Note: Master students must read the three book on the list below;
Note: Bachelor students must read two books from the list below.
? Wikstr?m, P. (2019): The Music Industry: Music in the Cloud. 3rd edition. Malden, MA: Polity.
(This book is particularly relevant for understanding the role of media in the music industry.)
? Kjus, Y. (2018): Live and Recorded: Music Experience in the Digital Millennium. London: Palgrave Macmillan.
(This book is particularly relevant for understanding the role of media for music experience.)
? Spilker, H. T. (2018): Digital Music Distribution: The Sociology of Online Music Streams. London and New York: Routledge.
(This book is particularly relevant for understanding the role of media for music distribution.)
Additional Syllabus:
Edmond, M. 2012. Here We Go Again: Music Videos after YouTube, Television & New Media, XX: 1-16.
Hagen, A. N. (2015): The Playlist Experience: Personal Playlists in Music Streaming Services. Popular Music and Society, 38(5), 625-645.
Hagen, A. N. og Lüders, M. (2017): Social streaming? Navigating music as personal and social. Convergence: The International journal of Research into New Media Technologies, 23(6), 643- 659.
Hawkins, S. & Richardson, J. (2007). Remodelling Britney Spears: Matters of Intoxication and Mediation. Popular Music and Society, 30 (5), 605-629.
Mangaoang, ?. (2019): Chapter 1. Seeing sound: Locating music and YouTube’s symbiosis. Dangerous Mediations. New York: Bloomsbury.
Mangaoang, ?. 2020: ‘I See Music’: Beyoncé, YouTube, and the Question of Signed Songs. In Beyoncé: At Work, On Screen, and Online. Bloomington: Indiana University Press.
Prey, R. (2016): Musica Analytica: The Datafication of Listening. In Nowak, R., & Whelan, A. (Eds.) Networked Music Cultures (pp. 31-48). Palgrave Macmillan UK.
Chapters in The Art of Record Production:
Chapter 3: Horning, S. (2012): The sounds of space: studio as instrument in the era of high fidelity, in Frith, S. and Zagorski-Thomas, S. (eds.) The Art of Record Production. Farnham: Ashgate.
Chapter 4: Zak, Albin (2012): No-fi: crafting a language of recorded music in 1950s pop, in Frith, S. and Zagorski-Thomas, S. (eds.) The Art of Record Production. Farnham: Ashgate.
Chapter 5: Zagorski-Thomas, S. (2012): The US vs the UK sound: meaning in music production in the 1970s, in Frith, S. and Zagorski-Thomas, S. (eds.) The Art of Record Production. Farnham: Ashgate.
Chapter 6: Théberge, P. (2012): The end of the world as we know it: the changing role of the studio in the age of the internet, in Frith, S. and Zagorski-Thomas, S. (eds.) The Art of Record Production. Farnham: Ashgate.
Chapter 11: Moylan, W (2012): .Considering space in recorded music, in Frith, S. and Zagorski-Thomas, S. (eds.)The Art of Record Production. Farnham: Ashgate.
Further Recommended Readings
Baym, N. (2018): Playing to the Crowd: Musicians, Audiences, and the Intimate Work of Connection. New York: New York University Press.
Baade, C. 2015. Radio. In The Routledge Reader in the Sociology of Music. Eds. Shepherd, J. and K. Devine. New York: Routledge: 309-317.
Born, G. 2005. On musical mediation: Ontology, technology and creativity. Twentieth-Century Music 2(1): 7–36.
Br?vig-Hanssen R. & Danielsen A. 2016. Digital Signatures: The Impact of Digitization on Popular Music Sound. Cambridge, Mass: MIT Press. (Excerpt TBC)
Danielsen, A. & Maas?, A. 2009. Mediating Music: materiality and silence in Madonna's 'Don't Tell Me'. Popular Music. 28(2): 127- 142.
Frith, S. and Marshall, L. (eds.) (2004): Music and Copyright. Second edition. New York: Routledge.
García Qui?ones, M., Kassabian, A. & Boschi, E. 2013. Ubiquitous musics: the everyday sounds that we don't always notice. Farnham: Ashgate. (Chapter TBC)
Isakoff, K. and and S. Lacasse (eds.) (2019): The Art of Record Production. Volume 2: Creative Practice in the Studio. Farnham: Ashgate.
Kjus, Y. and Danielsen, A. (2014): Live Islands in the Seas of Recordings: The Music Experience of Visitors at the ?ya Festival. Popular Music and Society, 37(5), 660–679.
Kjus, Y. (2015). Reclaiming the Music: The Power of Local and Physical Music Distribution in the Age of Global Online Services. New Media and Society, s.1-17.
Lindberg U., Gudmundsson, G, Michelsen, M. and Weisethaunet, H. (2005): Rock criticism from the beginning. Chapter 2, 3 and 4.
McGranahan, L. (2010): Mashnography: Creativity, Consumption, and Copyright in the Mashup Community. PhD dissertation. Introduction chapter.
Nowak, R. & Whelan, A. (eds.) (2016): Networked Music Cultures. Contemporary Approaches, Emerging Issues. London: Palgrave Macmillan
Prior, N. 2010. The rise of the new amateurs: Popular music, digital technology, and the fate of cultural production. In Hall, J.R., Grindstaff, L. and Lo, M. (Eds.). Handbook of Cultural Sociology, Routledge.
Sterne, J. 2012. Is Music a Thing? MP3: The Meaning of a Format. Durham: Duke UP.
Weisethaunet, H. and Lindberg, U. (2010): Authenticity Revisited: The Rock Critic and the Changing Real. Popular music and society. 33(4), s 465- 485.