A-F
Adorno, Theordor. Essays on Music. Ed. Richard Leppert. University of California Press, 2002.
_____. “Music and Language: A Fragment.” https://www.msu.edu/~sullivan/AdornoMusLangFrag.html
Albini, Steve. “The Problem with Music.” http://www.negativland.com/albini.html
Andersen, Mark, and Mark Jenkins. Dance of Days: Two Decades of Punk in the Nation’s Capital. Akashic Press, 2003.
Attali, Jacques. Noise and the Political Economy of Music. University of Minnesota Press, 1985.
_____. “Making Sense of Noise.” Attali Interview with Ian Simmons. 2002. http://www.nthposition.com/makingsenseofnoise.php
Auslander, Philip. Performing Glam Rock: Gender and Theatricality in Popular Music. Ann Arbor: U Michigan P, 2006.
Azenha, Gustavo S. “The Internet and the Decentralisation of the Popular Music Industry: Critical Reflections on Technology, Concentration and Diversification.” Radical Musicology 1 (2006): http://www.radical-musicology.org.uk/2006/Azenha.htm
Azerrad, Michael. Our Band Could be Your Life: Scenes from the American Indie Underground, 1981-1991. New York: Back Bay Books, 2001.
Bangs, Lester. “A Reasonable Guide to Horrible Noise.” Psychotic Reactions and Carburetor Dung. New York: Knopf, 1987. 301-304.
Bennett, Andy. Popular Music and Youth Culture: Music, Identity and Place. New York: St. Martin’s Press, 2000.
Bennett, Andy, Barry Shank, and Jason Toynbee, eds. The Popular Music Studies Reader. New York: Routledge, 2006.
Bennett, Andy, and Richard A. Peterson, eds. Music Scenes: Local, Translocal and Virtual. Nashville: Vanderbilt University Press, 2004.
Bennett, Tony. Rock and Popular Music: Politics, Policies, Instruments. New York: Routledge, 1993.
Biddle, Ian. “Love Thy Neighbour? The Political Economy of Musical Neighbours?” Radical Musicology 2 (2007): http://www.radical-musicology.org.uk/2007/Biddle.htm
Borgo, David. Sync or Swarm: Improvising in a Complex Age. New York: Continuum, 2007.
Borthwick, Stuart, and Ron Moy. Popular Music Genres: An Introduction. New York: Routledge, 2004.
Bottum, J. “The Soundtracking of America.” The Atlantic Monthly 285. 3 (March 2000): 56-70. http://www.theatlantic.com/issues/2000/03/bottum.htm
Brackett, David. Interpreting Popular Music. University of California Press, 2000.
Brummet, Barry. A Rhetoric of Style. Carbondale, IL: Southern Illinois U P, 2008.
Burns, Lori. “Meaning in a Popular Song: The Representation of Masochistic Desire in Sarah McLachlan’s 'Ice'.” Engaging Music: Essays in Music Analysis. Ed. Deborah Stein. New York: Oxford University Press, 2005.
Butterfield, Matthew W. “The Power of Anacrusis: Engendered Feeling in Groove-Based Musics.” Music Theory Online 12.4 (2006): http://mto.societymusictheory.org/issues/mto.06.12.4/mto.06.12.4.butterfield.html
Byrne, David. “David Byrne's Survival Strategies for Emerging Artists—and Megastars.” Wired Magazine 17.1 (12-18-2007).
http://www.wired.com/entertainment/music/magazine/16-01/ff_byrne?currentPage=all
Cecchetto, David. “Vagrant(ana)music: Three (four) Plateaus of a Contingent Music.” Radical Musicology 2 (2007): http://www.radical-musicology.org.uk/2007/Cecchetto.htm
Cepeda, Raquel, ed. And It Don't Stop: The Best American Hip-Hop Journalism of the Past 25 Years. Faber & Faber, 2004.
Chang, Jeff. Can't Stop Won't Stop: A History of the Hip-Hop Generation. Picador, 2005.
_____. Total Chaos: The Art and Aesthetics of Hip-Hop. Basic Civitas Books, 2007.
Clarke, David. “Beyond the Global Imaginary: Decoding BBC Radio 3’s Late Junction.” Radical Musicology 2 (2007): http://www.radical-musicology.org.uk/2007/Clarke.htm
Covach, John. “Destructuring Cartesian Dualism in Musical Analysis.” Music Theory Online 0.1(1994): http://www.societymusictheory.org/mto/issues/mto.94.0.11/mto.94.0.11.covach.art
_____. “Form in Rock Music: A Primer.” Engaging Music: Essays in Music Analysis. Ed. Deborah Stein. New York: Oxford University Press, 2005.
_____. “The Hippie Aesthetic: Cultural Positioning and Musical Ambition in Early Progressive Rock.” http://www-1.unipv.it/britishrock1966-1976/pdf/covacheng.pdf
_____. “Pangs of History in late 1970s New-wave Rock.” Analyzing Popular Music. Ed. Allan Moore. New York: Cambridge University Press, 2003. 173-95.
_____. “Progressive or Excessive? Uneasy Tales from Topographics Oceans.” Progression Magazine (Winter 1996): http://www.ibiblio.org/johncovach/yestales.htm
Covach, John, and Graeme M. Boone, eds. Understanding Rock: Essays in Musical Analysis. Oxford University Press, 1997.
Cox, Christoph, and Daniel Warner, eds. Audio Culture: Readings in Modern Music. New York: Continuum, 2004.
Crafts, Susan D. et al. My Music: Explorations of Music in Daily Life. Wesleyan, 1993.
Dillon. Brian. “Jim DeRogatis : Paul Morley : Let It Blurt : Nothing : Critical Mass.” Spike Magazine. http://www.spikemagazine.com/0600bangsandmorley.php
Dunne, Michael. Metapop: Self-referentiality in Contemporary American Popular Culture. Jackson, MS: U P of Mississippi, 1992.
Eshun, Kodwo. More Brilliant than the Sun. UK: Quartet Books, 1999.
Evens, Aden. Sound Ideas: Music, Machines, and Experience. Minneapolis, MN: U Minnesota P, 2005.
Fitts, Mako. “ ‘Drop It Like It’s Hot’: Culture Industry Laborers and Their Perspectives on Rap Music Video Production.” Meridians: Feminism, Race, Transnationalism 8.1 (2008): 211–235.
Frith, Simon. Performing Rites: On the Value of Popular Music. Cambridge: Harvard U P, 1996.
_____. Popular Music: Critical Concepts in Media and Cultural Studies. New York: Routledge, 2004.
Frith, Simon, and Andrew Goodwin, eds. On Record: Rock, Pop, and the Written Word. New York: Routledge, 2000.
Frith, Simon, Andrew Goodwin, and Lawrence Grossberg, eds. Sound and Vision: The Music Video Reader. New York: Routledge, 1993.
Frith, Simon, Will Straw, and John Street, eds. The Cambridge Companion to Pop and Rock. New York: Cambridge University Press, 2001.
G-L
George, Nelson. Hip Hop America. New York: Penguin, 2005.
Gibson, William. “God's Little Toys: Confessions of a Cut and Paste Artist.” Wired 13.07 (July 2005): http://www.wired.com/wired/archive/13.07/gibson.html
Gracyk, Theodore. Listening to Popular Music: Or, How I Learned to Stop Worrying and Love Led Zeppelin. Ann Arbor: U Michigan P, 2007.
_____. Rhythm and Noise: An Aesthetics of Rock. Durham, NC: Duke UP, 1996.
Gray, Jonathan, Cornel Sandvoss, C. Lee Harrington, eds. Fandom: Identities and Communities in a Mediated World. New York: NYU Press, 2007.
Grossberg, Lawrence. We Gotta Get Out of This Place: Popular Conservatism and Postmodern Culture. New York: Routledge, 1992.
Hebdige, Dick. Subculture: The Meaning of Style. New York: Routledge, 1979. (punk, semiotics)
Hegarty, Paul. Noise/Music: A History. New York: Continuum, 2007.
Hesmondhalgh, David. “Audiences and Everyday Aesthetics: Talking About Good and Bad Music.” European Journal of Cultural Studies 10.4 (2007): 507-27.
_____. “Digitalisation, Music and Copyright.” CRESC Working Papers. January 2007.
_____. “Indie: The Institutional Politics and Aesthetics of a Popular Music Genre.” Cultural Studies 13.1 (1999): 34-61. http://dx.doi.org/10.1080/095023899335365
_____. “Rock History and Visual Culture.” http://flowtv.org/?p=1160
_____. “Subcultures, Scenes or Tribes? None of the Above.” Journal of Youth Studies 8.1 (2005): 21-40.
Hesmondalgh, David, and Keith Negus, eds. Popular Music Studies. London: Arnold, 2002.
Hill, Keith and Marianne Ploger. “The Craft of Musical Communication.”
http://www.musicalratio.com/aboutthecraft.html
_____. “On Affect.” http://www.musicalratio.com/onaffect.html
Hornby, Nick. Songbook. New York: Roverhead Books, 2003.
Inglis, Ian, ed. Performance and Popular Music: History, Place and Time. Burlington, VT: Ashgate, 2006.
James, Robin M. “Deconstruction, Fetishism, and the Racial Contract: On the Politics of ‘Faking It’ in Music.” CR: The New Centennial Review 7.1 (2008): 45-80.
Jenkins, Henry. Fans, Bloggers, and Gamers: Media Consumers in a Digital Age. New York: NYU Press, 2006.
Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts. Cambridge: MIT Press, 2001.
Klosterman, Chuck. Fargo Rock City: A Heavy Metal Odyssey in Rural North Dakota New York: Touchstone, 2001.
_____. Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto. New York: Scribner, 2003.
Kostka, Stefan and Dorothy Payne. Tonal Harmony. 5th ed. McGraw-Hill, 2003.
Lena, Jennifer C. “Social Context and Musical Content of Rap Music, 1979-1995.” Social Forces 85.1 (2006): 479-95.
Lewis Lisa A. The Adoring Audience: Fan Culture and Popular Media. New York: Routledge, 1992.
Lipsitz, George. Footsteps in the Dark: The Hidden Histories of Popular Music. Minneapolis, MN: U Minnisota P, 2007.
M-R
Marcus, Greil. In the Fascist Bathroom: Punk in Pop, 1977-1992. Cambridge: Harvard U P, 1993.
_____. Lipstick Traces: A Secret History of the Twentieth Century. Cambridge: Harvard U P, 1989.
_____. Mystery Train: Images of America in Rock ‘n’ Roll Music. New York: Plume, 1975.
Mason, Moya K. “An Introduction to Theodore Adorno’s Theory of Music and its Social Implications.” 2008. http://www.moyak.com/researcher/resume/papers/var9mkm.html
McFarland, Pancho. “Chicano Rap Roots: Black-Brown Cultural Exchange and the Making of a Genre.” Callaloo 29.3 (2006): 939–955.
McRobbie, Angela. In the Culture Society: Art, Fashion and Popular Music. 1 ed. New York: Routledge, 1999.
McNeil, Legs. Please Kill Me: The Uncensored Oral History of Punk. Grove Press, 2006.
Middleton, Richard. “‘Last Night a DJ Saved My Life’: Avians, Cyborgs and Siren Bodies in the Era of Phonographic Technology.” Radical Musicology 1 (2006):
http://www.radical-musicology.org.uk/2006/Middleton.htm
Middleton, Richard, ed. Reading Pop: Approaches to Textual Analysis in Popular Music. New York: Oxford University Press, 2000.
Miklitsch, Robert. From Hegel to Madonna: Towards a General Economy of ‘Commodity Fetishism’. Albany, NY: SUNY Press, 1998.
_____. “Rock 'N' Theory: Autobiography, Cultural Studies, and the "Death of Rock".” Postmodern Culture 9.2 (1999): http://www.iath.virginia.edu/pmc/text-only/issue.199/9.2miklitsch.txt
Miller, Paul D. Rhythm Science. Cambridge: MIT Press, 2004.
Miller, Paul D. ed. Sound Unbound: Sampling Digital Music and Culture. Cambridge: MIT Press, 2008.
Mitchell, Tony, ed. Global Noise: Rap and Hip Hop Outside the USA. Hanover, CT: Wesleyan University Press, 2001.
Moore, Allan, ed. Analyzing Popular Music. New York: Cambridge University Press, 2003.
Morley, Paul. Words and Music: A History of Pop in the Shape of a City. Athens, GA: University of Georgia Press, 2005.
Neal, Mark Anthony. That's the Joint!: The Hip-Hop Studies Reader. New York: Routledge, 2004.
Negus, Keith. Popular Music in Theory: An Introduction. Hanover, NH: Wesleyan U P, 1996.
Nehring, Neil. Popular Music, Gender, and Postmodernism: Anger is an Energy. Thousand Oaks, CA: Sage Publications, 1997.
Neill, Ben. “Pleasure Beats: Rhythm and the Aesthetics of Current Electronic Music.” Leonardo Music Journal 12 (2002): 3–6.
Paddison, Max. Adorno’s Aesthetics of Music. New York: Cambridge U P, 1993.
Perry, Imani. Prophets of the Hood: Politics and Poetics in Hip Hop. Durham, NC: Duke University Press, 2004.
Peddle, Ian. The Resisting Muse: Popular Music and Social Protest. Ashgate, 2006.
Penman, Ian. Vital Signs: Music, Movies, and Other Manias. London: Serpant’s Tail, 1998.
Perlman, Marc. “Idioculture: De-Massifying the Popular Music Audience.” Review of My Music by Crafts, et al. Postmodern Culture 4.1 (1993): http://www.iath.virginia.edu/pmc/text-only/issue.993/review-7.993
Pinch, Trevor, and Frank Trocco. Analog Days: The Invention and Impact of the Moog Synthesizer. Cambridge: Harvard U P, 2004.
Polan, Dana. Rev. of Noise: The Political Economy of Music by Jacques Attali; Brian Massumi. SubStance 17.3 (1988): 56-58.
Pough, Gwendolyn D. Home Girls Make Some Noise!: Hip-hop Feminism Anthology. Parker Publishing, 2007.
Prendergast, Mark. The Ambient Century: From Mahler to Moby—The Evolution of Sound in the Electronic Age. Introduction by Brian Eno. New York: Bloomsbury, 2001.
Reid-Brinkley Shanara R. “The Essence of Res(ex)pectability: Black Women’s Negotiation of Black Femininity in Rap Music and Music Video.” Meridians: Feminism, Race, Transnationalism 8.1 (2008): 236–260.
Rose, Tricia. Noise: Rap Music and Black Culture in Contemporary America. 1st ed. Wesleyan, 1994.
The RZA. Wu Tang Manual. Riverhead Trade, 2005.
S-Z
Scher, Martin. “Music, Corporate Power, and Unending War.” Cultural Critique 60 (Spring 2005): 23-67.
Schwarz, David. Listening Subjects: Music, Psychoanalysis, Culture. Durham, NC: Duke University Press, 1997.
Shenoy, Arun and Ye Wang. “Key, Chord, and Rhythm: Tracking of Popular Music Recordings.” Computer Music Journal 29.3 (Fall 2005): 75–86.
Shuker, Roy. Popular Music: The Key Concepts 2nd ed. New York: Routledge, 2005.
_____. Understanding Popular Music. 2 ed. New York: Routledge, 2001.
Sinker, Mark. “The Rise and Sprawl of Horrible Noise.” 2001-02. http://web.pitas.com/tashpile/noise1.html
Spitz, Marc. We Got the Neutron Bomb: The Untold Story of L.A. Punk. Three Rivers Press, 2001.RJoseph. Elements of Music. 2nd Ed. Prentice Hall, 2007.
Swiss, Thomas, John M. Sloop, and Andrew Herman. Mapping the Beat: Popular Music and Contemporary Theory. New York: Blackwell, 1997.
Taylor, Timothy D. Strange Sounds: Music, Technology, and Culture. New York: Routledge, 2001.
Thompson, Stacy. Productions: Unfinished Business. Albany, NY: SUNY Press, 2004.
____. “Crass Commodities.” Popular Music and Society 27.3 (2004): 307-322.
____. “Market Failure: Punk Economics, Early and Late.” College Literature (Spring 2001): 48-64.
Toft, Robert. “Rendering the Sense More Conspicuous: Grammatical and Rhetorical Principles of Vocal Phrasing in Art and Popular/Jazz Music.” Music and Letters 85.3 (2004): 368-87.
Toynbee, Jason. Making Popular Music: Musicians, Creativity and Institutions. New York: Oxford University Press, 2000.
Turek, Ralph. The Elements of Music: Concepts and Applications, Vol. 2. 2nd ed. McGraw-Hill, 1995.
Vibe History. 1st ed. Three Rivers Press, 1999.
Warner, Timothy. Pop Music: Technology and Creativity. Burlington, VT: Ashgate, 2003.
Watkins, S. Craig. Hip Hop Matters: Politics, Pop Culture, and the Struggle for the Soul of a Movement. Beacon Press, 2006.
Weheliye, Alexander G. “Posthuman Voices in Contemporary Black Popular Music.” Social Text 20.2 (2002): 21-46.
Whiteley, Sheila. The Space Between the Notes: Rock and the Counter-culture. New York: Routledge, 1992.
_____. Women and Popular Music: Sexuality, Identity, and Subjectivity. New York: Routledge, 2000.
Whiteley, Sheila, Andy Bennett, and Stan Hawkins, eds. Music, Space and Place: Popular Music and Cultural Identity. Burlington, VT: Ashgate, 2004.
Wojcik, Pamela Robertson. Soundtrack Available: Essays on Film and Popular Music. Durham, NC: Duke U P, 2001.
Young, Richard. Music, Popular Culture, Identities. New York: Rodopi, 2002.
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