Danielsen, Anne. 2008, "The Musicalization of 'Reality'. Reality Rap and Rap Reality on Public Enemy's Fear of a Black Planet" i European Journal of Cultural Studies, vol. 11/4, s. 405 - 421.
Espeland, Wigdis. 2006. "autensitet som fenomen og analytisk omgrep i h?ve til den materielle og ikkje-materielle kulturarven, Norsk Folkemusikkslags skrifter, nr. 19, s. 13 - 33.
Feldman, Martha 1995. "Magic Mirrors and the Seria Stage: Thoughts Toward a Ritual View", JAMS 48, s. 423 - 484
Hawkins, Stan. 2001. Musicological Quagmires in Popular Music: Seeds of Detailed Conflict i Popular Musicology Online, 12s
Kvale, Steinar og Svend Brinkmann 2009: Det kvalitative forskningsintervju, oversatt av Tone M. Anderssen og Johan Rygge. Oslo, Gyldendal akademisk.
Kvifte, Tellef. 1999. Fenomenet Asymmetrisk Takt i Norsk og Svensk Folkemusikk, Studia Musicologica Norvegica 25, s. 387-430
Marcus, George. 1995. "Ethnography in/of the World System: The Emergence of Multi-Sited Ethnography”, Annual Review of Anthropology 24: s. 95-117. Artikkelen er tilgjengelig online
Weisethaunet, Hans og Ulf Lindberg, 2010: "Authenticity Revisited: The Rock Critic and the Changing Real" i Popular Music and Society, 33:4. Side 465-485. Artikkelen er tilgjengelig online.
Wadel, Cato: Feltarbeid i egen kultur: En innf?ring i kvalitativt orientert samfunnsforskning, 1991. Flekkefjord: SEEK. Kap. 3, "Feltarbeid som runddans mellom teori, metode og data", side 127-181.
Tekster i emnets kompendium:
Born, Georgina and Hesmondhalgh, David (eds): Western Music and its Others: Difference, Representation, and Appropriation in Music, 2000. Berkeley: University of California Press. s. 1-31. .
Botstein, Leon 2000. "The Search for Meaning in Beethoven: Popularity, Intimacy, and Politics in Historical Perspective", i Scott Burnham and Michael P. Steinberg (ed.): Beethoven and His World, Princeton UP, s. 332 - 366.
Clarke, Eric, 2003. "Music and Psychology" i Clayton, M., Herbert, T. & Middleton R. (red.) The Cultural Study of Music. London: Routledge, s. 113 - 124.
Feld, Steven. 2007. "Dialogic Editing: Interpretin how Kaluli read Sound and Sentiment." Antonius CHM Robben & Jeffrey A. Sluka (eds.) Ethnographic Fieldwork. An Anthropological Reader, Blackwell, s. 417 - 430.
Frith, Simon 1988. "Introduction" og Part 1 i Music for Pleasure. Cambridge: Polity Press, s. 1 - 63.
Fulcher, Jane F. 2007. “Symbolic domination and contestation in French music: Shifting the paradigm from Adorno to Bourdieu”, I: Victoria Johnson, Jane F. Fulcher, and Thomas Ertman (eds.): Opera and Society in Italy and France from Monteverdi to Bourdieu, Cambridge: Cambridge University Press, s. 312-329.
Gilroy, Paul. 1993. The Black Atlantic. Modernity and Double Consciousness. London:Verso, s.1 – 40
Hawkins, Stan. 2009. ‘Pop Subjectivities: Poise and Spectacle ‘ i The British Pop Dandy. Ashgate. s. 37-63.
Hawkins, Stan. 2008. Temporal Turntables: On Temporality and Corporeality in Dance Culture’ i Musicological Identities: Essays in Honor of Susan McClary, Ashgate, s. 121-134.
Hebdige, Dick. 1979. Part One: ‘From culture to hegemony’ i Subculture: The meaning of style, Routledge, s. 1-19.
Martin, Peter. 1995. ‘Introduction: sociology and music’ i Sounds & Society: Themes in the sociology of music, Manchester, s.1-24.
Maus, Fred Everett 2004. “Sexual and Musical Categories”, I: Arved Ashby (ed.): The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology, Rochester: University of Rochester Press, 2004, s. 153-175 (23 s).
McClary, Susan. 1994. “Same as it Ever Was: Youth Culture and Music”, in Microphone Fiends: Youth Music and Youth Culture, A. Ross and T. Rose (eds), s. 29-40.
Pederson, Sanna 2000. “Beethoven and Masculinity”, I: Scott Burnham and Michael P. Steinberg (ed.): Beethoven and His World, Princeton UP, s. 313-331 (19 s).
Sandow, Greg 2004. “A Fine Analysis”, I: Arved Ashby (ed.): The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology, Rochester: University of Rochester Press, s. 54-67 (14 s).
Small, Christopher. 1998. ”Prelude” i Musicking: The Meanings of Performing and Listening, Hanover, NH: Wesleyan University Press, s. 1 – 18, (18 s.)
Webb, Peter. 2004. ‘Interrogating the production of sound and place: the Bristol phenomenon, from Lunatic Fringe to worldwide Massive’ i S. Whiteley, A. Bennett, S. Hawkins (eds.) Music, Space, and Place, s. 66-85.