD. “Mashing: Toward a Typology of Recycled Music.” Music Theory Online 19 (3). <Intertextuality> <Form>
    Callahan, Michael R. 2013. “Sentential Lyric-Types in the Great American Songbook.” Music Theory Online 19 (3). <Lyrics and text> <Form>
    Doll, Christopher. 2011. “Rockin’ Out: Expressive Modulation in Verse-Chorus Form.” Music Theory Online 17 (3). <Form> <Harmony and Melody>
    Lundberg, Mattias. 2014. “‘To Let It Be without Pretense’: Canon, Fugue, and Imitation in Progressive Rock 1968-1979.” Music Theory Online 20 (3). <Form>
    Osborn, Brad. "Beyond Verse and Chorus: Experimental Formal Structures in Post-Millennial Rock Music." Ph.D. dissertation, University of Washington, 2010. https://digital.lib.washington.edu/xmlui/handle/1773/15910. <Form>
    Osborn, Brad. "Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres." Music Theory Online 17, no. 3. 2011. <Form>
    Osborn, Brad. "Subverting the Verse/Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music." Music Theory Spectrum 35, no. 1, 23–47. 2013. <Form>
    Summach, Jay. 2011. “The Structure, Function, and Genesis of the Prechorus.” Music Theory Online 17 (3). <Form>
    Temperley, David. 2011. “The Cadential IV in Rock.” Music Theory Online 17 (1). <Harmony and Melody> <Form>

    (view changes)
    12:20 pm
  3. page PMIG Bibliography edited ... gender and sexuality race, ethnicity and identity politics identity and authorship perfor…
    ...
    gender and sexuality
    race, ethnicity and identity politics
    identity and authorship
    performance
    STYLES AND GENRES
    ...
    Werner, Craig. A Change Is Gonna Come: Music, Race & the Soul of America. Penguin Books, 1998. <Social and cultural context> <Race and ethnicity>
    Whiteley, Sheila, ed. Music, Space and Place: Popular Music and Cultural Identity. Ashgate, 2005. <Race and ethnicity> <Social and cultural context> <Identity> <General Reader>
    IdentityIdentity and authorship
    Ahonen, Laura. 2006. “Mediated Stardom, Constructed Images: The Value and Functioning of Authorship in Popular Music.” In Music, Meaning & Media, edited by Erkki Pekkilä, David Neumeyer, and Richard Littlefield. International Semiotics Institute. <Recording and mediation> <Identity>
    DeNora, Tia. 1999. “Music as a Technology of the Self.” Poetics 27 (1): 31–56. <Identity>
    ———. 2000. Music in Everyday Life. Cambridge University Press. <Identity>
    Dibben, Nicola. 2006. “Subjectivity and the Construction of Emotion in the Music of Björk.” Music Analysis 25 (1-2): 171–97. <Identity> <Meaning and signification>
    Gray, Richard J. 2012. The Performance Identities of Lady Gaga: Critical Essays. McFarland. <Identity> <Performance> <Gender and sexuality>
    Palfy, Cora S. 2015. “Human after All: Understanding Negotiations of Artistic Identity through the Music of Daft Punk.” In Oxford Handbook of Music and Virtuality, edited by Sheila Whiteley and Shara Rambarran. Oxford, New York: Oxford University Press. <Identity> <Recording and mediation>
    Ray, W. 1997. “Music and Social Influence.” In The Social Psychology of Music, edited by D. J. Hargreaves and A. C. North, 67–83. New York, NY, US: Oxford University Press. <Social and cultural context> <Identity>
    Rentfrow, Peter J., and Samuel D. Gosling. 2003. “The Do Re Mi’s of Everyday Life: The Structure and Personality Correlates of Music Preferences.” Journal of Personality and Social Psychology 84 (6): 1236–56. <Identity> <Social and cultural context>
    ———. 2006. “Message in a Ballad: The Role of Music Preferences in Interpersonal Perception.” Psychological Science 17 (3): 236–42. <Identity> <Social and cultural context>
    ———. 2007. “The Content and Validity of Music-Genre Stereotypes among College Students.” Psychology of Music 35 (2): 306–26. <Identity> <Social and cultural context>
    Rentfrow, Peter J., Jennifer A. McDonald, and Julian A. Oldmeadow. 2009. “You Are What You Listen To: Young People’s Stereotypes about Music Fans.” Group Processes & Intergroup Relations 12 (3): 329–44. <Identity> <Social and cultural context>
    Thomson, Matthew. 2006. “Human Brands: Investigating Antecedents to Consumers’ Strong Attachments to Celebrities.” Journal of Marketing 70 (3): 104–19. <Identity> <Recording and mediation>

    PerformancePerformance
    Csíkszentmihályi, Mihály. 1997. Finding Flow: The Psychology of Engagement With Everyday Life. Basic Books. <Performance>
    ...
    Plasketes, George M., ed. “Like a Version: Cover Songs in Popular Music.” Popular Music and Society 28/2 (2005): 137-248. <Intertextuality> <Meaning and signification> <Lyrics and text>
    Plasketes, George M. “Look What They’ve Done to My Song: Covers and Tributes, an annotated discography, 1980-1995.” Popular Music and Society 19/1 (1995): 79-106. <Lyrics and text> <Intertextuality> <Authenticity>
    Plasketes, George, ed. Play it Again: Cover Songs in Popular Music. Ashgate, 2010. <General Reader>
    Schneider, Thomas A. “Blues Cover Songs: The Intersection of Blues and Rock on the Popular Music Charts (1955-1995).” Ph.D. dissertation, University of Memphis, 2001. <Race and ethnicity> <Intertextuality> <Authenticity>
    Weinstein, Deena. “The History of Rock’s Pasts through Rock Covers.” Mapping the Beat: Popular Music and Contemporary Theory, ed. Andrew Herman, John M. Sloop, and Thomas Swiss, 137-151. Blackwell, 1997. <Social and cultural context> <Intertextuality>
    ...
    Agawu, V. Kofi. Representing African Music: Postcolonial Notes, Queries, Positions. Routledge, 2003. <Race and ethnicity> <Meaning and signification> <Rhythm and Meter>
    Androutsopoulos, Jannis K., and Arno Scholz. “Spaghetti Funk: Appropriations of Hip-hop Culture and Rap Music in Europe.” Popular Music and Society 26/4 (2003): 463-479. <Intertextuality> <Race and ethnicity> <Authenticity>
    Bennett, Andy, and Jon Stratton, eds. Britpop and the English Music Tradition. Ashgate, forthcoming 2010. <General Reader> <Race and ethnicity>
    Berger, Harris M. and Michael T. Carroll, eds. Global Pop, Local Language. University Press of Mississippi, 2003. <Race and ethnicity> <General Reader>
    Burns, James. 2010. “Rhythmic Archetypes in Instrumental Music from Africa and the Diaspora.” Music Theory Online 16 (4). <Race and ethnicity> <Rhythm and Meter>
    Collins, John. West African Pop Roots. Temple University Press, 1992. <Race and ethnicity> <Social and cultural context>
    Fernandez, Raul A. From Afro-Cuban Rhythms to Latin Jazz. University of California Press, 2006. <Race and ethnicity> <Intertextuality>
    Hebdige, Dick. 2003. Cut `n’ Mix: Culture, Identity and Caribbean Music. Routledge. <Recording and mediation> <Race and ethnicity> <Identity>
    Hernandez, Deborah Pacini, Hector Fernandez L'Hoeste, and Eric Zolov, eds. Rockin' Las Americas: The Global Politics of Rock in Latin/o America. University of Pittsburgh Press, 2004. <Social and cultural context> <Race and ethnicity> <General Reader>
    Keil, Charles, and Steven Feld. Music Grooves: Essays and Dialogues. University of Chicago Press, 1994. <Performance> <Recording and mediation> <Race and ethnicity>
    ...
    Meintjes, Louise. “Paul Simon's Graceland, South Africa, and the Mediation of Musical Meaning.” Ethnomusicology 36, no. 1 (Winter 1990): 37-73. <Race and ethnicity> <Recording and mediation> <Meaning and signification>
    Mitchell, Tony, ed. Global Noise: Rap and Hip-Hop outside the U.S.A. Wesleyan University Press, 2001. <Race and ethnicity> <General Reader>
    Miyakawa, Felicia M. 2005. Five Percenter Rap: God Hop’s Music, Message, and Black Muslim Mission. Indiana University Press. <Race and ethnicity> <Rhythm and Meter>
    Perrone, Charles, and Christopher Dunn, eds. Brazilian Popular Music and Globalization. University Press of Florida, 2001. <Race and ethnicity> <General Reader>
    Pressing, Jeff. 2002. “Black Atlantic Rhythm: Its Computational and Transcultural Foundations.” Music Perception 19 (3): 285–310. <Race and ethnicity> <Rhythm and Meter>
    Roberts, John Storm. The Latin Tinge: The Impact of Latin American Music on the United States. Oxford University Press, 1999. <Race and ethnicity> <Social and cultural context>
    Stroud, Sean. The Defence of Tradition in Brazilian Popular Music. Ashgate, 2008. <Race and ethnicity> <General Reader>
    Stratton, Jon. Jews, Race, and Popular Music. Ashgate, 2009. <Race and ethnicity>

    Taylor, Timothy. Global Pop: World Music, World Markets. Routledge, 1997. <Recording and mediation> <Race and ethnicity>
    Veal, Michael. Dub: Soundscapes and Shattered Songs in Jamaican Reggae. Wesleyan University Press, 2007. <Race and ethnicity> <Meaning and signification> <Social and cultural context>
    ...
    Smith, Christopher John. “Broadway the Hard Way: Techniques of Allusion in the Music of Frank Zappa.” College Music Symposium 35 (1995): 35-60. <Intertextuality> <Lyrics and text>
    Watson, Ben. “Frank Zappa as Dadaist: Recording Technology and the Power to Repeat.” Contemporary Music Review 15/1-2 (1996): 109-137. <Aesthetics> <Recording and mediation>
    covers
    Plasketes, George, ed. Play it Again: Cover Songs in Popular Music. Ashgate, 2010. <General Reader>

    form
    Attas, Robin. 2011. “Sarah Setting the Terms: Defining Phrase in Popular Music.” Music Theory Online 17 (3). <Form>
    ...
    Summach, Jay. 2011. “The Structure, Function, and Genesis of the Prechorus.” Music Theory Online 17 (3). <Form>
    Temperley, David. 2011. “The Cadential IV in Rock.” Music Theory Online 17 (1). <Harmony and Melody> <Form>
    global pop
    Bennett, Andy, and Jon Stratton, eds. Britpop and the English Music Tradition. Ashgate, forthcoming 2010. <General Reader> <Race and ethnicity>
    Burns, James. 2010. “Rhythmic Archetypes in Instrumental Music from Africa and the Diaspora.” Music Theory Online 16 (4). <Race and ethnicity> <Rhythm and Meter>
    Hebdige, Dick. 2003. Cut `n’ Mix: Culture, Identity and Caribbean Music. Routledge. <Recording and mediation> <Race and ethnicity> <Identity>
    Miyakawa, Felicia M. 2005. Five Percenter Rap: God Hop’s Music, Message, and Black Muslim Mission. Indiana University Press. <Race and ethnicity> <Rhythm and Meter>
    Pressing, Jeff. 2002. “Black Atlantic Rhythm: Its Computational and Transcultural Foundations.” Music Perception 19 (3): 285–310. <Race and ethnicity> <Rhythm and Meter>
    Stroud, Sean. The Defence of Tradition in Brazilian Popular Music. Ashgate, 2008. <Race and ethnicity> <General Reader>
    Stratton, Jon. Jews, Race, and Popular Music. Ashgate, 2009. <Race and ethnicity>
    Identity
    Ahonen, Laura. 2006. “Mediated Stardom, Constructed Images: The Value and Functioning of Authorship in Popular Music.” In Music, Meaning & Media, edited by Erkki Pekkilä, David Neumeyer, and Richard Littlefield. International Semiotics Institute. <Recording and mediation> <Identity>
    DeNora, Tia. 1999. “Music as a Technology of the Self.” Poetics 27 (1): 31–56. <Identity>
    ———. 2000. Music in Everyday Life. Cambridge University Press. <Identity>
    Dibben, Nicola. 2006. “Subjectivity and the Construction of Emotion in the Music of Björk.” Music Analysis 25 (1-2): 171–97. <Identity> <Meaning and signification>
    Gray, Richard J. 2012. The Performance Identities of Lady Gaga: Critical Essays. McFarland. <Identity> <Performance> <Gender and sexuality>
    Palfy, Cora S. 2015. “Human after All: Understanding Negotiations of Artistic Identity through the Music of Daft Punk.” In Oxford Handbook of Music and Virtuality, edited by Sheila Whiteley and Shara Rambarran. Oxford, New York: Oxford University Press. <Identity> <Recording and mediation>
    Ray, W. 1997. “Music and Social Influence.” In The Social Psychology of Music, edited by D. J. Hargreaves and A. C. North, 67–83. New York, NY, US: Oxford University Press. <Social and cultural context> <Identity>
    Rentfrow, Peter J., and Samuel D. Gosling. 2003. “The Do Re Mi’s of Everyday Life: The Structure and Personality Correlates of Music Preferences.” Journal of Personality and Social Psychology 84 (6): 1236–56. <Identity> <Social and cultural context>
    ———. 2006. “Message in a Ballad: The Role of Music Preferences in Interpersonal Perception.” Psychological Science 17 (3): 236–42. <Identity> <Social and cultural context>
    ———. 2007. “The Content and Validity of Music-Genre Stereotypes among College Students.” Psychology of Music 35 (2): 306–26. <Identity> <Social and cultural context>
    Rentfrow, Peter J., Jennifer A. McDonald, and Julian A. Oldmeadow. 2009. “You Are What You Listen To: Young People’s Stereotypes about Music Fans.” Group Processes & Intergroup Relations 12 (3): 329–44. <Identity> <Social and cultural context>
    Thomson, Matthew. 2006. “Human Brands: Investigating Antecedents to Consumers’ Strong Attachments to Celebrities.” Journal of Marketing 70 (3): 104–19. <Identity> <Recording and mediation>

    (view changes)
    12:18 pm
  4. page PMIG Bibliography edited ... Yes Zappa, Frank ... entries, please first check that the citation you're adding is actua…
    ...
    Yes
    Zappa, Frank
    ...
    entries, please first check that the citation you're adding is actually missing, then categorize and tag themthe citation appropriately. If they arethe citation is missing a
    GENERAL
    theory-and-analysispop-rock theory and analysis
    ...
    Berger, Harris M. “The Practice of Perception: Multi-Functionality and Time In the Musical Experiences of Heavy Metal Drummers in Akron, Ohio.” Ethnomusicology 41/3 (1997): 464-489. <Performance> <Rhythm and Meter>
    Berger, Harriss M. and Cornelia Fales. “‘Heaviness’ in the Perception of Heavy Metal Guitar Timbres: The Match of Perceptual and Acoustic Features Over Time.” Wired for Sound: Engineering and Technologies in Sonic Cultures, ed. Paul D. Greene and Thomas Porcello, 181-197. Wesleyan University Press, 2004. <Timbre> <Performance>
    Cope, Andrew L. Black Sabbath and the Rise of Heavy Metal Music. Ashgate, 2010. <Social and cultural context>
    Kahn-Harris, Keith. Extreme Metal: Music and Culture on the Edge. Berg, 2007. <Social and cultural context> <Performance>
    Lilja, Esa. “Theory and Analysis of Classic Heavy Metal Harmony.” Finnish Music Library Association, 2009. <Harmony and Melody>
    ...
    Rentfrow, Peter J., Jennifer A. McDonald, and Julian A. Oldmeadow. 2009. “You Are What You Listen To: Young People’s Stereotypes about Music Fans.” Group Processes & Intergroup Relations 12 (3): 329–44. <Identity> <Social and cultural context>
    Thomson, Matthew. 2006. “Human Brands: Investigating Antecedents to Consumers’ Strong Attachments to Celebrities.” Journal of Marketing 70 (3): 104–19. <Identity> <Recording and mediation>
    heavy metal
    Cope, Andrew L. Black Sabbath and the Rise of Heavy Metal Music. Ashgate, 2010. <Social and cultural context>

    (view changes)
    12:14 pm
  5. page PMIG Bibliography edited ... Lynch, Joan D. 1984. “Music Videos: From Performance to Dada—Surrealism.” The Journal of Popul…
    ...
    Lynch, Joan D. 1984. “Music Videos: From Performance to Dada—Surrealism.” The Journal of Popular Culture 18 (1): 53–57. <Multimedia> <Aesthetics>
    Powrie, Phil, and Robynn Stillwell, eds. Changing Tunes: The Use of Pre-existing Music in Film. Ashgate, 2006. <Multimedia> <Intertextuality> <General Reader>
    Rodman, Ron. Tuning In: American Narrative Television Music. Oxford University Press, 2010. <Multimedia> <Social and cultural context>
    Romney, Jonathan, and Adrian Wootton, eds. Celluloid Jukebox: Popular Music and the Movies since the Fifties. British Film Institute, 1995. <Social and cultual context> <Multimedia> <General Reader>
    Sonnenschein, David. 2001. Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Michael Wiese Productions. <Recording and mediation> <Multimedia> <Textbook>
    ...
    heavy metal
    Cope, Andrew L. Black Sabbath and the Rise of Heavy Metal Music. Ashgate, 2010. <Social and cultural context>
    TV
    Klein, Bethany. As Heard on TV: Popular Music in Advertising. Ashgate, 2010. <Multimedia>
    Rodman, Ron. Tuning In: American Narrative Television Music. Oxford University Press, 2010. <Multimedia> <Social and cultural context>

    (view changes)
    12:13 pm
  6. page PMIG Bibliography edited ... technologysound and technology Altman, Rick. “The Material Heterogeneity of Recorded Sound.” …
    ...
    technologysound and technology
    Altman, Rick. “The Material Heterogeneity of Recorded Sound.” The Popular Music Studies Reader, ed. Andy Bennett, Barry Shank, and Jayson Toynbee, 269-275. Routledge, 2006. <Recording and mediation> <Aesthetics>
    Auslander, Philip. Liveness: Performance in a Mediatized Culture. New York: Routledge, 1999. <Performance> <Recording and mediation>
    Bennett, Samantha. “Gus Dudgeon’s Super Sonic Signature.” In Global Glam and Popular Music: Style and Spectacle from the 1970s to the 2000s, eds. Ian Chapman and Henry Johnson. New York: Routledge. 2016. <recording><timbre>
    Bloustien, Gerry, Margaret Peters, and Susan Luckman, eds. Sonic Synergies: Music, Technology, Community, Identity. Ashgate, 2008.
    Braae, Nick. "The Development of the 'Epic' Queen Sound." Journal on the Art of Record Production 10 (2015). <Recording and mediation> <Timbre>
    Braun, Hans-Joachim. Music and Technology in the Twentieth Century. Baltimore: John Hopkins University Press, 2002. <Recording and mediation> <Performance>
    Cogan, Robert. Sonic Design: The Nature of Sound and Music. Prentice Hall, 1976. <Recording and mediation> <General Reader>
    Cook, Nicholas, Eric Clarke, Daniel Leech-Wilkinson, and John Rink, eds. The Cambridge Companion to Recorded Music. Cambridge University Press, 2010. <Recording and mediation> <General Reader>
    Dixon, Steve. Digital Performance. Massachusetts: The MIT Press, 2007. <Performance> <Recording and mediation>
    Frith, Simon. “Art versus Technology: The Strange Case of Popular Music.” Media, Culture, and Society 8/3 (1987): 263-279. <Recording and mediation> <Authenticity> <Social and cultural context>
    Goodwin, Andrew. “Rationalization and Democratization in the New Technologies of Popular Music.” Popular Music and Communication, ed. James Lull, 75-100. Sage, 1992. <Recording and mediation>
    Goodwin, Andrew. “Sample and Hold: Pop Music in the Digital Age of Reproduction.” On Record: Rock, Pop, and The Written Word, ed. Simon Frith and Andrew Goodwin, 258-274. Pantheon Books, 1990. <Recording and mediation> <Intertextuality>
    Greene, Paul D., and Thomas Porcello, eds. Wired for Sound: Engineering and Technologies in Sonic Cultures. Wesleyan University Press, 2005. <Recording and mediation> <General Reader>
    Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: New York University Press, 2006. <Social and cultural context> <Performance> <Recording and mediation> <Multimedia>
    Jones, Steve. “Music and the Internet.” Popular Music 19/2 (2000): 217-230. <Multimedia>

    Julien, Olivier. “The Diverting of Musical Technology by Rock Musicians: The Example of Double-Tracking." Popular Music 18/3 (1999): 357-365. <Recording and mediation> <Social and cultural context> <Aesthetics>
    Lacasse, Serge. “Voice and Sound Processing: Examples of mise-en-scene of Voice in Recorded Rock Music." Popular Musicology Online 5 (2000).
    Lindeman, Steve. “Fix it in the Mix.” Popular Music and Society 22/4 (1998): 91-100. <Recording and mediation> <Voice> <Embodiment>
    Messaris, Paul, and Lee Humphreys, eds. Digital Media: Transformations in Human Communication. New York: Peter Lang, 2006. <General Reader> <Multimedia>
    Moorefield, Virgil. 2005. The Producer as Composer: Shaping the Sounds of Popular Music. Massachusetts Institute of Technology, 2005. <Recording and mediation>
    Peterson, Richard A. and John Ryan. "The Disembodied Muse: Music in the Internet Age." In Society Online: The Internet in Context, ed. Philip N. Howard and Steve Jones. Thousand Oaks, CA: Sag, 2004. <Multimedia> <Recording and mediation>
    Proceedings of the 8th International Conference on New Interfaces for Musical Expression (NIME) 2008. Genova, Italy, June 5-7, 2008.
    Sexton, Jamie, ed.Music, Sound and Multimedia: From the Live to the Virtual. Edinburgh University Press, 2007. <Recording and mediation> <Multimedia> <General Reader>

    Théberge, Paul. Any Sound You Can Imagine: Making Music/Consuming Technology. University Press of New England, 1997. <Recording and mediation> <Timbre>
    Théberge, Paul. “Music/Technology/Practice: Musical Knowledge in Action.” The Popular Music Studies Reader, ed. Andy Bennett, Barry Shank, and Jayson Toynbee, 283-291. Routledge, 2006. <Recording and mediation>
    ...
    Klein, Bethany. As Heard on TV: Popular Music in Advertising. Ashgate, 2010. <Multimedia>
    Rodman, Ron. Tuning In: American Narrative Television Music. Oxford University Press, 2010. <Multimedia> <Social and cultural context>
    digital music and media
    Auslander, Philip. Liveness: Performance in a Mediatized Culture. New York: Routledge, 1999. <Performance> <Recording and mediation>
    Braun, Hans-Joachim. Music and Technology in the Twentieth Century. Baltimore: John Hopkins University Press, 2002. <Recording and mediation> <Performance>
    Dixon, Steve. Digital Performance. Massachusetts: The MIT Press, 2007. <Performance> <Recording and mediation>
    Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: New York University Press, 2006. <Social and cultural context> <Performance> <Recording and mediation> <Multimedia>
    Jones, Steve. “Music and the Internet.” Popular Music 19/2 (2000): 217-230. <Multimedia>
    Messaris, Paul, and Lee Humphreys, eds. Digital Media: Transformations in Human Communication. New York: Peter Lang, 2006. <General Reader> <Multimedia>
    Peterson, Richard A. and John Ryan. "The Disembodied Muse: Music in the Internet Age." In Society Online: The Internet in Context, ed. Philip N. Howard and Steve Jones. Thousand Oaks, CA: Sag, 2004. <Multimedia> <Recording and mediation>
    Proceedings of the 8th International Conference on New Interfaces for Musical Expression (NIME) 2008. Genova, Italy, June 5-7, 2008.
    Sexton, Jamie, ed.Music, Sound and Multimedia: From the Live to the Virtual. Edinburgh University Press, 2007. <Recording and mediation> <Multimedia> <General Reader>

    (view changes)
    12:11 pm
  7. page PMIG Bibliography edited ... undergraduate pop-music textbooks jazz theory textbooks music business and recording ANAL…
    ...
    undergraduate pop-music textbooks
    jazz theory textbooks
    music business and recording
    ANALYTICAL APPROACHES
    form
    ...
    Schenkel, Steve. The Tools of Jazz. Prentice-Hall, 1983. <Textbook>
    Spitzer, Peter. The Jazz Theory Handbook. Mel Bay, 2001. <Textbook>
    music-businessmusic business and recording
    Attali, Jacques. Noise: The Political Economy of Music. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, 1985. <Social and cultural context> <Recording and mediation>
    Ahonen, Laura. 2006. “Mediated Stardom, Constructed Images: The Value and Functioning of Authorship in Popular Music.” In Music, Meaning & Media, edited by Erkki Pekkilä, David Neumeyer, and Richard
    Bates, Eliot. 2004. “Glitches, Bugs, and Hisses: The Degeneration of Musical Recordings and the Contemporary Musical Work.” In Bad Music: The Music We Love to Hate, edited by Chris Washburne and Maiken Derno, 275–93. New York: Routledge. <Recording and mediation>
    Born, Georgina. 2005. “On Musical Mediation: Ontology, Technology and Creativity.” Twentieth-Century Music 2 (01): 7–36. <Recording and mediation> <Aesthetics> <Meaning and signification>
    Butler, Mark J. 2014. Playing with Something That Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance. New York: Oxford University Press. <Performance> <Rhythm and Meter> <Recording and mediation>
    Frith, Simon. 1983. Sound Effects: Youth, Leisure, and the Politics of Rock. London: Constable. <Recording and mediation> <Social and cultural context>
    ———. 1986. “Art versus Technology: The Strange Case of Popular Music.” Media, Culture & Society 8 (3): 263–79. <Recording and mediation>
    ———. 1996. Performing Rites: On the Value of Popular Music. Harvard University Press. <Social and cultural context> <Aesthetics> <Recording and mediation> <Performance>
    Littlefield. International Semiotics Institute. <Recording and mediation> <Identity>
    Katz, Mark. Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press, 2004. <Performing> <Recording and mediation>
    Moore, Allan F. and Ruth Dockwray. “The Establishment of the Virtual Performance Space in Rock.” Twentieth-century music (2008), 5:219-241.
    <Performance> <Multimedia> <Recording and mediation>
    Moore, Allan F. and Ruth Dockwray. “Configuring the Sound-Box 1965–1972.” Popular Music (2010) Volume 29/2: 181–197. <Embodiment> <Performance> <Recording and mediation>
    Novotny, Patrick. 1997. “No Future! Cyberpunk, Industrial Music, and the Aesthetics of Postmodern Disintegration.” In Political Science Fiction, edited by Donald M. Hassler and Clyde Wilcox, 99–148. Univ of South Carolina Press. <Recording and mediation> <Aesthetics> <Meaning and signification>

    Sanjek, Russell. Pennies from Heaven: The American Popular Music Business in the Twentieth Century. New York: Da Capo Press, 1996. <Social and cultural context> <Recording and mediation>
    Young, Rob. Undercurrents: The Hidden Wiring of Modern Music. 2002. London ; New York: Continuum. <Recording and mediation>
    ANALYTICAL APPROACHES
    formform
    ...
    Proceedings of the 8th International Conference on New Interfaces for Musical Expression (NIME) 2008. Genova, Italy, June 5-7, 2008.
    Sexton, Jamie, ed.Music, Sound and Multimedia: From the Live to the Virtual. Edinburgh University Press, 2007. <Recording and mediation> <Multimedia> <General Reader>
    recording
    Ahonen, Laura. 2006. “Mediated Stardom, Constructed Images: The Value and Functioning of Authorship in Popular Music.” In Music, Meaning & Media, edited by Erkki Pekkilä, David Neumeyer, and Richard
    Bates, Eliot. 2004. “Glitches, Bugs, and Hisses: The Degeneration of Musical Recordings and the Contemporary Musical Work.” In Bad Music: The Music We Love to Hate, edited by Chris Washburne and Maiken Derno, 275–93. New York: Routledge. <Recording and mediation>
    Born, Georgina. 2005. “On Musical Mediation: Ontology, Technology and Creativity.” Twentieth-Century Music 2 (01): 7–36. <Recording and mediation> <Aesthetics> <Meaning and signification>
    Butler, Mark J. 2014. Playing with Something That Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance. New York: Oxford University Press. <Performance> <Rhythm and Meter> <Recording and mediation>
    Frith, Simon. 1983. Sound Effects: Youth, Leisure, and the Politics of Rock. London: Constable. <Recording and mediation> <Social and cultural context>
    ———. 1986. “Art versus Technology: The Strange Case of Popular Music.” Media, Culture & Society 8 (3): 263–79. <Recording and mediation>
    ———. 1996. Performing Rites: On the Value of Popular Music. Harvard University Press. <Social and cultural context> <Aesthetics> <Recording and mediation> <Performance>
    Littlefield. International Semiotics Institute. <Recording and mediation> <Identity>
    Katz, Mark. Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press, 2004. <Performing> <Recording and mediation>
    Moore, Allan F. and Ruth Dockwray. “The Establishment of the Virtual Performance Space in Rock.” Twentieth-century music (2008), 5:219-241.
    <Performance> <Multimedia> <Recording and mediation>
    Moore, Allan F. and Ruth Dockwray. “Configuring the Sound-Box 1965–1972.” Popular Music (2010) Volume 29/2: 181–197. <Embodiment> <Performance> <Recording and mediation>
    Novotny, Patrick. 1997. “No Future! Cyberpunk, Industrial Music, and the Aesthetics of Postmodern Disintegration.” In Political Science Fiction, edited by Donald M. Hassler and Clyde Wilcox, 99–148. Univ of South Carolina Press. <Recording and mediation> <Aesthetics> <Meaning and signification>
    Young, Rob. Undercurrents: The Hidden Wiring of Modern Music. 2002. London ; New York: Continuum. <Recording and mediation>

    (view changes)
    12:08 pm
  8. page PMIG Bibliography edited ... Everett, Walter. “Making Sense of Rock’s Tonal Systems.” Music Theory Online 10/4 (2004). Repr…
    ...
    Everett, Walter. “Making Sense of Rock’s Tonal Systems.” Music Theory Online 10/4 (2004). Repr. Critical Essays in Popular Musicology, ed. Allan F. Moore, 301-335. Ashgate, 2007. http://mto.societymusictheory.org/issues/mto.04.10.4/mto.04.10.4.w_everett.html <Harmony and Melody> <Aesthetics>
    Everett, Walter. “A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan.” Music Theory Spectrum 26 (2004): 201-235. <Meaning and signification> <Harmony and Melody>
    Forte, Allen. 1993. “Secrets of Melody: Line and Design in the Songs of Cole Porter.” The Musical Quarterly 77 (4): 607–47. <Harmony and Melody> <Lyrics and text>
    Forte, Allen. “Harmonic Relations: American Popular Harmonies (1925-1950) and their European Kin.” Traditions, Institutions, and American Popular Music. Contemporary Music Review 19/1 (2000): 5-36. <Social and cultural context> <Harmony and Melody>
    Koozin, Timothy. 2011. “Guitar Voicing in Pop-Rock Music: A Performance-Based Analytical Approach.” Music Theory Online 17 (3). <Harmony and Melody>
    Kramarz, Volkmar. Harmonie-Analyse der Rockmusic. Von Folk und Blues zu Rock und New Wave. Schott, 1983. <Harmony and Melody>
    Lehman, Frank. 2013. “Hollywood Cadences: Music and the Structure of Cinematic Expectation.” Music Theory Online 19 (4). <Harmony and Melody> <Multimedia>
    London, Justin. “One Step Up: A Lesson from Pop Music.” Journal of Music Theory Pedagogy 4/1 (1990): 111-114. <Harmony and Melody>
    MacDonald, Chris. “Exploring Modal Subversions in Alternative Music.” Popular Music 19/3 (2000): 355-363. <Harmony and Melody>
    Malawey, Victoria. 2010. “Harmonic Stasis and Oscillation in Björk’s Medúlla.” Music Theory Online 16 (1). <Harmony and Melody>
    Martin, Bernice. 1979. “The Sacralization of Disorder: Symbolism in Rock Music.” Sociology of Religion 40 (2): 87–124. <Meaning and signification> <Form> <Harmony and Melody>
    Martin, Ed. 2010. “Harmonic Progression in Magnus Lindberg’s Twine.” Music Theory Online 16 (1). <Harmony and Melody>
    Martin, Henry. 2012. “Charlie Parker and ‘Honeysuckle Rose’: Voice Leading, Formula, and Motive.” Music Theory Online 18 (3). <Harmony and Melody> <Performance>
    McFarland, Mark. 2012. “Schenker and the Tonal Jazz Repertory: A Response to Martin.” Music Theory Online 18 (3). <Review> <Harmony and Melody>

    Moore, Allan. “Patterns of Harmony.” Popular Music 11 (1992): 73-106. <Harmony and Melody>
    Moore, Allan. “The So-Called ‘Flat 7th’ in Rock,” Popular Music 14 (1995): 185-201. <Harmony and Melody> <Review>
    ...
    Ricci, Adam. “A ‘Hard Habit to Break’: The Integration of Harmonic Cycles and Voice-Leading Structure in Two Songs by Chicago.” Indiana Theory Review 21 (2000): 129-146. <Harmony and Melody>
    Salzman, Eric, and Michael Sahl. Making Changes: A Practical Guide to Vernacular Harmony. Schirmer, 1977. <Textbook> <Harmony and Melody>
    Schultz, Rob. 2012. “Tonal Pairing and the Relative-Key Paradox in the Music of Elliott Smith.” Music Theory Online 18 (4). <Harmony and Melody>
    Stoia, Nicholas. 2010. “Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, C. 1920–1945.” Music Theory Online 16 (3). <Harmony and Melody>

    Temperley, Davy. “The Melodic-Harmonic ‘Divorce’ in Rock.” Popular Music 26/2 (2007): 323-342. <Harmony and Melody>
    Weisethaunet, Hans. “Is There Such a Thing as a Blue Note?” Popular Music 20 (2001): 99-116. <Harmony and Melody> <Social and cultural context>
    ...
    Novotny, Patrick. 1997. “No Future! Cyberpunk, Industrial Music, and the Aesthetics of Postmodern Disintegration.” In Political Science Fiction, edited by Donald M. Hassler and Clyde Wilcox, 99–148. Univ of South Carolina Press. <Recording and mediation> <Aesthetics> <Meaning and signification>
    Young, Rob. Undercurrents: The Hidden Wiring of Modern Music. 2002. London ; New York: Continuum. <Recording and mediation>
    Harmony and Melody
    Forte, Allen. 1993. “Secrets of Melody: Line and Design in the Songs of Cole Porter.” The Musical Quarterly 77 (4): 607–47. <Harmony and Melody> <Lyrics and text>
    ———. 2000. “Harmonic Relations: American Popular Harmonies (1925-1950) and Their European Kin.” Contemporary Music Review 19 (1): 5. <Harmony and Melody>
    Koozin, Timothy. 2011. “Guitar Voicing in Pop-Rock Music: A Performance-Based Analytical Approach.” Music Theory Online 17 (3). <Harmony and Melody>
    Lehman, Frank. 2013. “Hollywood Cadences: Music and the Structure of Cinematic Expectation.” Music Theory Online 19 (4). <Harmony and Melody> <Multimedia>
    Malawey, Victoria. 2010. “Harmonic Stasis and Oscillation in Björk’s Medúlla.” Music Theory Online 16 (1). <Harmony and Melody>
    Martin, Bernice. 1979. “The Sacralization of Disorder: Symbolism in Rock Music.” Sociology of Religion 40 (2): 87–124. <Meaning and signification> <Form> <Harmony and Melody>
    Martin, Ed. 2010. “Harmonic Progression in Magnus Lindberg’s Twine.” Music Theory Online 16 (1). <Harmony and Melody>
    Martin, Henry. 2012. “Charlie Parker and ‘Honeysuckle Rose’: Voice Leading, Formula, and Motive.” Music Theory Online 18 (3). <Harmony and Melody> <Performance>
    McFarland, Mark. 2012. “Schenker and the Tonal Jazz Repertory: A Response to Martin.” Music Theory Online 18 (3). <Review> <Harmony and Melody>
    Schultz, Rob. 2012. “Tonal Pairing and the Relative-Key Paradox in the Music of Elliott Smith.” Music Theory Online 18 (4). <Harmony and Melody>
    Stoia, Nicholas. 2010. “Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, C. 1920–1945.” Music Theory Online 16 (3). <Harmony and Melody>

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    12:07 pm
  9. page PMIG Bibliography edited ... Berry, David Carson. “Gambling with Chromaticism? Extra-Diatonic Melodic Expression in the Son…
    ...
    Berry, David Carson. “Gambling with Chromaticism? Extra-Diatonic Melodic Expression in the Songs of Irving Berlin,” Theory and Practice 26 (2001): 21–85. <Harmony and Melody> <Lyrics and text> <Meaning and signification>
    Berry, David Carson. “The Popular Songwriter as Composer: Mannerisms and Design in the Music of Jimmy Van Heusen,” Indiana Theory Review 21 (2000): 1–51. <Identity> <Form> <Harmony and Melody> <Performance>
    Bourdieu, Pierre, and Jean Claude Passeron. 1990. Reproduction in Education, Society, and Culture. SAGE. <Social and cultural context> <Issues in current popular music>
    Brasky, Jill T. 2010. “Extraordinary Function and the Half-Diminished Seventh in the Song of the Wood Dove.” Music Theory Online 16 (1). <Harmony and Melody>
    Driscoll, Catherine. 2010. “On Popular Music: Teaching Modernist Cultural Studies.” Continuum 24 (4): 517–32. <General Reader>
    Edney, Kathryn Ann Tremper. 2009. “‘Gliding through Our Memories’: The Performance of Nostalgia in American Musical Theater.” MICHIGAN STATE UNIVERSITY. <Performance> <Meaning and signification>

    Forte, Allen. The American Popular Ballad of the Golden Era, 1924-50. Princeton University Press, 1995. <Social and cultural context> <Harmony and Melody> <Form>
    Forte, Allen. “Secrets of Melody: Line and Design in the Songs of Cole Porter.” Musical Quarterly 77/4 (1993): 625-647. <Harmony and Melody> <Lyrics and text>
    Goshert, John Charles. 2000. “‘Punk’ after the Pistols: American Music, Economics, and Politics in the 1980s and 1990s.” Popular Music and Society 24 (1): 85–106. <Social and cultural context>
    Gottlieb, Jack. Funny, It Doesn’t Sound Jewish: How Yiddish Songs and Synagogue Melodies Influenced Tin Pan Alley, Broadway, and Hollywood. SUNY Press, 2004. <Race and ethnicity> <Harmony and Melody>
    Hamm, Charles. “Genre, Performance and Ideology in the Early Songs of Irving Berlin.” Popular Music 13/2 (1994): 143-150. <Performance> <Identity> <Lyrics and text>
    Hamm, Charles. Yesterdays: Popular Song in America. Norton, 1979. <Social and cultural context>
    Jones, John Bush. The Songs that fought the War: Popular Music and the Home Front, 1939-1945. Lebanon, NH: Brandeis University Press, 2006. <Social and cultural context> <Harmony and Melody> <Lyrics and text>
    Lamb, Andrew. 1986. “From Pinafore to Porter: United States-United Kingdom Interactions in Musical Theater, 1879-1929.” American Music 4 (1): 34–49. <Intertextuality> <Social and cultural context>
    Lawson-Peebles, Robert. 1996. Approaches to the American Musical. University of Exeter Press. <General Reader> <Textbook>
    Martin, Peter J. 1997. Sounds and Society: Themes in the Sociology of Music. Manchester University Press. <Social and cultural context>

    Middleton, Richard. “Towards a Theory of Gesture in Popular Song Analysis.” Secondo Convegno Europeo di Analisi Musicale, ed. Rossana Dalmonte and Mario Baroni, 345-350. Università degli Studi di Trento, 1992. <Performance> <Meaning and signification>
    Murphey, Tim. 1989. “The When, Where, and Who of Pop Lyrics: The Listener’s Prerogative.” Popular Music 8 (2): 185–93. <Lyrics and text>
    Standbridge, Alan. “A Question of Standards: ‘My Funny Valentine’ and Musical Intertextuality.” Popular Music History 1/1 (2004): 83-108.
    Tawa, Nicholas E. The Way to Tin Pan Alley: American Popular Song, 1866-1910. Schirmer, 1990. <Intertextuality> <Lyrics and text> <Meaning and signification>
    ...
    <General Reader>
    prog-rockprogressive rock
    Cotner, John S. “Archetypes of Progressiveness in Rock, ca. 1966-1973.” Ph.D. dissertation, University of Wisconsin–Madison, 2001. <Aesthetics> <Harmony and Melody> <Form>
    ...
    Schultz, Rob. 2012. “Tonal Pairing and the Relative-Key Paradox in the Music of Elliott Smith.” Music Theory Online 18 (4). <Harmony and Melody>
    Stoia, Nicholas. 2010. “Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, C. 1920–1945.” Music Theory Online 16 (3). <Harmony and Melody>
    popular song
    Bourdieu, Pierre, and Jean Claude Passeron. 1990. Reproduction in Education, Society, and Culture. SAGE. <Social and cultural context> <Issues in current popular music>
    Brasky, Jill T. 2010. “Extraordinary Function and the Half-Diminished Seventh in the Song of the Wood Dove.” Music Theory Online 16 (1). <Harmony and Melody>
    Driscoll, Catherine. 2010. “On Popular Music: Teaching Modernist Cultural Studies.” Continuum 24 (4): 517–32. <General Reader>
    Edney, Kathryn Ann Tremper. 2009. “‘Gliding through Our Memories’: The Performance of Nostalgia in American Musical Theater.” MICHIGAN STATE UNIVERSITY. <Performance> <Meaning and signification>
    Goshert, John Charles. 2000. “‘Punk’ after the Pistols: American Music, Economics, and Politics in the 1980s and 1990s.” Popular Music and Society 24 (1): 85–106. <Social and cultural context>
    Jones, John Bush. The Songs that fought the War: Popular Music and the Home Front, 1939-1945. Lebanon, NH: Brandeis University Press, 2006. <Social and cultural context> <Harmony and Melody> <Lyrics and text>
    Lamb, Andrew. 1986. “From Pinafore to Porter: United States-United Kingdom Interactions in Musical Theater, 1879-1929.” American Music 4 (1): 34–49. <Intertextuality> <Social and cultural context>
    Lawson-Peebles, Robert. 1996. Approaches to the American Musical. University of Exeter Press. <General Reader> <Textbook>
    Martin, Peter J. 1997. Sounds and Society: Themes in the Sociology of Music. Manchester University Press. <Social and cultural context>
    Murphey, Tim. 1989. “The When, Where, and Who of Pop Lyrics: The Listener’s Prerogative.” Popular Music 8 (2): 185–93. <Lyrics and text>
    Wilder, Alec. 1972. American Popular Song the Great Innovators 1900-1950. Edited by James T. Maher. 1ST ed. Oxford University Press. <General Reader>

    (view changes)
    12:05 pm

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