Autentisitet, kj?nn og identitet i norsk popul?rmusik
Auslander, Philip, 2006. “Musical Personae,” The Drama Review 50/1, pp. 100–19. [The journal is electronically available through BIBSYS]
Bradby, Barbara, 1993. “Sampling sexuality: gender, technology and the body in dance music,” Popular Music 12/2, pp. 155–76. [Available at Fronter. The journal is also electronically available through BIBSYS]
Fast, Susan, 1999. “Rethinking Issues of Gender and Sexuality in Led Zeppelin: A Woman's View of Pleasure and Power in Hard Rock,” American Music 17/3, pp. 245–99. [The journal is electronically available through BIBSYS]
Hval, Jenny, 2013. ”Alt kan repareres: Kj?nnsreparasjoner i samtida,” I Dreamt I Was A Real Boy, pp. 35–41. [Available to read at: http://www.rockheim.no/wp-content/uploads/IDIWARB-katalog-mindre.pdf]
Moore, Allan F., 2002. “Authenticity as Authentication,” Popular Music 21/2, pp. 209–23. [The journal is electronically available through BIBSYS]
?lvik, Jon Mikkel Broch, 2013. “Det vi ser og det vi ikke ser: N?rhet og avstand hos Marit Larsen og Marion Ravn,” I Dreamt I Was A Real Boy, pp. 43–48. [Available to read at: http://www.rockheim.no/wp-content/uploads/IDIWARB-katalog-mindre.pdf]
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Suggestions for Further Reading:
Fast, Susan, 2001. In the Houses of the Holy, kap. 5 (s. 159–201).
Mayhew, Emma, 2004. “Positioning the producer: gender divisions in creative labour and value,” in Music, Space and Place, red. S. Whiteley, A. Bennett og S. Hawkins, pp. 149–62.
McClary, Susan, 2002. Feminine Endings, chapt. 1 (pp. 3–34).
Warwick, Jacqueline, 2004. “He’s got the power: the politics of production in girl group music,” i Music, Space and Place, red. S. Whiteley, A. Bennett og S. Hawkins, s. 191–200.
Tastes and Musical Identities
Bourdieu, P. (1984) ‘Introduction’, in Distinction: a social critique of the judgement of taste. Translated by Nice, R. London: Routeledge, pp. 1-8. [Will be available at Fronter shortly].
Brooks, W. (1982) ‘On Being Tasteless’, Popular Music, 2, pp. 9-18. [The journal is electronically available through BIBSYS]
Hargreaves, D.J., Miell, D. and Macdonald, R.A.R. (2002) ‘What Are Musical Identities, and Why Are They Important?’, in MacDonald, R., Hargreaves, D. and Miell, D. (eds) Musical Identities. New York: Oxford University Press, pp. 1-20. [Will be available at Fronter shortly].
Peterson, R. and Bennett, A. (2004) ‘Introducing Music Scenes’, in Bennett, A. and Peterson, R. (eds) Music Scenes: Local Translocal, and Virtual. Nashville: Vanderbilt University Press, pp. 1-16. [Will be available at Fronter shortly].
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Suggestions for Further Reading:
Bennett, A. (2006) ‘Subcultures or Neotribes?: Rethinking the Relationship between Youth, Style and Musical Taste’, in Bennett, A., Shank, B. and Toynbee, J. (eds) The Popular Music Studies Reader. London and New York: Routledge, pp. 106-113.
Connell, J. and Gibson, C. (2003), ‘Musical Communities: national identity, ethnicity and place’, in Sound Tracks: Popular music, identity and place. New York: Routledge, pp. 117-143.
Frith, S. (1996) ‘The Value Problem in Cultural Studies’, Performing Rites: on the Value of Popular Music. Cambridge: Harvard University Press, pp. 3-20.
Hogwood, C. (2010) ‘Musical identity’, in Walker, G. and Leedham-Green, E. (eds) Identity. New York: Cambridge University Press, pp. 157-183.
Thornton, S. (1995) ‘The Distinctions of Culture without Distinction’, in Club Cultures: Music, Media and Subcultural Capital. Cambridge: Polity, pp. 1–25.
Audiovisell analyse og fortolkning
Hawkins, Stan, 2002. Settling the Pop Score: Pop Texts and Identity Politics (Aldershot, Ashgate), kap. 1 (pp. 1–35) [Will be available at Fronter shortly].
Hawkins, Stan and John Richardson (2007). “Remodeling Britney Spears: Matters of Intoxication and Mediation,” Popular Music and Society, 30. [The journal is electronically available through BIBSYS]
Richardson, John and Claudia Gorbman, 2013. “Introduction,” in Richardson, John, Claudia Gorbman, and Carol Vernallis (eds.) The Oxford Handbook of New Audiovisual Aesthetics. New York and Oxford: Oxford University Press. [Will be available at Fronter shortly].
Sandve, Birgitte (2015). “Unwrapping Norwegianness: politics of difference in Karpe Diem” Popular Music, 34 [The journal is electronically available through BIBSYS]
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Suggestions for Further Reading:
Fast, Susan and Karen Pegley, 2006. “Music and Canadian Nationhood Post 9/11: An Analysis of Music Without Boarders: Live,” Journal of Popular Music Studies, 18, pp. 18–39.
Vernallis, Carol, 2004. Experiencing Music Video (Columbia University Press), Chapt. 1 (pp. 3–26).
DJing and Club Cultures
Bennett, A. (2001) ‘Contemporary Dance Music and Club Cultures’, in Cultures of Popular Music. Berkshire and New York: Open University Press, pp. 118-135. [Will be available at Fronter shortly].
Brewster, B. and Broughton, F. (2000) ‘Introduction: You Should Be Dancing’, in Last Night a DJ Saved My Life: the history of the disc jockey. New York: Grove Press, pp. 1-19. [Available to read at: http://books.google.no/books/about/Last_Night_a_DJ_Saved_My_Life.html?id=Np3dpRhTsxQC&redir_esc=y]
Fikentscher, K. (2000) ‘The Cult and Culture of the DJ’, in You Better Work! A Study of Underground Dance Music in New York City. Hanover: Wesleyan University Press, pp. 33-56. [Available to read at: https://books.google.no/books?id=ALmePvKmNfgC&printsec=frontcover&dq=you+better+work!&hl=en&sa=X&ei=J6StVKjFC8n5UrDmgKAI&ved=0CB4Q6AEwAA#v=onepage&q=you%20better%20work!&f=false].
Gadir, T. (2013) ‘An Aural Account of Research in Edinburgh’, in Dancecult, Journal of Electronic Dance Music Culture, Vol 5(1): https://dj.dancecult.net/index.php/dancecult/article/view/358/363
Malbon, B. (1999) ‘The Dancer from the Dance’, in Clubbing: Dancing, Ecstasy and Vitality. London and New York: Routledge, pp. 70-104. [Will be available at Fronter shortly].
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Suggestions for Further Reading:
Gilbert, J. and Pearson, E. (1999) Discographies: dance music, culture, and the politics of sound. London: Routledge.
Haslam, D. (1997) ‘DJ Culture’, in Redhead, S. (ed.) The Clubcultures Reader: Readings in Popular Cultural Studies. Oxford: Blackwell, pp. 150-61.
Pini, M. (2001) ‘Invisible Women in Increasingly Visible Club Cultures’, in Club Cultures and Female Subjectivity: The Move from Home to House. New York: Palgrave, pp. 23-58.
Reynolds, S. (2008) Energy Flash: into the world of techno and rave culture. London: Picador.
Liveness
Auslander, Philip, 1998, “Seeing is Believing: Live Performance and the Discourse of Authenticity in Rock Culture,” Literature and Psychology, 44(4), 1–26. [The journal is electronically available through BIBSYS]
Frith, Simon, 1986. “Art Versus Technology: The strange case of popular Music,” Media, Culture & society, 8, s. 263–79. [Available at Fronter. The journal is also electronically available through BIBSYS]
Kjus, Yngvar and Anne Danielsen, 2015. “Live Islands in the Seas of Recordings: The Music Experience of Visitors at the ?ya Festival,” Popular Music and Society, 38(5). [The journal is electronically available through BIBSYS]
Porcello, Thomas, 2005. “Music Mediated as Live in Austin: Sound, Technology, and Recording Practice.” In Wired for Sound: Engineering and Technologies in Sonic Cultures, eds. Paul D. Green and Thomas Porcello, pp. 103–17. Middletown, Conn.: Wesleyan University Press. [Electronically available at Google Books].
Wurtzler, Steve, 1992. “‘She Sang Live, But The Microphone Was Turned Off’: The Live, the Recorded and the Subject of Representation,” i Sound Theory, Sound Practice, red. Rick Altman (New York/London: Routledge), s. 87–103. [Electronically available at Google Books].
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Suggestions for Further Reading:
Auslander, Philip, 2008. Liveness: Performance in a Mediatized Culture. London/New York: Routledge.
Bayley, Amanda, 2010: Recorded Music: Performance, Culture and Technology. Cambridge/New York: Cambridge University Press.
Music Analysis with a Focus on Sound, Groove and Technology
Music Analysis
Hawkins, S. (2001) ‘Musicological Quagmires in Popular Music: Seeds of Detailed Conflict’, Popular Musicology Online, (1). [Available at: http://www.popular-musicology-online.com/issues/01/hawkins.html]
Middleton, Richard (1993): ’Popular Music Analysis and Musicology: Bridging the Gap’. Popular Music, 12, pp. 177–90. [The journal is electronically available through BIBSYS]
Moore, Allan F., 2003. “Introduction,” in Analyzing Popular Music, ed. Allan F. Moore, pp. 1–15. Cambridge/New York: Cambridge University Press. [Available at Fronter]
Tagg, P. (1982) ‘Analysing Popular Music: Theory, Method and Practice’, Popular Music, 2, pp. 37-67. [Available at Fronter. The journal is also electronically available through BIBSYS]
Sound and Technology
Br?vig-Hanssen, R., forthcoming. “Listening To or Through Technology: Opaque and Transparent Mediation.” [Available at Fronter].
Br?vig-Hanssen, Ragnhild and Anne Danielsen, 2012. “The Naturalised and the Surreal: Changes in the Perception of Popular Music Sound,” Organised Sound, 18/1 (s. 72–81). Tilgjengelig i Fronter. [The journal is electronically available through BIBSYS]
Ruth Dockwray and Allan F. Moore, 2010. “Configuring the sound-box 1965–1972,” Popular Music, 29(02): 181-197. [The journal is electronically available through BIBSYS]
Rhythm and Groove:
Danielsen, Anne, 2006. Presence and Pleasure: The Funk Grooves of James Brown and Parliament (Middletown, Conn.: Wesleyan University Press), chapt. 3, 4, and 5 (pp. 43–91). [The book can be bought at Akademika or at Amazon.com / Amazon.uk.co]
Butler, M.J. (2001) ‘Turning the Beat Around: Reinterpretation, Metrical Dissonance, and Asymmetry in Electronic Dance Music’, Music Theory Online, 7(6). [The journal is electronically available through BIBSYS]
Clarke, E.F. (2005) ‘Music, Motion, and Subjectivity’, in Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. New York: Oxford University Press, pp. 64-90. [Available at Fronter].
Garcia, L-M. (2005) ‘On and On: Repetition as Process and Pleasure in Electronic Dance Music’, Music Theory Online, 11(4). [Available to read at: http://www.mtosmt.org/issues/mto.05.11.4/mto.05.11.4.garcia.html]
Tagg, P. (1994) ‘From Refrain to Rave: The Decline of Figure and the Rise of Ground’, Popular Music, 13(2), pp. 209–22. [The journal is electronically available through BIBSYS]
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Suggestions for Further Reading:
Butler, M. J. (2006) Unlocking the Groove: rhythm, metre, and musical design in electronic dance music. Bloomington and Indianapolis: Indiana University Press.
Doyle, Peter, 2005. Echo and Reverb: Fabricating Space in Popular Music Recording, 1900–1960. Middletown, Conn.: Wesleyan University Press.
Frith, S. (1996) Performing Rites: on the Value of Popular Music. Cambridge: Harvard University Press.
McClary, Susan and Robert Walser, 1990. “Start Making Sense! Musicology Wrestles with Rock,” in On Record: Rock, Pop, and the Written Word, eds. Simon Frith and Andrew Goodwin (New York: Pantheon Books), s. 277??–92.
Middleton, R. (1990) ‘’Roll Over Beethoven?’ Sites and soundings on the music-historical map’, in Studying Popular Music. Milton Keynes and Philadelphia: Open University Press, pp. 1-33.
Moore, Allan F., 2001. Rock: The Primary Text; Developing a Musicology of Rock. Hants: Ashgate.
Montague, E. (2001) Moving to Music: A Theory of Sound and Physical Action. PhD thesis. University of Pennsylvania. Michigan: UMI.
Walser, Robert, 1995. “Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy.” Ethnomusicology 39/2, pp. 193–217.