Founded in 1998, the Popular Music Interest Group is dedicated to promoting the scholarly study of popular music through methods including musical analysis and theory. Our goals include:
• Ensuring academic recognition for popular music research
• Encouraging more scholars of music theory to engage popular repertoires
• Encouraging scholars of popular music to make effective use of musical analysis and theory

On our Humanities Commons site, 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!

Popular Music Bibliography

You are currently viewing a revision titled "Popular Music Bibliography", saved on 21 June 2018 at 2:44 pm EDT by Alyssa Barna
Title
Popular Music Bibliography
Content
To find entries specific to a subject, #1 Current subject headings include:

Contents

  • General
    • Analytical Approaches
      • Form
      • Pitch Structures
      • Rhythmic Structures
      • Sound and Technology
      • Timbre and Texture
      • Meaning and Text
      • Vocal Expression
      • Gender and Sexuality
      • Race, Ethnicity and Identity Politics
      • Identity and Authorship
      • Performance
        • Styles and Genres
          • Blues and R&B
          • Blues-rock
          • Classical Influences
          • Country
          • Cover Versions
          • Dance Music
          • Film, TV, and Media
          • Folk
          • Videogames
          • Funk
          • Global Pop
          • Heavy Metal
          • Jazz
            • -new wave -popular song -progressive rock -punk -rap and hip-hop -turntablism Specific Artists and Groups -Beach Boys -Beatles -Bjork -Davis, Miles -Dylan, Bob -Genesis -Grateful Dead -Hendrix, Jimi -Led Zeppelin -McLachlan, Sarah -Mitchell, Joni -Pet Shop Boys -Pink Floyd -Porter, Cole -Presley, Elvis -Radiohead -Rush -Simon, Paul -U2 -Wonder, Stevie -Yes -Zappa, Frank If you add sections or entries, please first check that the citation you're adding is actually missing, then categorize and tag the citation appropriately. If the citation is missing a subject heading above, please add it. -Meaning and signification -Aesthetics -Intertextuality -Rhythm and Meter -Gender and Sexuality -Issues in current popular music -Harmony and Melody -Form -Timbre -Identity -Multimedia -Performance -Social and cultural context -Authenticity -Notation -Canon -Performance -Recording and mediation -Voice -Race and ethnicity -Lyrics and text -Textbook -Review If you add sections or entries, please first check that the citation you're adding is actually missing, then categorize and tag the citation appropriately. If the citation is missing a subject heading above, please add it.  

            General

            pop rock theory and analysis

            Bennett, Andy; Barry Shank; and Jayson Toynbee, eds. The Popular Music Studies Reader. Routledge, 2006. <General Reader> Brackett, David. Interpreting Popular Music. University of California Press, 2000. <Intertextuality> <Meaning and signification> Brackett, David, ed. The Pop, Rock, and Soul Reader, 2nd ed. Oxford University Press, 2008. <General Reader> Covach, John. “Popular Music, Unpopular Musicology.” Rethinking Music, ed. Nicholas Cook and Mark Everist, 452-470. Oxford University Press, 1999. <Issues in current popular music> <Social and cultural context> Covach, John. “We Can Work It Out: Musical Analysis and Rock Music.” Popular Music: Style and Identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 69-71. Centre for Research on Canadian Cultural Industries and Institutions, 1995. <Issues in current popular music> <Social and cultural context> Covach, John. “We Won’t Get Fooled Again: Rock Music and Musical Analysis.” In Theory Only 13 (1997): 119-141. Repr. Keeping Score: Music, Disciplinarity and Culture, ed. Schwarz, Kassabian, and Siegel, 75-89. University of Virginia Press, 1997. <Issues in current popular music> <Social and cultural context> Covach, John, and Graeme M. Boone, eds. Understanding Rock: Essays in Musical Analysis. Oxford University Press, 1997. <General Reader> Covach, John, and Mark Spicer, eds. Sounding Out Rock: Further Essays in Musical Analysis. Forthcoming, University of Michigan Press. <General Reader> Covach, John, and Walter Everett, eds. Traditions, Institutions, and American Popular Music. Contemporary Music Review 19/1 (2000). <General Reader> Cutler, Chris. File under Popular: Theoretical and Critical Writings on Music. Autonomedia, 1992.<Social and cultural context> Everett, Walter. The Foundations of Rock: From “Blue Suede Shoes” to “Suite: Judy Blue Eyes.” Oxford University Press, 2008. <Harmony and Melody> <Rhythm and Meter> <Timbre> Everett, Walter, ed. Expression in Pop-Rock Music, 2nd ed. Routledge, 2008. <General Reader> Everett, Walter. “Pitch Down the Middle.” Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 111-174. Routledge, 2008. <Harmony and Melody> Frith, Simon, Will Straw, and John Street, eds. The Cambridge Companion to Pop and Rock. Cambridge University Press, 2001. <General Reader> Gordon, Christopher P. Form and Content in Commercial Music. Ardsley House, 1992. <Form> <Harmony> <Textbook> Gracyk, Theodore. Listening to Popular Music; Or, How I Learned to Stop Worrying and Love Led Zeppelin. University of Michigan Press, 2007. <Issues in current popular music> <Aesthetics> <Identity> Gracyk, Theodore. Rhythm and Noise: An Aesthetics of Rock. Duke University Press, 1996. <Aesthetics> <Rhythm and Meter> Hamm, Charles. Putting Popular Music in its Place. Cambridge University Press, 1995. <Intertextuality> <Social and cultural context> Hatch, David, and Stephen Millward. From Blues to Rock: An Analytical History of Pop Music. St. Martin’s Press, 1987. <Social and cultural context> Hesmondhalgh, David and Keith Negus, eds. Popular Music Studies. Oxford University Press, 2002. <General Reader> Horn, David. “Some Thoughts on the Work in Popular Music.” The Musical Work: Reality or Invention? ed. Michael Talbot, 14-34. Liverpool University Press, 2000. <Aesthetics> <Meaning and signification> <Intertextuality> Jones, Steve, ed. Tracking: Popular Music Studies. http://www.icce.rug.nl/~soundscapes/DATABASES/TRA/Tracking.shtml <General Reader> Kaminsky, Peter M. “Revenge of the Boomers: Notes on the Analysis of Rock Music.” Music Theory Online 6/3 (2000). http://mto.societymusictheory.org/issues/mto.00.6.3/mto.00.6.3.kaminsky.html Krims, Adam. Music and Urban Geography. Routledge, 2007. <Social and cultural context> Krims, Adam. “What Does It Mean to Analyse Popular Music?” Music Analysis 22/1–2 (2003): 181-209. <Review> Marvin, Elizabeth West, and Richard Hermann, eds. Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies. University of Rochester Press, 1995. <General Reader> Middleton, Richard. “Popular Music Analysis and Musicology: Bridging the Gap.” Popular Music 12/2 (1993): 177-190. <Issues in current popular music> <Social and cultural context> Middleton, Richard. Studying Popular Music. Open University Press, 1990. <Meaning and signification> <Social and cultural context> <Aesthetics> Moore, Allan F. Rock: The Primary Text, 2nd ed. Ashgate, 2001. <Authenticity> <Social and cultural context> Moore, Allan F., ed. Analyzing Popular Music. Cambridge University Press, 2003. <General Reader> Moore, Allan F., ed. Critical Essays in Popular Musicology. Ashgate, 2007. <General Reader> Negus, Keith. Popular Music in Theory: An Introduction. Polity Press, 1996. <Textbook> <Identity> <Social and cultural context> Scott, Derek B., ed. The Ashgate Research Companion to Popular Musicology. Ashgate, 2009. <General Reader> Shuker, Roy. Understanding Popular Music. Routledge, 1994. <Social and cultural context> <Textbook> Sorce, Richard. Music Theory for the Music Professional: A Comparison of Common-Practice and Popular Genres. Ardsley House, 1995. <Textbook> Spicer, Mark. “(Ac)cumulative Form in Pop-Rock Music.” 20th-Century Music 1/1 (2004): 29-64. <Form> <Social and cultural context> Stephenson, Ken. What to Listen For in Rock: A Stylistic Analysis. Yale University Press, 2002. <Textbook> Tagg, Philip. “Analysing Popular Music: Theory, Method, Practice.” Popular Music 2 (1982): 37-69. Repr. Reading Pop, ed. Richard Middleton, 71-103. Oxford University Press, 2000. <Notation> <Meaning and Semiotics> Van der Merwe, Peter. Origins of the Popular Style: the Antecedents of 20th-Century Popular Music. Clarendon Press, 1989. <Social and cultural contexts> <Form> <Harmony and Melody> Whiteley, Sheila. The Space Between the Notes: Rock and the Counter-Culture. Routledge, 1992. <Social and cultural context> <Meaning and signification>

            "popular music" and the canon

            Adorno, Theodor. “On Popular Music.” On Record: Rock, Pop, and The Written Word, ed. Simon Frith and Andrew Goodwin, 301-314. Pantheon Books, 1990. <Form> <Harmony and Melody> <Aesthetics> Cutler, Chris. “What is Popular Music?” Popular Music Perspectives 2 (1985): 3-12. Repr. Cutler, File under Popular: Theoretical and Critical Writings on Music. Autonomedia, 1992. <Social and cultural context> Fink, Robert. “Elvis Everywhere: Musicology and Popular Music Studies at the Twilight of the Canon." American Music 16/2 (1998): 135-179. <Social and cultural context> Gracyk, Theodore. Listening to Popular Music: Or, How I Learned to Stop Worrying and Love Led Zeppelin. University of Michigan Press, 2007. <Issues in current popular music> <Aesthetics> <Identity> Griffiths, Dai. “The High Analysis of Low Music.” Music Analysis 18 (1999): 389-435. Repr. Critical Essays in Popular Musicology, ed. Allan F. Moore, 63-110. <Harmony and Melody> <Issues in current popular music> Horn, David, ed. Popular Music Perspectives 2 (2nd International Conference on Popular Music Studies). Göteborg & Exeter, 1985. <General Reader> Horn, David, and Philip Tagg, eds. Popular Music Perspectives 1 (1st International Conference on Popular Music Studies). Göteborg & Exeter, 1982. <General Reader> International Advisory Editors of Popular Music. “Can We Get Rid of the ‘Popular’ in Popular Music? A Virtual Symposium.” Popular Music 24 (2005): 133-145. Repr. Critical Essays in Popular Musicology, ed. Allan F. Moore, 35-48. <General Reader> Karja, Antti-Ville. “A Prescribed Alternative Mainstream: Popular Music and Canon Formation,” Popular Music 25/1 (2006): 3-19. <Canon> <Aesthetics> <Social and cultural context> Middleton, Richard. “Locating the People: Music and the Popular.” The Cultural Study of Music, ed. Martin Clayton, Trevor Herbert, and Richard Middleton, 251-262. Routledge, 2003. <Social and cultural context> <Meaning and signification> Plasketes, George. B-Sides, Undercurrents, and Overtones: Peripheries to Popular in Music, 1960 to the Present. Ashgate, 2009. <Canon> Regev, Motti. “The ‘Pop-Rockization’ of Popular Music.” Popular Music Studies, ed. David Hesmondhalgh and Keith Negus, 251-264. Arnold, 2002. <Canon> <Aesthetics> <Authenticity> Regev, Motti. “Producing Artistic Value: The Case of Rock Music.” Sociological Quarterly 35/1 (1994): 85-102. <Social and cultural context> <Aesthetics> <Authenticity> Wyn Jones, Carys. The Rock Canon: Canonical Values in the Reception of Rock Albums. Ashgate, 2008. <Canon> <Aesthetics> <Authenticity>

            Undergraduate Pop-music Textbooks

            Campbell, Michael. And the Beat Goes On: An Introduction to Popular Music in America, 1840 to Today, 2nd ed. Wadsworth, 2005. <Textbook> Campbell, Michael, and James Brody. Rock and Roll: An Introduction, 2nd ed. Schirmer, 2007. <Textbook> Charlton, Katherine. 2010. Rock Music Styles: A History, 6th ed. McGraw-Hill <Textbook> Covach, John. What’s That Sound? An Introduction to Rock and its History. Norton, 2006. <Textbook> Friedlander, Paul. Rock and Roll: A Social History. Westview Press, 1996. <Textbook> Garofalo, Reebee. Rockin’ Out: Popular Music in the USA, 4th ed. Prentice Hall, 2007. <Textbook> Kastin, David. I Hear America Singing: An Introduction to Popular Music. Prentice Hall, 2002. <Textbook> Starr, Larry, and Christopher Waterman. American Popular Music: from Minstrelsy to Mp3, 2nd ed. Oxford University Press, 2006. <Textbook> Stuessy, Joe. Rock and Roll: Its History and Stylistic Development, 5th ed. Prentice Hall, 2005. <Textbook> Szatmary, David P. Rockin’ in Time: A Social History of Rock and Roll, 5th ed. Prentice Hall, 2003. <Textbook>

            Jazz Theory Textbooks

            Baker, David. Jazz Improvisation, 2nd ed. Alfred, 1988. <Textbook> Baker, David. Advanced Improvisation. Rev. ed., 2 vols. Alfred, 1990. <Textbook> Benward, Bruce, and Joan Wildman. Jazz Improvisation in Theory and Practice. William C. Brown, 1984. <Textbook> Boling, Mark. The Jazz Theory Workbook. Advance Music, 1993. <Textbook> Elsen, Frans. Jazz Harmony At the Piano: Practical Harmony Method for the Jazz Musician. The Royal Conservatory, 2001. <Textbook> Haerle, Dan. The Jazz Language. Alfred, 1982. <Textbook> Jaffe, Andy. Jazz Harmony, 2nd ed. Advance Music, 1996. <Textbook> Larson, Steve. Analyzing Jazz: A Schenkerian Approach. 2 vols. Pendragon Press, 2009. <Textbook> Lawn, Richard J. and Hellmer, Jeffrey L. Jazz Theory and Practice. Alfred, 1996. <Textbook> Levine, Mark. The Jazz Theory Book. Sher Music, 1995. <Textbook> Liebman, Dave. A Chromatic Approach to Jazz Harmony and Melody. Advance Music, 1991. <Textbook> Ligon, Bert. Jazz Theory Resources: Tonal, Harmonic, Melodic and Rhythmic Organization of Jazz. Hal Leonard, 2001. <Textbook> Mehegan, John. Jazz Improvisation. Vol. 1: Tonal and Rhythmic Principles; Vol. 2: Jazz Rhythm and the Improvised Line; Vol. 3: Swing and Early Progressive Piano Styles; Vol. 4: Contemporary Piano Styles . Watson-Guptill, 1959, 1962, 1964, 1965. <Textbook> Rawlins, Robert, and Nor Eddine Bahha. Jazzology: The Encyclopedia of Jazz Theory for All Musicians. Hal Leonard, 2005. <Textbook> Reeves, Scott. Creative Jazz Improvisation, 3rd ed. Prentice Hall, 2000. <Textbook> Russell, George. The Lydian Chromatic Concept of Tonal Organization for Improvisation. 4th ed., Concept, 2001. <Textbook> Schenkel, Steve. The Tools of Jazz. Prentice-Hall, 1983. <Textbook> Spitzer, Peter. The Jazz Theory Handbook. Mel Bay, 2001. <Textbook>

            Music 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

            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> 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 Structures

            Biamonte, Nicole. “Triadic Modal and Pentatonic Patterns in Rock Music.” Music Theory Spectrum 32/2 (2010). <Harmony and Melody> Björnberg, Alf. “On Aeolian Harmony in Contemporary Popular Music.” In Critical Essays in Popular Musicology, ed. Allan F. Moore, 275-282. Ashgate, 2007. <Harmony and Melody> Bobbitt, Richard. Harmonic Technique in the Rock Idiom: The Theory and Practice of Rock Harmony. Wadsworth Publishing Co., 1976. <Harmony and Melody> <Aesthetics> Bronson, Bertrand. “Folksong and the Modes.” Musical Quarterly 32/1 (1946): 37–49. <Harmony and Melody> Burns, Gary. “A Typology of ‘Hooks’ in Popular Records.” Popular Music 6 (1987): 1-20. <Form> <Harmony and Melody> Burns, Lori. “Analytic Methodologies for Rock Music: Harmonic and Voice-Leading Strategies in Tori Amos’s ‘Crucify.’” Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 63-92. Routledge, 2008. <Harmony and Melody> Carter, Paul Scott. “Retrogressive Harmonic Motion as Structural and Stylistic Characteristic of Pop-Rock Music.” Ph.D. dissertation, University of Cincinnati College–Conservatory of Music, 2005. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1116202928 <Harmony and melody> <Aesthetics> Capuzzo, Guy. “Neo-Riemannian Theory and the Analysis of Pop-Rock Music.” Music Theory Spectrum 26/2 (2004): 177-199. <Harmony and melody> Capuzzo, Guy. “Sectional Tonality and Sectional Centricity in Rock Music.” Music Theory Spectrum 31/1 (2009). <Form> <Harmony and Melody> Doll, Christopher. “Listening to Rock Harmony.” Ph.D. dissertation, Columbia University, 2007. <Harmony and Melody> <Performance> 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> Morss, Benjamin M. “Pitch-Skipping in Rock Music.” Ph.D. dissertation, University of California at Davis, 2000. <Harmony and Melody> 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> Winkler, Peter K. “Toward a Theory of Popular Harmony.” In Theory Only 4/2 (1978), 3-26. Repr. Critical Essays in Popular Musicology, ed. Allan F. Moore, 251-274. Ashgate, 2007. <Harmony and Melody>

            Rhythmic Structures

            Adams, Kyle. 2009. “On the Metrical Techniques of Flow in Rap Music.” Music Theory Online 15 (5). <Race and ethnicity> <Rhythm and Meter> Baur, Steven. “Ringo Round Revolver: Rhythm, Timbre, and Tempo in Rock Drumming.” Every Sound There Is: The Beatles’ Revolver and the Transformation of Rock and Roll, ed. Russell Reising, 171-182. Ashgate, 2002. <Rhythm and Meter> <Timbre> Benadon, Fernando. “Slicing the Beat: Jazz Eighth-Notes as Expressive Microrhythm.” Ethnomusicology 50/1 (2006): 73–98. <Rhythm and Meter> <Performance> Brackett, John. “Examining Rhythmic and Metric Practices in Led Zeppelin’s Musical Style. Popular Music 27/1 (2008): 53-76. <Rhythm and Meter> <Aesthetics> Brownell, John. “The Changing Same: Asymmetry and Rhythmic Structure in Repetitive Idioms.” Ph.D. dissertation, York University, 2003. <Rhythm and Meter> <Form> Butler, Mark J. “Turning the Beat Around: Reinterpretation, Metrical Dissonance, and Asymmetry in Electronic Dance Music.” Music Theory Online 7.6 (2001). http://mto.societymusictheory.org/issues/mto.01.7.6/mto.01.7.6.butler.html <Social and cultural context> <Form> <Rhythm and Meter> <Embodiment> ———. 2000. “Music as Action: Techno and the Perception of Agency.” In Semiotics 1999: Proceedings of the Twenty-Fourth Annual Meeting of the Semiotic Society of America, edited by Scott Simpkins, C. W. Spinks, and John Deely, 303–14. New York: Peter Lang Publishing. <Meaning and signification> <Rhythm and Meter> ———. 2005. “Hearing Kaleidoscopes: Embedded Grouping Dissonance in Electronic Dance Music.” Twentieth-Century Music 2 (02): 221–43. <Rhythm and Meter> Butterfield, Matthew. 2010. “Variant Timekeeping Patterns and Their Effects in Jazz Drumming.” Music Theory Online 16 (4). <Rhythm and Meter> <Performance> ———. “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 <Rhythm and Meter> <Form> <Performance> <Embodiment> Commentary by Fernando Benadon, 13/1 (2007). http://mto.societymusictheory.org/issues/mto.07.13.1/mto.07.13.1.benadon.html <Review> <Rhythm and Meter> Response by Butterfield, 13/3 (2007). http://mto.societymusictheory.org/issues/mto.07.13.3/mto.07.13.3.butterfield.html <Review> <Rhythm and Meter> Collier, Geoffrey L., and James Lincoln Collier. “Microrhythms in Jazz: A Review of Papers.” Annual Review of Jazz Studies 8 (1996): 117–139. <Review> <Rhythm and Meter> Danielsen, Anne, ed. Musical Rhythm in the Age of Digital Reproduction. Ashgate, 2010. <Recording and mediation> <Rhythm and Meter> <General Reader> Friberg, Anders, and Andreas Sundström. “Swing Ratios and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern.” Music Perception 19/3 (2002): 333-349. <Rhythm and Meter> <Performance> Hesselink, Nathan D. 2013. “Radiohead’s ‘Pyramid Song’: Ambiguity, Rhythm, and Participation.” Music Theory Online 19 (1). <Rhythm and Meter> <Performance> Janata, Petr, Stefan T. Tomic, and Jason M. Haberman. 2012. “Sensorimotor Coupling in Music and the Psychology of the Groove.” Journal of Experimental Psychology: General 141 (1): 54–75. <Rhythm and Meter> <Aesthetics> <Embodiment> Keil, Charles. “The Theory of Participatory Discrepancies: A Progress Report.” Ethnomusicology 39/1 (1995): 1–19. <Review> <Rhythm and Meter> Keil, Charles, and Steven Feld. Music Grooves: Essays and Dialogues. University of Chicago Press, 1994. <General Reader> <Rhythm and Meter> McCandless, Gregory R. 2013. “Metal as a Gradual Process: Additive Rhythmic Structures in the Music of Dream Theater.” Music Theory Online 19 (2). <Rhythm and Meter> <Form> McClary, Susan. “Rap, Minimalism and Structures of Time in Late Twentieth-Century Culture.” Audio Culture: Readings in Modern Music, ed. Christoph Cox and Daniel Warner, 289-298. Continuum, 1994. <Social and cultural context> <Rhythm and Meter> Neal, Jocelyn R. “The Metric Makings of a Country Hit.” Reading Country Music: Steel Guitars, Opry Stars, and Honky-Tonk Bars, ed. Cecelia Tichi, 322-337. Duke University Press, 1998. <Rhythm and Meter> Nelson, Angela M. S., ed. “This is How We Flow”: Rhythm in Black Cultures. University of South Carolina Press, 1999. <Rhythm and Meter> <General Reader> Prögler, Joseph A. “Searching for Swing: Participatory Discrepancies in the Jazz Rhythm Section.” Ethnomusicology 39/1 (1995): 21–54. <Performance> <Rhythm and Meter> <Embodiment> Osborn, Brad. 2010. "Beats that Commute: Algebraic and Kinesthetic Models for Math Rock Grooves." Gamut 3, no. 1. 2010. <Rhythm> Schleifer, Ronald. 1999. “‘What Is This Thing Called Love?’: Cole Porter and the Rhythms of Desire.” Criticism 41 (1): 7–23. <Rhythm and Meter> <Meaning and signification> <Lyrics and text> Schutz, Michael, and Fiona Manning. 2012. “Looking Beyond the Score: The Musical Role of Percussionists’ Ancillary Gestures.” Music Theory Online 18 (1). <Rhythm and Meter> <Performance> Stewart, Alexander. “Funky Drummer: New Orleans, James Brown, and the Rhythmic Transformation of American Popular Music.” Popular Music 19/3 (2000): 293-318. <Rhythm and Meter> <Social and cultural context> <Race and ethnicity> Stewart, Michael. “The Feel Factor: Music with Soul.” Electronic Musician, October 1987, 57–65. <Rhythm and Meter> <Embodiment> Temperley, David. “Syncopation in Rock: A Perceptual Perspective.” Popular Music 18/1 (1999): 19-40. <Rhythm and Meter> Waadeland, Carl Haakon. 2001. “‘It Don’t Mean a Thing If It Ain’t Got That Swing’– Simulating Expressive Timing by Modulated Movements.” Journal of New Music Research 30 (1): 23. <Rhythm and Meter> <Performance> Witek, Maria A. G., Eric F. Clarke, Mikkel Wallentin, Morten L. Kringelbach, and Peter Vuust. 2014. “Syncopation, Body-Movement and Pleasure in Groove Music.” PLoS ONE 9 (4): e94446. <Rhythm and Meter> <Embodiment> <Performance> Yako, Masato. “Classification of Rhythm Patterns.” Popular Music: Intercultural Interpretations (IASPM 9th International Conference), ed. Mitsui Toru, 398-411. Kanazawa University, 1998. <Rhythm and Meter>

            Sound 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> Théberge, Paul. “Plugged In: Technology and Popular Music.” The Cambridge Companion to Pop and Rock, ed. Simon Frith, Will Straw, and John Street, 3-25. Cambridge University Press, 2001. <Recording and mediation> Van Leeuwen, Theo. Speech, Music, Sound. St. Martin's Press, 1999. <Recording and mediation> <Voice> <Aesthetics> Zak, Albin. The Poetics of Rock: Cutting Tracks, Making Records. University of California Press, 2001. <Form> <Recording and mediation>

            Timbre and Texture

            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. <Recording and mediation> <Timbre> 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> Bowman, Robert M. “The Stax Sound: A Musicological Analysis.” Popular Music 14/3 (1995): 285-320. <Social and cultural context> <Timbre> Eidsheim, Nina. “Synthesizing Race: Towards an Analysis of the Performativity of Vocal Timbre.” TRANS 13. http://www.sibetrans.com/trans/a57/synthesizing-race- towards-an-analysis-of-the-performativity-of-vocal-timbre. 2009. <timbre><race> Everett, Walter. “Painting their Room in a Colorful Way.” Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four, ed. Kenneth Womack and Todd F. Davis, 71-95. State University of New York Press, 2006. <Timbre> <Meaning and signification> Fales, Cornelia. “Short-Circuiting Perceptual Systems: Timbre in Ambient and Techno Music.” Wired for Sound: Engineering and Technologies in Sonic Cultures, ed. Paul D. Greene and Thomas Porcello, 156-180. Wesleyan University Press, 2004. Greene, Paul D., and Thomas Porcello, eds. Wired for Sound: Engineering and Technologies in Sonic Cultures. Wesleyan University Press, 2005. <Timbre> <Recording and mediation> Harrison, Frederick W. “West Meets East, or How the Sitar Came to Be Heard in Western Pop Music.” Soundscapes 4 (2001). http://www.icce.rug.nl/~soundscapes/VOLUME04/West_meets_east.shtml <Timbre> <Social and cultural context> <Race and ethnicity> Heidemann, Kate. 2016. “A System for Describing Vocal Timbre in Popular Song.” Music Theory Online 22/1. <timbre><identity> Moore, Allan F. “The Textures of Rock.” Secondo Convegno Europeo di Analisi Musicale, ed. Rossana Dalmonte and Mario Baroni, 341-344. Università degli Studi di Trento, 1992. <Timbre> Mortensen, Tore. “Rockanalysens parametre. I: Sound og soundscapes.” Col legno 1 (1992): 45-52. <Timbre> Olwage, Grant. “The Class and Colour of Tone: An Essay on the Social History of Vocal Timbre.” Ethnomusicology Forum 13, no. 2: 203–26. 2004. <timbre><identity> Overduin, Jan, and James Overduin. “The Pipe Organ in Rock Music of the 1970s.” Diapason 87/9 (1996): 18-21. <Timbre> <Social and cultural context> Phelps, Thomas, and Ralf von Appen, eds. Pop-Sounds: Klangtexturen in der Pop- und Rockmusik. Transcript Verlag, 2003. <Timbre> <General Reader> Stewart, Alexander. “Funky Drummer: New Orleans, James Brown, and the Rhythmic Transformation of Popular Music.” Popular Music 19 (2000): 293-318. <Timbre> <Rhythm and Meter> <Race and ethnicity> Tagg, Philip. “Subjectivity and Soundscapes, Motorbikes and Music.” Soundscapes: Essays on Vroom and Moo, 48-66. <Timbre> <Embodiment> Valdez, Stephen K. “The Development of the Electric Guitar Solo in Rock Music, 1954-1971.” D.M.A. dissertation, University of Oregon, 1992. <Timbre> <Recording and mediation> Waksman, Steve. Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience. Harvard University Press, 1999. <Timbre> <Gender and sexuality>

            Meaning and Text

            Brackett, David. “James Brown’s ‘Superbad’ and the Double-Voiced Utterance.” Interpreting Popular Music, 108-156. University of California Press, 2000. <Meaning and signification> <Race and ethnicity> Frith, Simon. “Why Do Songs Have Words?” Contemporary Music Review 5 (1989): 77-96. <Meaning and signification> <Lyrics and text> Griffiths, Dai. “From Lyric to Anti-Lyric: Analyzing the Words in Pop Song.” Analyzing Popular Music, ed. Allan F. Moore, 39-59. Cambridge University Press, 2003. <Lyrics and text> Lacasse, Serge. “Intertextuality and Hypertextuality in Recorded Popular Music.” The Musical Work: Reality or Invention? ed. Michael Talbot, 35-58. Liverpool University Press, 2000. <Intertextuality> <Lyrics and text> <Meaning and signification> Middleton, Richard. “Pop, Rock, and Interpretation.” The Cambridge Companion to Pop and Rock, ed. Simon Frith, Will Straw, and John Street, 213-225. Cambridge University Press, 2001. <Meaning and signification> <Lyrics and text> Middleton, Richard, ed. Reading Pop: Approaches to Textual Analysis in Popular Music. Oxford University Press, 2000. <Lyrics and text> <General Reader> Montgomery, David. “The Rock Concept Album: Context and Analysis.” Ph.D. dissertation, University of Toronto, 2002. <Form> <Lyrics and text> Moore, Allan F. “The Persona-Environment Relation in Recorded Song.” Music Theory Online 11/4 (2005). <Identity> <Lyrics and text> <Recording and mediation> Springer, Robert, ed. The Lyrics in African American Popular Music. University of Metz, 2000. <Lyrics and text> <Race and ethnicity> <General Reader> Tagg, Philip. Fernando the Flute: Analysis of Musical Meaning in the ABBA Mega-Hit. Institute of Popular Music, 1992. <Meaning and signification> <Timbre> Tagg, Philip. “Introductory Notes to the Semiotics of Music.” Unpublished ms, 1999. http://tagg.org/xpdfs/semiotug.pdf <Meaning and signification>

            Vocal Expression

            Antelyes, Peter. “Red Hot Mamas: Bessie Smith, Sophie Tucker, and the Ethnic Maternal Voice in American Popular Song.” Embodied Voices: Representing Female Vocality in Western Culture,ed Leslie C. Dunn and Nancy A. Jones, 212-229. Cambridge University Press, 1994. <Race and ethnicity> <Voice> <Gender and sexuality> Auner, Joseph. “‘Sing it for Me’: Posthuman Ventriloquism in Recent Popular Music. Journal of the Royal Musical Association 128/1 (2003): 98-122. <Recording and mediation> <Voice> Bauer, William. “Billie Holiday and Betty Carter: Emotion and Style in the Jazz Vocal Line.” Annual Review of Jazz Studies 6 (1993): 99-152. <Harmony and melody> <Timbre> <Voice> <Performance> Burns, Lori. “Feeling the Style: Vocal Gesture and Musical Expression in Billie Holiday, Bessie Smith, and Louis Armstrong.” Music Theory Online 11/3 (2005). http://mto.societymusictheory.org/issues/mto.05.11.3/mto.05.11.3.burns.html. <Voice> <Meaning and signification> <Race and ethnicity> <Performance> Goldmark, Daniel. “Stuttering in American Popular Song, 1890-1930.” Sounding Off: Theorizing Disability in Music, Neil Lerner and Joseph N. Straus, eds., 91-105. Routledge, 2006. <Voice> <Timbre> <Social and cultural context> LaCasse, Serge. “‘Listen to My Voice’: The Evocative Power of Vocal Staging in Recorded Rock Music and Other Forms of Vocal Expression.” Ph.D. dissertation, University of Liverpool, 2000. http://www.mus.ulaval.ca/lacasse/texts/THESIS.pdf <Voice> <Timbre> <Performance> Middleton, Richard. “Rock Singing.” The Cambridge Companion to Singing, ed. John Potter, 28-41. Cambridge University Press, 2000. <Voice> <Timbre> Rischar, Richard Allen. “One Sweet Day: Vocal Ornamentation and Style in the African-American Popular Ballad, 1991-1995. Ph.D. dissertation, University of North Carolina at Chapel Hill, 2000. <Race and ethnicity> <Voice> <Harmony and melody> Wise, Timothy. “Yodel Species: A Typology of Vocal Effects in Popular Music Vocal Styles.” Radical Musicology 2 (2007). http://www.radical-musicology.org.uk/2007/Wise.htm. <Voice> <Timbre>

            Gender and Sexuality

            Amico, Stephen. “‘I Want Muscles’: House Music, Homosexuality and Masculine Signification.” Popular Music 20/3 (2001): 359-378. <Gender and sexuality> <Meaning and signification> Bannister, Matthew. 2006. “‘Loaded’: Indie Guitar Rock, Canonism, White Masculinities.” Popular Music 25 (1): 77–95. <Gender and sexuality> <Canon> <Identity> Barkin, Elaine, and Lydia Hamessley, eds. Audible Traces: Gender, Identity, and Music. Los Angeles: Carciofoli. 1999. <Gender and sexuality> <General Reader> Bradby, Barbara. “Sampling Sexuality: Gender, Technology, and the Body in Dance Music.” Popular Music 12/2 (1993): 155-176. <Embodiment> <Gender and sexuality> <Recording and mediation> Burns, Lori. “Genre, Gender, and Convention Revisited: k.d. lang's Cover of Cole Porter’s ‘So in Love.’” Repercussions 7-8 (1999-2000): 299-325. <Gender and sexuality> <Social and cultural context> <Intertextuality> Burns, Lori. “‘Joanie’ Get Angry: k. d. lang’s Feminist Revision.” Understanding Rock, ed. John Covach and Graeme M. Boone, 93-112. Oxford University Press, 1997. <Gender and sexuality> <Meaning and signification> <Intertextuality> Burns, Lori, and Melissa Lafrance, eds. Disruptive Divas: Feminism, Identity, and Popular Music. Routledge, 2002. <Gender and sexuality> <General Reader> Cohen, Sarah. “Popular Music, Gender, and Sexuality.” The Cambridge Companion to Pop and Rock, ed. Simon Frith, Will Straw, and John Street, 226-242. Cambridge University Press, 2001. <Gender and sexuality> Cook, Susan C. “ ‘R-E-S-P-E-C-T (find out what it means to me)’: Feminist musicology and the abject popular.” Women & Music 5 (2001): 140-145. <Gender and sexuality> <Performance> <Identity> Cusick, Suzanne. “On Musical Performances of Gender and Sex.” Audible Traces: Gender, Identity, and Music, ed. Elaine Barkin and Lydia Hamessley, 25-48. Carciofoli Verlagshaus, 1999. <Gender and sexuality> <Performance> Dibben, Nicola. “Representations of Femininity in Popular Music.” Popular Music 18/3 (1999): 331-355. <Gender and sexuality> <Meaning and signification> Fast, Susan. “Rethinking Issues of Gender and Sexuality in Led Zeppelin: A Woman’s View of Pleasure and Power in Hard Rock.” The Popular Music Studies Reader, ed. Andy Bennett, Barry Shank, and Jayson Toynbee, 362-369. Routledge, 2006. <Gender and sexuality> <Social and cultural context> Frith, Simon, and Angela McRobbie. 1978. “Rock and Sexuality.” Screen Education. <Gender and sexuality> <Aesthetics> Hisama, Ellie M. “Voice, Race, and Sexuality in the Music of Joan Armatrading.” Audible Traces: Gender, Identity, and Music, ed. Elaine Barkin and Lydia Hamessley, 115-32. Carciofoli Verlagshaus, 1999. <Gender and sexuality> <Race and ethnicity> <Identity> Keightley, Keir. “Turn it down!” She Shrieked: Gender, Domestic Space, and High fidelity, 1948-1959.” Popular Music 15/2 (1996): 149-177. <Recording and mediation> <Gender and sexuality> <Identity> Leonard, Marion. Gender in the Music Industry. Ashgate, 2007. <Gender and sexuality> <Social and cultural context> Loza, Susana. "Sampling (Hetero)Sexuality: Diva-Ness and Discipline in Electronic Dance Music." Popular Music 20/3 (2001): 349-357. <Gender and sexuality> <Intertextuality> Maus, Fred. “Intimacy and Distance: On Stipe’s Queerness.” Journal of Popular Music Studies 18/2(2006): 191-214. <Gender and sexuality> <Identity> Maus, Fred. “Masculine Discourse in Music Theory,” Perspectives of New Music 31/2 (1993): 264-293. <Gender and sexuality> McClary, Susan. Feminine Endings: Music, Gender, and Sexuality, 2nd ed. University of Minnesota Press, 2002. <Gender and sexuality> <Harmony and Melody> <Form> McCusker, Kristine M., and Diane Pecknold, eds. A Boy Named Sue: Gender and Country Music. University Press of Mississippi, 2004. <Gender and sexuality> <General Reader> Pini, Maria. 1997a. “Cyborgs, Nomads and the Raving Feminine.” In Dance in the City, edited by Helen Thomas, 111–29. London: MacMillan UK. <Gender and sexuality> <Recording and mediation> ———. 1997b. “Women and the Early British Rave Scene.” In Back to Reality: Social Experience and Cultural Studies, edited by Angela McRobbie, 152–69. Manchester, U.K.: Manchester University Press. <Gender and sexuality> <Performance> <Identity> ———. 1998. “‘Peak Practices’: The Production and Regulation of Ecstatic Bodies.” In The Virtual Embodied: Presence/practice/technology, edited by John Wood, 168–80. New York: Routledge. <Embodiment> <Performance> <Gender and sexuality> Press, Joy, and Simon Reynolds. The Sex Revolts: Gender, Rebellion, and Rock’n’Roll. Harvard University Press, 1995. <Gender and sexuality> <Social and cultural context> Reddington, Helen. The Lost Women of Rock Music: Female Musicians of the Punk Era. Ashgate, 2007. <Gender and sexuality> <Social and cultural context> Waksman, Steve. “Every Inch of My Love: Led Zeppelin and the Problem of Cock Rock.” Journal of Popular Music Studies 8 (1996): 5-25. <Gender and sexuality> Wald, Gayle F. “Just a Girl? Rock Music, Feminism, and the Cultural Construction of Female Youth.” In Rock Over the Edge, ed. Roger Beebe, 191-215. <Gender and sexuality> <Social and cultural context> <Identity> Whiteley, Sheila. “Love, Love, Love: Representations of Gender and Sexuality in Selected Songs by the Beatles.” Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four, ed. Kenneth Womack and Todd F. Davis, 55-70. State University of New York Press, 2006. <Gender and sexuality> <Meaning and signification> <Lyrics and text> Whiteley, Sheila. “Repressive Representations: Patriarchy and Femininities in Rock Music of the Counterculture.” Mapping the Beat: Popular Music and Contemporary Theory, ed. Andrew Herman, John M. Sloop, and Thomas Swiss, 153-170. Blackwell, 1998. <Gender and sexuality> <Social and cultural context> Whiteley, Sheila. Women and Popular Music: Sexuality, Identity, and Subjectivity. Routledge, 2000. <Gender and sexuality> <Identity> Whiteley, Sheila, ed. Sexing the Groove: Popular Music and Gender. Routledge, 1997. <Gender and sexuality> <Identity> Whiteley, Sheila, and Jennifer Rycenga, eds. Queering the Popular Pitch. Routledge, 2006.

            Race, Ethnicity, and Identity Politics

            Barker, Hugh, and Yuval Taylor. Faking It: The Quest for Authenticity in Popular Music. Norton, 2007. <Identity> <Authenticity> Bertrand, Michael T. Race, Rock and Elvis. University of Illinois Press, 2000. <Race and ethnicity> <Intertextuality> <Social and cultural context> Biddle, Ian, and Vanessa Knights, eds. Music, National Identity and the Politics of Location. Ashgate, 2007. Billig, Michael. Rock 'n' Roll Jews. Five Leaves, 2000. <Race and ethnicity> <Social and cultural context> <General Reader> Fitzgerald, Jon. “Black or White? Stylistic Analysis of Early Motown ‘Crossover’ Hits, 1963-1966.” Popular Music: Style and Identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 95-98. Centre for Research on Canadian Cultural Industries and Institutions, 1995. <Race and ethnicity> <Identity> <Intertextuality> Floyd, Samuel A. The Power of Black Music: Interpreting Its History from Africa to the United States. Oxford University Press, 1995. <Social and cultural context> <Race and ethnicity> Gracyk, Theodore. I Wanna Be Me: Rock Music and the Politics of Identity. Temple University Press, 2001. <Identity> <Social and cultural context> Hawkins, Stan. Settling the Pop Score: Pop Texts and Identity Politics. Ashgate, 2002. <Identity> <Social and cultural context> <Lyrics and text> Headlam, Dave. “Appropriations of Blues and Gospel in Popular Music." The Cambridge Companion to Blues and Gospel Music, ed. Allan F. Moore, 158-187. Cambridge University Press, 2000. <Intertextuality> <Race and ethnicity> <Harmony and melody> Hisama, Ellie M. “From L’Étranger to ‘Killing an Arab’: Representing the Other in a Cure Song.” Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 199-213. Routledge, 2008. <Race and ethnicity> <Meaning and signification> <Lyrics and text> Hisama, Ellie M. “Postcolonialism on the Make: The Music of John Mellencamp, David Bowie, and John Zorn. Popular Music 12/2 (1993): 91-104. <Race and ethnicity> Mahon, Maureen. Right to Rock: The Black Rock Coalition and the Cultural Politics of Race. Duke University Press, 2004. <Race and ethnicity> <Social and cultural context> <Identity> Messner, Beth A., Arthur Jipson, Paul J. Becker, and Bryan Byers. “The Hardest Hate: A Sociological Analysis of Country Hate Music.” Popular Music and Society 30/4 (2007): 513-531. <Social and cultural context> <Race and ethnicity> <Lyrics and text> Potter, Russell A. “Not the Same: Race, Repetition, and Difference in Hip-hop and Dance Music.” Mapping the Beat: Popular Music and Contemporary Theory, ed. Andrew Herman, John M. Sloop, and Thomas Swiss, 31-46. Blackwell, 1998. <Race and ethnicity> <Rhythm and Meter> <Social and cultural context> <Performance> Shank, Barry. “From Rice to Ice: The Face of Race in Rock and Pop.” The Cambridge Companion to Pop and Rock, ed. Simon Frith, Will Straw, and John Street, 256-271. Cambridge University Press, 2001. <Race and ethnicity> Sheinbaum, John J. “Think About What You’re Trying to Do to Me: Rock Historiography and the Construction of a Race-Based Dialectic.” Rock Over the Edge, ed. Roger Beebe, Denise Fulbrook, and Ben Saunders, 110-132. Duke University Press, 2002. <Performance> <Race and ethnicity> <Social and cultural context> <Identity> Thomas, Rebecca A. "The Color of Music: Race and the Making of America's Country Music." Ph.D. dissertation, University of Missouri, 2000. <Race and ethnicity> <Social and cultural context> Waksman, Steve. “Black Sound, Black Body: Jimi Hendrix, the Electric Guitar, and the Meanings of Blackness.” Waksman, Instruments of Desire: the Electric Guitar and the Shaping of Musical Experience, 167-206. Harvard University Press, 1999. Repr. The Popular Music Studies Reader, ed. Andy Bennett, Barry Shank, and Jayson Toynbee, 64-70. Routledge, 2006. <Embodiment> <Race and ethnicity> <Gender and sexuality> <Performance> Ward, Brian. Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations. University of California Press, 1998. <Race and ethnicity> <Identity> <Social and cultural context> <Rhythm and Meter> Wells, Jeremy. “Blackness 'Scuzed: Jimi Hendrix's (In)visible Legacy in Heavy Metal.” Race Consciousness: African-American Studies for the New Century, ed. , 55-63. New York University Press, 1997. <Race and ethnicity> <Performance> <Gender and sexuality> 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>

            Identity 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>

            Performance

            Csíkszentmihályi, Mihály. 1997. Finding Flow: The Psychology of Engagement With Everyday Life. Basic Books. <Performance> Miller, Kiri. 2009. “Schizophonic Performance: ‘Guitar Hero,’ ‘Rock Band,’ and Virtual Virtuosity.” Journal of the Society for American Music 3 (4): 395–429. <Performance> <Identity> <Multimedia> ———. 2012. Playing Along: Digital Games, YouTube, and Virtual Performance. Oxford University Press. <Multimedia> <Performance> <Identity> Phillips-Silver, Jessica, Petri Toiviainen, Nathalie Gosselin, Olivier Piché, Sylvie Nozaradan, Caroline Palmer, and Isabelle Peretz. 2011. “Born to Dance but Beat Deaf: A New Form of Congenital Amusia.” Neuropsychologia 49 (5): 961–69. <Performance> Rings, Steven. 2013. “A Foreign Sound to Your Ear: Bob Dylan Performs ‘It’s Alright, Ma (I’m Only Bleeding).’” Music Theory Online 2013 (4). <Performance> Rusch, René. 2013. “Crossing Over with Brad Mehldau’s Cover of Radiohead’s ‘Paranoid Android’: The Role of Jazz Improvisation in the Transformation of an Intertext.” Music Theory Online 19 (4). <Performance> <Intertextuality> Spicer, Mark. 2011. “(Per)Form In(g) Rock: A Response.” Music Theory Online 17 (3). <Performance> <Review>

            Styles and Genres

            Blues and R&B

            Brackett, David. “What a Difference a Name Makes: Two Instances of African-American Popular Music.” The Cultural Study of Music, ed. Martin Clayton, Trevor Herbert, and Richard Middleton, 238-250. Routledge, 2003. <Race and ethnicity> <Intertextuality> Cohn, Lawrence. Nothing But the Blues: The Music and the Musicians. Abbeville Press, 1993. <Social and cultural context> Evans, David. Big Road Blues: Tradition and Creativity in the Folk Blues. University of California Press, 1982. <Social and cultural context> Evans, David, ed. Ramblin’ on my Mind: New Perspectives on the Blues. University of Illinois Press, 2008. <Social and cultural context> <General Reader> Keil, Charles. Urban Blues. University of Chicago Press, 1966. <Race and ethnicity> <Social and cultural context> <Identity> Kubik, Gerhard. Africa and the Blues. University Press of Mississippi, 1999. <Race and ethnicity> <Social and cultural context> <Identity> <Harmony and melody> McClary, Susan. “Thinking Blues” in McClary, Conventional Wisdom: The Content of Musical Form, 32-62. University of California Press, 2001. Middleton, Richard. Pop Music and the Blues. Victor Gollancz, 1972. <Canon> <Social and cultural context> <Meaning and signification> Moore, Allan, ed. The Cambridge Companion to Blues and Gospel Music. Cambridge University Press, 2002. Social and cultural context> <General Reader> Oliver, Paul. Yonder Come the Blues: The Evolution of a Genre, 2nd ed. Cambridge University Press, 2001. <Social and cultural context> <Race and ethnicity> <Lyrics and text> <Harmony and melody> Ripani, Richard J. “The New Blue Music: Changes in Melody, Harmony, Rhythm, and Form in Rhythm & Blues, 1950-1999.” Ph.D. dissertation, University of Memphis, 2004. <Harmony and Melody> <Form> <Rhythm and Meter> Schwartz, Roberta Freund. How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. Ashgate, 2007. <Social and cultural context> <Race and ethnicity> Stoia, Nicholas. “The Musical Frameworks of Five Blues Schemes.” Ph.D. dissertation, City University of New York, 2008. <Form> <Harmony and Melody> Titon, Jeff Todd. Early Downhome Blues: A Musical and Cultural Analysis. University of Illinois Press, 1977. <Social and cultural context> <Race and ethnicity> <Identity> Tracy, Steven C. Write Me a Few of Your Lines: A Blues Reader. University of Massachusetts, 1999. <Lyrics and text> <Meaning and signification> <Race and ethnicity>

            Blues-rock

            Bane, Michael. White Boy Singin’ the Blues: the Black Roots of White Rock. Da Capo Press, 1992. <Race and ethnicity> <Social and cultural context> Headlam, Dave. “Blues Transformations in the Music of Cream.” Understanding Rock, ed. John Covach and Graeme M. Boone, 59-92. Oxford University Press, 1997. <Harmony and Melody> <Race and ethnicity> Headlam, Dave. “Does the Song Remain the Same?: Questions of Authorship and Identification in the Music of Led Zeppelin.” Concert Music, Rock, and Jazz since 1945, ed. Elizabeth West Marvin and Richard Herrmann, 313-363. University of Rochester Press, 1995. <Authenticity> <Intertextuality> <Meaning and signification> Till, Rupert. “The Blues Blueprint: The Blues in the Music of the Beatles, the Rolling Stones, and Led Zeppelin.” Cross the Water Blues: African-American Music in Europe, ed. Neil A. Wynn, 183-201. University Press of Mississippi, 2007. <Harmony and Melody> <Form> <Race and ethnicity>

            Classical Influences

            Covach, John, and Walter Everett, eds. American Rock and the Classical Music Tradition. Contemporary Music Review 18/4 (2000). <Harmony and Melody> <Form> <General Reader> Everett, Walter. “The Learned vs. the Vernacular in the Songs of Billy Joel.” American Rock and the Classical Music Tradition. Contemporary Music Review 18/4 (2000): 105-129. <Performance> <Harmony and Melody> <Form> Fink, Robert. “The Story of ORCH5, or the Classical Ghost in the Hip-Hop Machine.” Popular Music 24/3 (2005): 339-356. <Recording and mediation> <Intertextuality> <Canon> Josephson, Nora S. “Bach Meets Liszt: Traditional Formal Structures and Performance Practices in Progressive Rock.” Musical Quarterly 76/1 (1992): 67-92. <Form> <Performance> Macan, Edward. Rocking the Classics: English Progressive Rock and the Counterculture. Oxford University Press, 1997. <Social and cultural context> <Form> <Harmony and Melody> Macan, Edward. “‘The Spirit of Albion’ in Twentieth-Century Popular Music: Vaughan Williams, Holst, and the Progressive-Rock Movement.” Music Review 53/2 (1992): 100-125. <Form> <Harmony and Melody> McLeod, Ken. “Bohemian Rhapsodies: Operatic Influences on Rock Music.” Popular Music 20/2 (2001): 189-203. <Intertextuality> <Form> <Harmony and Melody> <Social and cultural context> van der Merwe, Peter. Roots of the Classical: The Popular Origins of Western Music. Oxford University Press, 2004. <Social and cultural context> <Harmony and Melody>

            Country

            Brackett, David. “When You’re Lookin’ at Hank (You’re Lookin’ at Country).” Interpreting Popular Music, 75-107. University of California Press, 2000. <Race and ethnicity> <Lyrics and text> <Identity> <Meaning and signification> Fox, Aaron. Real Country: Music and Language in Working-Class Culture. Duke University Press, 1994. <Social and cultural context> <Lyrics and text> <Gender and sexuality> <Identity> Jaret, Charles. “Characteristics of Successful and Unsuccessful Country Songs.” All That Glitters: Country Music in America, ed. George H. Lewis,174-185. Bowling Green State University Popular Press, 1993. <Lyrics and text> <Gender and sexuality> Lewis, George H., ed. All That Glitters: Country Music in America. Bowling Green University Press, 1993. <General Reader> Malone, Bill C. Country Music, U.S.A, 2nd rev. ed. University of Texas Press, 2002. <Social and cultural context> <Textbook> Malone, Bill C. “Elvis, Country Music, and the South.” Elvis: Images and Fancies, ed. Jac L. Tharpe, 123-134. University Press of Mississippi, 1980. <Social and cultural context> <Race and ethnicity> <Performance> McCusker, Kristine M., and Diane Pecknold, eds. A Boy Named Sue: Gender and Country Music. University Press of Mississippi, 2004. <Gender and sexuality> <General Reader> Neal, Jocelyn R. 2012. Country Music: A Cultural and Stylistic History. OUP USA. <General Reader> <Textbook> Neal, Jocelyn R. “Country-Pop Formulae and Craft: Shania Twain’s Crossover Appeal.” Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 285-311. Routledge, 2008. <Gender and sexuality> <Identity> <Lyrics and text> Neal, Jocelyn R. “Narrative Paradigms, Musical Signifiers, and Form as Function in Country Music.” Music Theory Spectrum 29/1 (2007): 41-72. <Form> <Lyrics and text> <Meaning and signification> Neal, Jocelyn R. “Song Structure Determinants: Poetic Narrative, Phrase Structure, and Hypermeter in the Music of Jimmie Rodgers.” Ph.D. dissertation, Eastman School of Music, 2002. <Form> <Rhythm and Meter> Neal, Jocelyn R. The Songs of Jimmie Rodgers: Legacy, Covers, and Connections in Country Music. Indiana University Press, 2009. <Lyrics and text> <Intertextuality> <Meaning and signification> Tichi, Cecelia, ed. Reading Country Music: Steel Guitars, Opry Stars, and Honky-Tonk Bars. Duke University Press, 1998. <Social and cultural context> <General Reader>

            Cover Versions

            Awkward, Michael. Soul Covers: Rhythm and Blues Remakes and the Struggle for Artistic Identity (Aretha Franklin, Al Green, Phoebe Snow). Duke University Press, 2007. <Race and ethnicity> <Identity> <Intertextuality> Bailey, Steve. “Faithful or Foolish: The Emergence of the ‘Ironic Cover Album’ and Rock Culture.” Popular Music and Society 26/2 (2003): 141-159. <Meaning and signification> <Lyrics and text> <Intertextuality> Bowman, Rob. “The Determining Role of Performance in the Articulation of Meaning: The Case of ‘Try a Little Tenderness.’” Analyzing Popular Music, ed. Allan F. Moore, 103-130. Cambridge University Press, 2003. <Performance> <Voice> <Timbre> <Meaning and signification> Burns, Lori, and Alyssa Woods. “Authenticity, Appropriation, Signification: Tori Amos on Gender, Race, and Violence in Covers of Billie Holiday and Eminem.” Music Theory Online 10/2 (2004). http://mto.societymusictheory.org/issues/mto.04.10.2/mto.04.10.2.burns_woods.html. <Authenticity> <Meaning and signification> <Gender and sexuality> <Intertextuality> Butler, Mark. “Taking it Seriously: Intertextuality and Authenticity in Two Covers by the Pet Shop Boys.” Popular Music 22/1 (2003): 1-19. <Intertextuality> <Authenticity> <Gender and sexuality> Coyle, Michael. “Hijacked Hits and Antic Authenticity: Cover Songs, Race, and Postwar Marketing.” In Rock Over the Edge: Transformations in Popular Culture, ed. Roger Beebe, (Duke University Press, 2002), 133-157. <Authenticity> <Race and ethnicity> <Intertextuality> Griffiths, Dai. “Cover Versions and the Sound of Identity in Motion.” Popular Music Studies, ed. David Hesmondhalgh and Keith Negus, 51-64. Oxford University Press, 2002. <Identity> <Intertextuality> <Recording and mediation> Holm-Hudson, Kevin. “Your Guitar, It Sounds So Sweet and Clear: Semiosis in Two Versions of ‘Superstar.’” Music Theory Online 8/4 (2002). http://mto.societymusictheory.org/issues/mto.02.8.4/mto.02.8.4.holm-hudson.html. <Meaning and signification> <Intertextuality> Mosser, Kurt. “‘Cover Songs’: Ambiguity, Multivalence, Polysemy.” Popular Musicology Online 2 (2008). <Intertextuality> <Lyrics and text> 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> White, John. “Radio Formats and the Transformation of Musical Style: Codes and Cultural Values in the Remaking of Tunes." College Music Symposium 37 (1997): 1-12. <Recording and mediation> <Meaning and signification> <Intertextuality>

            Dance Music

            Bradby, Barbara. “Sampling Sexuality: Gender, Technology and the Body in Dance Music.” Popular Music, 12/2 (1993): 155-176. <Recording and mediation> <Gender and sexuality> <Embodiment> Butler, Mark. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Indiana University Press, 2006. <Form> <Rhythm and Meter> <Performance> <Embodiment> <Gender and sexuality> Garcia, Luis-Manuel. “On and On: Repetition as Process and Pleasure in Electronic Dance Music.” Music Theory Online 11/4 (2005). http://mto.societymusictheory.org/issues/mto.05.11.4/mto.05.11.4.garcia.html. <Rhythm and Meter> <Recording and mediation> <Performance> <Embodiment> Gilbert, Jeremy, and Ewan Pearson. Discographies: Dance, Music, Culture and the Politics of Sound. Routledge, 1999. <Recording and mediation> <Social and cultural context> <Performance> <Gender and sexuality> Goldschmitt, Kariann Elaine. “Foreign Bodies: Innovation, Repetition, and Corporeality in Electronic Dance Music.” M.A. thesis, University of California at San Diego, 2004. <Rhythm and Meter> <Embodiment> <Recording and mediation> Hawkins, Stan. “Feeling the Beat Come Down: House Music as Rhetoric.” Analyzing Popular Music, ed. Allan F. Moore, 80-102. Cambridge University Press, 2003. <Meaning and signification> <Embodiment> <Recording and mediation> Tagg, Philip. Fernando the Flute: Analysis of Musical Meaning in the ABBA Mega-Hit. Institute of Popular Music, 1992. <Lyrics and text> <Meaning and signification> <Timbre> Tagg, Philip. “From Refrain to Rave: The Decline of Figure and the Rise of Ground.” Popular Music 13/2 (1994): 209-222. Repr. Critical Essays in Popular Musicology, ed. Allan F. Moore, 171-184. <Social and cultural context> <Form> <Harmony and Melody> <Rhythm and Meter>

            Film, TV, and Media

            Altman, Rick, ed. Sound Theory/Sound Practice. Routledge, 1992. <Multimedia> <Recording and mediation> <General Reader> Banfield, Stephen. “Popular Song and Popular Music on Stage and Film.” The Cambridge History of American Music, ed. David Nicholls, 309-344. Cambridge University, 1998. <Multimedia> <Performance> <Lyrics and text> Bjornberg, Alf. “Structural Relationships of Music and Images in Music Video.” Popular Music 13/1 (1994): 51-74. <Form> <Multimedia> <Recording and mediation> <Meaning and signification> Björnberg, Alf. “Music Video and the Semiotics of Popular Music,” Studi e testi dal Secondo Convegno Europeo di Analisi Musicale, ed. Rossana Dalmonte and Mario Baroni, Università di Trento, 1992: 379-388. http://www.tagg.org/others/bjbgvideo.html. <Multimedia> <Meaning and signification> Buhler, James, David Neumeyer, and Rob Deemer. Hearing the Movies: Music and Sound in Film History. Oxford university Press, 2009. <Multimedia> <Social and cultural context> <General Reader> Burlingame, Jon, and Leonard Maltin, eds. Sound and Vision: 60 Years of Motion Picture Soundtracks. Diane Publishing Co., 2000. <Multimedia> <Social and cultural context> <General Reader> Cook, Nicholas. 1998. Analysing Musical Multimedia. Clarendon Press. <Multimedia> <Lyrics and text> <Meaning and signification> Denisoff, R. Serge and William D. Romanowski. Risky Business: Rock in Film. Transaction Publishers, 1991. <Multimedia> <Meaning and signification> Deutsch, Stephen. “Music for Interactive Moving Pictures.” Soundscape, ed. Diane Freeman, Jerry Snider, and Larry Snider. London, 2003. Dickinson, Kay, ed. Movie Music: The Film Reader. Routledge, 2003. <Performance> <Multimedia> Donnelly, Kevin J., ed. Film and Television Music: The Spectre of Sound. British Film Institute, 2008. <Multimedia> <General Reader> Frith, Simon, Andrew Goodwin, and Lawrence Grossberg, eds. Sound and Vision: The Music Video Reader. Routledge, 1993. <Multimedia> <General Reader> <Textbook> Goldmark, Daniel. Tunes for ‘Toons: Music and the Hollywood Cartoon. University of California Press, 2005. <Multimedia> <Social and cultural context> Goldmark, Daniel, and Yuval Taylor, eds. The Cartoon Music Book. A Cappella Books, 2002. <Multimedia> <General Reader> Goodwin, Andrew. Dancing in the Distraction Factory: Music Television and Popular Culture. University of Minnesota Press, 1992. <Multimedia> <Social and cultural context> Inglis, Ian, ed. Popular Music and Film. Wallflower Press, 2001. <Multimedia> <General Reader> Kassabian, Anahid. “The Sound of a New Film Form.” Popular Music and Film, ed. Ian Inglis, 91-101. Wallflower, 2003. <Multimedia> <Embodiment> Klein, Bethany. As Heard on TV: Popular Music in Advertising. Ashgate, 2009. <Multimedia> Leydon, Rebecca. 2001. “Debussy’s Late Style and the Devices of the Early Silent Cinema.” Music Theory Spectrum 23 (2): 217–41. <Multimedia> Lock, Graham, and David Murray, eds. Thriving on a Riff: Jazz and Blues Influences in African-American Literature. Oxford University Press, 2009. <Multimedia> <Lyrics and text> <Intertextuality> <Race and ethnicity> 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> Sparti, Davide. 2010. “Images of a Sound: Portraits and Pictures of Jazz.” Imaginations ARCHIVES 1 (1): 112–25. <Multimedia> <Performance> Stilwell, Robin. 2001. “Sound and Empathy: Subjectivity, Gender and the Cinematic Soundscape.” In Film Music: Critical Approaches, 48–58. Edinburgh: Edinburgh University Press. <Multimedia> Tagg, Philip. Kojak: 50 Seconds of Television Music–Toward the Analysis of Affect in Popular Music. Mass Media Music Scholar’s Press, 2000. <Multimedia> <Meaning and signification> Tagg, Philip, and Bob Clarida. Ten Little Title Tunes: Towards a Musicology of the Mass Media. Mass Media Music Scholar’s Press, 2003. <Multimedia> <Meaning and signification> Vernallis, Carol. Experiencing Music Video: Aesthetics and Cultural Context. Columbia University Press, 2004. <Multimedia> <Aesthetics> <Social and cultural context> Whiteley, Sheila. “Seduced by the Sign: An Analysis of the Textual Links between Sound and Image in Pop Videos.” Sexing the Groove: Popular Music and Gender, ed. Sheila Whiteley, 259-276. Routledge, 1997. <Multimedia> <Meaning and signification> <Intertextuality> <Lyrics and text> Wojcik, Pamela Robertson, eds. Soundtrack Available: Essays on Film and Popular Music. Duke University Press, 2001. <Multimedia> <General Reader> Wootton, Adrian, and Michael Romney, eds. The Celluloid Jukebox: Pop Music and the Movies since 1950. BFI, 1995. <Multimedia> <Social and cultural context> <General Reader>

            Videogames

            Auerbach, Brent. 2010. “Pedagogical Applications of the Video Game Dance Dance Revolution to Aural Skills Instruction.” Music Theory Online 16 (1). <Performance> Belinkie, Matthew. “Video Game Music: Not Just Kids’ Stuff.” 1999. <http://www.vgmusic.com/vgpaper.shtml. <Multimedia> Bessell, David. “‘What’s That Funny Noise?’ An Examination of the Role of Music in Cool Boarders 2, Alien Trilogy and Medievil 2.” In ScreenPlay: Cinema/Videogames/Interfaces, ed. Geoff King and Tanya Krzywinska. Wallflower, 2002. <Multimedia> <Meaning and signification> Collins, Karen. “An Introduction to the Participatory and Non-Linear Aspects of Video Games Audio.” In Essays on Sound and Vision, ed. Stan Hawkins adn John Richardson. Helsinki University Press, 2007. <Multimedia> <Performance> <Recording and mediation> Collins, Karen. “Flat Twos and the Musical Aesthetic of the Atari VCS.” Popular Musicology Online 1 (2006). <Multimedia> <Harmony and Melody> <Aesthetics> Collins, Karen. “From Bits to Hits: Video Game Music Changes its Tune.” Film International 13 (2004): 4-19. <Multimedia> <Recording and mediation> <Aesthetics> Collins, Karen, ed. From Pac-Man to Pop Music: Interactive Audio in Games and New Media. Ashgate, 2008. <Multimedia> <General Reader> Collins, Karen. “Loops and Bloops: Music of the Commodore 64 Games.” Soundscapes: Journal on Media Culture 8 (2005). <Multimedia> <Form> <Harmony and Melody> Deutsch, Stephen. “Music for Interactive Moving Pictures.” Soundscape, ed. Diane Freeman, Jerry Snider, and Larry Snider. London, 2003. <Multimedia> <Performance> <Embodiment> Kassabian, Anahid. “The Sound of a New Film Form.” Popular Music and Film, ed. Ian Inglis, 91-101. Wallflower, 2003. <Multimedia> <Embodiment> Miller, Kiri. “Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity.” Journal of the Society for American Music 3/4 (2009): 395-429. <Multimedia> <Performance> <Embodiment> Smith, Jacob. “I Can See Tomorrow in Your Dance: A Study of Dance Dance Revolution and Music Video Games.” Journal of Popular Music Studies 16/1 (2004): 58-84. <Multimedia> <Embodiment> <Performance> Whalen, Zach. “Play Along: An Approach to Video Game Music.” Game Studies 4/1 (2004). <Multimedia> <Performance>

            Folk

            Bronson, Bertrand. “Folksong and the Modes,” Musical Quarterly 32/1 (1946): 37–49. <Harmony and Melody> Burman-Hall, Linda C. “Southern American Folk Fiddle Styles.” Ethnomusicology 19/1 (1975): 47-65. <Social and cultural context> <Performance> Cazden Norman. “A Simplified Mode Classification for Traditional Anglo-American Song Tunes.” Yearbook of the International Folk Music Council 3 (1971): 45–78. <Harmony and Melody> <Notation> Response by Betrand Bronson, “Are the Modes Outmoded?” Yearbook of the International Folk Music Council 4 (1972): 23-31. <Harmony and Melody> <Canon> Cohen, Ronald D. Folk Music: The Basics. Routledge, 2006. <Social and cultural context> <Textbook> Cook, Harold. Shaker Music: A Manifestation of American Folk Culture. Bucknell University Press, 1973. <Social and cultural context> <Textbook> Cowdery, James. The Melodic Tradition of Ireland. Kent State University, 1990. <Social and cultural context> <Race and ethnicity> Gelbart, Matthew B. The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner. Cambridge University Press, 2007. <Aesthetics> <Social and cultural context> Reinhard, Kurt. “On the Problem of Pre-Pentatonic Scales: Particularly the Third-Second Nucleus.” Journal of the International Folk Music Council 10 (1958): 15-17. <Harmony and Melody> Seeger, Ruth Crawford. The Music of American Folk Song and Selected Other Writings on American Folk Music, ed. Larry Polansky. University of Rochester Press, 2001. <Social and cultural context> Sharp, Cecil. English Folk Song: Some Conclusions. Repr. Wakefield, UK: E. P. Publishing, 1977. <Social and cultural context> <Lyrics and text> <Form> <Harmony and Melody>

            Funk

            Danielsen, Anne. Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Wesleyan University Press, 2006. <Rhythm and Meter> <Embodiment> <Performance> <Race and ethnicity> Hughes, Tim. “Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder.” Ph.D. dissertation, University of Washington, 2003. <Rhythm and Meter> Vincent, Rickey. Funk: The Music, the People, and the Rhythm of the One. St. Martin’s Griffin, 1996. <Social and cultural context> <Rhythm and Meter>

            Global Pop

            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> Lipsitz, George. Dangerous Crossroads: Popular Music, Postmodernism and the Focus of Place. Verso, 1997. <Social and cultural context> <Race and ethnicity> Manuel, Peter. Popular Musics of the Non-Western World. Oxford University Press, 1990. <Race and ethnicity> <Social and cultural context> <Textbook> Manabe, Noriko. “Globalization and Japanese Creativity: Adaptation of Japanese Language to Rap.” Ethnomusicology 50/1 (2006): 1-36. <Lyrics and text> <Race and ethnicity> Manabe, Noriko. “Lovers and Rulers, the Real and the Surreal: Harmonic Metaphors in Silvio Rodríguez’s Songs.” Revista Transcultural de Música 10 (2006). <Harmony and Melody> <Lyrics and text> <Aesthetics> Manuel, Peter. Caribbean Currents: Caribbean Music from Rumba to Reggae, 2nd ed. Temple University Press, 2006. <Race and ethnicity> <Social and cultural context> 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> Vila, Pablo. “Argentina's Rock Nacional: The Struggle for Meaning.” Latin American Music Review/Revista de musica latinoamericana 10/1 (1989): 1-28. <Race and ethnicity> <Social and cultural context> Yano, Christine R. Tears of Longing: Nostalgia and the Nation in Japanese Popular Song. Harvard University Asia Center, 2003. <Race and ethnicity> <Lyrics and text> <Meaning and signification>

            Heavy Metal

            Abbey, Eric James, and Colin Helb. 2014. Hardcore, Punk, and Other Junk: Aggressive Sounds in Contemporary Music. Lexington Books. <General Reader> Bayer, Gerd, ed. Heavy Metal Music in Britain. Ashgate, 2009. <General Reader> Berger, Harris M. “Death Metal Tonality and the Act of Listening.” Popular Music 18/2 (1999): 161-178. <Harmony and Melody> <Performance> Berger, Harris M. “Horizons of Melody and the Problem of the Self.” In Identity and Everyday Life: Essays in the Study of Music, Folklore, and Popular Culture, Harris M. Berger and Giovanna P. Del Negro, 43–88. Wesleyan University Press, 2004. <Identity> <Harmony and Melody> Berger, Harris M. Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience. Wesleyan University Press/University Press of New England, 1999. <Social and cultural context> <Performance> <Harmony and Melody> 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> Pieslak, Jonathan. “Re-casting Metal: Rhythm and Meter in the Music of Meshuggah.” Music Theory Spectrum 29/2 (2007): 219-245. <Performance> <Rhythm and Meter> Pillsbury, Glenn T. Damage Incorporated: Metallica and the Production of Musical Identity. Routledge, 2006. <Identity> <Authenticity> <Recording and mediation> Walser, Robert. “Eruptions: Heavy Metal Appropriations of Classical Virtuosity.” Popular Music 11/3 (1992): 263-308. <Intertextuality> <Performance> Walser, Robert. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Wesleyan University Press, 1993. <Gender and sexuality> <Authenticity> <Identity>

            Jazz

            see also: Jazzforschung/Jazz Research, Annual Review of Jazz Studies, Jazz Perspectives Berliner, Paul. Thinking in Jazz: The Infinite Art of Improvisation. <Performance> <Form> <Harmony and Melody> Block, Steven. “Pitch-Class Transformation in Free Jazz.” Music Theory Spectrum 12 (1990): 181-202. <Harmony and Melody> Dean-Lewis, Tim. “Playing Outside: Excursions from the Tonality in Jazz Improvisation.” Ph.D. dissertation, City University of London, 2001. <Harmony and Melody> DeVeaux, Scott. The Birth of Bebop: A Social and Musical History. University of California Press, 1999. <Social and cultural context> <Race and ethnicity> Folio, Cynthia. “An Analysis of Polyrhythm in Selected Jazz Solos.” Concert Music, Rock, and Jazz Since 1945, ed. Elizabeth West Marvin and Richard Hermann, 103-134. University of Rochester Press, 1995. <Rhythm and Meter> <Performance> Haywood, Mark S. “The Harmonic Role of Melody in Vertical and Horizontal Jazz,” Annual Review of Jazz Studies 5(1991): 109-120. <Harmony and Melody> Järvinen, Topi. “Tonal Hierarchies in Jazz Improvisation.” Music Perception 12 (1995): 415-437. <Harmony and Melody> Larson, Steven. “Musical Forces and Melodic Patterns.” Theory and Practice 22-23 (1997): 55-71. <Harmony and Melody> Larson, Steven. “Musical Forces, Melodic Expectation, and Jazz Melody.” Music Perception 19/3 (2002): 351-385. <Harmony and Melody> <Embodiment> Larson, Steven. “Schenkerian Analysis of Modern Jazz: Questions about Method.” Music Theory Spectrum 20 (1998): 209-241. <Harmony and Melody> Martin, Henry. “Jazz Harmony: A Syntactic Background.” Annual Review of Jazz Studies 4 (1988): 9-30. <Harmony and Melody> Martin, Henry. “Jazz Theory and Analysis: An Introduction and Brief Bibliography.” Zeitschrift der Gesellschaft für Musiktheorie 2/2–3, Bd. 2 (2005): 169-171. <Review> Martin, Henry. “Jazz Theory: An Overview.” Annual Review of Jazz Studies 8 (1996): 1-17. (special edition on jazz theory) <Review> Martin, Henry, and Wason, Robert. “Constructing a Post-Modern-Jazz Pedagogy.” Jazzforschung/Jazz Research 37 (2005): 163-177. <Harmony and Melody> McGowan, James J. “Dynamic Consonance in Selected Piano Performances of Tonal Jazz.” Ph.D. dissertation, University of Rochester, 2005. <Harmony and Melody> <Performance> Nettles, Barrie, and Richard Graf. The Chord Scale Theory and Jazz Harmony. Advance Music, 1997. <Harmony and Melody> Potter, Gary M. “Analyzing Improvised Jazz.” College Music Symposium 32 (1992): 143-160. <Performance> <Notation> Potter, Gary M. “The Unique Role of bVII7 in Bebop Harmony.” Jazzforschung/Jazz Research 21 (1989): 35-47. <Harmony and Melody> Pressing, Jeff. “Pitch Class Set Structures in Contemporary Jazz.” Jazzforschung/Jazz Research 14 (1982): 133-172. <Harmony and Melody> Pressing, Jeff. “Towards an Understanding of Scales in Jazz.” Jazzforschung/Jazz Research 9 (1978): 25–35. <Harmony and Melody> Rohm, Joseph. “Jazz Harmony: Structure, Voicing, and Progression.” Ph.D. dissertation, Florida State University, 1974. <Harmony and Melody> Salley, Keith. “Beyond Chord-Scale Theory: Realizing a Species Approach to Jazz Improvisation.” Journal of Music Theory Pedagogy 21 (2007): 101-122. <Harmony and Melody> Satyendra, Ramon. “Analyzing the Unity Within Contrast: Chick Corea's ‘Starlight.’” In Engaging Music, ed. Deborah Stein, 50–64. Oxford University Press, 2005. <Harmony and Melody> Schuller, Gunther. Early Jazz: Its Roots and Musical Development. Oxford University Press, 1968. <Social and cultural context> <Race and ethnicity> Schuller, Gunther. The Swing Era: The Development of Jazz, 1930-1945. Oxford University Press, 1989. <Social and cultural context> <Race and ethnicity> Steedman, Mark. “A Generative Grammar for Jazz Chord Sequences.” Music Perception 2/1 (1984): 52-77. <Harmony and Melody> Strunk, Steven. “Bebop Melodic Lines: Tonal Characteristics.” Journal of Jazz Studies 6 (1979): 4-53. <Harmony and Melody> Strunk, Steven. “The Harmony of Early Bop: A Layered Approach.” Annual Review of Jazz Studies 3 (1985): 97-120. <Harmony and Melody> Strunk, Steven. “Linear Intervallic Patterns in Jazz Repertory.” Annual Review of Jazz Studies 8 (1996): 63-115. <Harmony and Melody> Tymoczko, Dmitri. “The Consecutive-Semitone Constraint on Scalar Structure: A Link between Impressionism and Jazz.” Intégral 11 (1997): 135-179. <Harmony and Melody> <Intertextuality> Williams, J. Kent. “Archetypical Schemata in Jazz Themes of the Bebop Era.” Annual Review of Jazz Studies 4 (1988): 49-74. <Harmony and Melody> new wave Cateforis, Theo. Are We Not New Wave?: Modern Pop at the Turn of the 1980s. Ann Arbor: The University of Michigan Press, 2011. <Recording and mediation> <Race and ethnicity> <Identity> Covach, John. “Pangs of History in Late-1970s New-Wave Rock.” Analyzing Popular Music, ed. Allan F. Moore, 173-195. Cambridge University Press, 2003. <Social and cultural context> Frew, Tim. The New Wave—Pop of the Early ‘80s. Friedman/Fairfax, 1997. <Social and cultural context> popular song Banfield, Stephen. “Popular Song and Popular Music on Stage and Film.” The Cambridge History of American Music, ed. David Nicholls, 309-344. Cambridge University, 1998. <Performance> <Lyrics and text> <Multimedia> Berry, David Carson. “Dynamic Introductions: The Affective Role of Melodic Ascent and Other Linear Devices in Selected Song Verses of Irving Berlin," Intégral 13 (1999): 1–62. <Harmony and Melody> <Meaning and signification> <Lyrics and text> 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> Wilder, Alec. American Popular Song: The Great Innovators, 1900-1950, ed. James T. Maher. Oxford University Press, 1972. <Social and cultural context> <General Reader> progressive 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> Cotner, John S. “Music Theory and Progressive Rock Style Analysis: On the Threshold of Art and Amplification.” In Reflections on American Music: The Twentieth Century and the New Millennium, ed. James R. Heintze and Michael Saffle. Pendragon, 2000. <Recording and mediation> <Aesthetics> Covach, John. “Echolyn and Progressive Rock.” American Rock and the Classical Music Tradition. Contemporary Music Review 18/4 (2000): 13-61. <Social and cultural context> Covach, John. “Jazz-Rock? Rock-Jazz? Stylistic Crossover in Late-1970s American Progressive Rock.” Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 93-110. Routledge, 2008. <Aesthetics> <Intertextuality> <Social and cultural context> Covach, John. “Progressive Rock, ‘Close to the Edge,’ and the Boundaries of Style.” Understanding Rock, ed. John Covach and Graeme M. Boone, 3-32. Oxford University Press, 1997. <Aesthetics> <Harmony and Melody> <Form> Holm-Hudson, Kevin. “‘Come Sail Away’ and the Commodification of ‘Prog Lite.’” American Music 23/3 (2005): 377-394. <Aesthetics> < Holm-Hudson, Kevin, ed. Progressive Rock Reconsidered. Routledge, 2002. <Social and cultural context> <Form> Josephson, Nora S. “Bach Meets Liszt: Traditional Formal Structures and Performance Practices in Progressive Rock.” Musical Quarterly 76/1 (1992): 67-92. <Form> <Performance> Macan, Edward. Rocking the Classics: English Progressive Rock and the Counterculture. Oxford University Press, 1997. <Social and cultural context> <Textbook> Macan, Edward. “‘The Spirit of Albion’ in Twentieth-Century Popular Music: Vaughan Williams, Holst, and the Progressive-Rock Movement.” Music Review 53/2 (1992): 100-125. <Harmony and Melody> <Form> Martin, Bill. Listening to the Future: The Time of Progressive Rock, 1968-1978. Open Court, 1998. <Recording and mediation> <Rhythm and Meter> <Social and cultural context> Spicer, Mark. “British Pop-Rock Music in the Post-Beatles Era: Three Analytical Studies.” Ph.D. dissertation, Yale University, 2001. <Harmony and Melody> <Form> <Social and cultural context> Stump, Paul. The Music’s All That Matters: A History of Progressive Rock. Quartet Books, 1997. <Social and cultural context> <Textbook> punk Cateforis, Theo. “Total Trash: Analysis and Post-Punk Music.” Journal of Popular Music Studies 5 (1993): 39-57. <Performance> <Notation> <Lyrics and text> <Meaning and signification> Hebdige, Dick. Subculture: the Meaning of Style. London, 1979. <Social and cultural context> <Aesthetics> Heylin, Clinton. From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World. Penguin, 1993. <Social and cultural contest> Home, Stewart. Cranked Up Really High: Genre Theory and Punk Rock. Codex, 1995. <Aesthetics> <Performance> Hughes, Tim. “Nirvana: The University of Washington HUB Ballroom, Seattle, January 6, 1990.” Performance and Popular Music: History, Place and Time, ed. Ian Inglis, 155-171. Ashgate, 2006. <Performance> Laing, Dave. One-Chord Wonders: Power and Meaning in Punk Rock. Open University Press, 1985. <Meaning and signification> <Harmony and Melody> Savage, Jon. England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond, rev. ed. St. Martin’s Griffin, 2002. <Social and cultural context> rap and hip-hop 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. <Race and ethnicity> <Intertextuality> Chang, Jeff. Can’t Stop, Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press, 2005. <Social and cultural context> <Race and ethnicity> <Meaning and signification> Cronbach, Lee. “Structural Polytonality in Contemporary Afro-American Music.” Black Music Research Journal 2 (1981–82): 15–33. <Harmony and Melody> Fink, Robert. “The Story of ORCH5, or the Classical Ghost in the Hip-Hop Machine.” Popular Music 24/3 (2005): 339-356. <Intertextuality> <Recording and mediation> Furman, Murray, and Mark Anthony Neal, eds. That’s the Joint! The Hip-Hop Studies Reader. Routledge, 2004. <General Reader> George, Nelson. Hip Hop America. Viking, 1998. <Race and ethnicity> <Social and cultural context> Greenwald, Jeff. “Hip-Hop Drumming: The Rhyme May Define, but the Groove Makes You Move.” Black Music Research Journal 22/2 (2002): 259–271. <Rhythm and Meter> <Lyrics and text> <Intertextuality> <Embodiment> Hisama, Ellie M. “‘We’re All Asian Really’: Hip Hop’s Afro-Asian Crossings.” Critical Minded: New Approaches to Hip Hop Studies, ed. Ellie M. Hisama and Evan Rapport, 1-21. Institute for Studies in American Music, 2005. <Race and ethnicity> <Intertextuality> <Lyrics and text> Keyes, Cheryl L. Rap Music and Street Consciousness. University of Illinois Press, 2002. <Performance> <Social and cultural context> Krims, Adam. Rap Music and the Poetics of Identity. Cambridge University Press, 2000. <Identity> <Race and ethnicity> <Gender and sexuality> <Lyrics and text> Jacono, Jean-Marie. “Pour une analyse des chanson de rap.” Musurgia 5/2 (1998): 65-75. <Harmony and Melody> <Lyrics and text> Neumann, Friedrich. “Hip Hop: Origins, Characteristics, and Creative Processes. Gothic, Metal, Rap, and Rave. The World of Music: Journal of the Department of Ethnomusicology, Otto-Friedrich University of Bamberg 42/1 (2000): 51-63. <Social and cultural context> <Lyrics and text> <Rhythm and Meter> Nielsen, Steen Kaargaard. “Wife Murder as Child's Game.” Danish Yearbook of Musicology 34 (2006): 31-46. <Lyrics and text> <Meaning and signification> <Identity> Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Wesleyan University Press, 1994. <Race and ethnicity> <Social and cultural context> <Rhythm and Meter> <Lyrics and text> <Intertextuality> Schloss, Joseph G. Making Beats: The Art of Sample-Based Hip-Hop. Wesleyan University Press, 2004. <Recording and mediation> <Intertextuality> <Performance> Walser, Robert. “Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy.” Ethnomusicology 39 (1995): 193–218. Repr. Critical Essays in Popular Musicology, ed. Allan F. Moore, 363-387. <Rhythm and Meter> <Lyrics and text> <Race and ethnicity> turntablism Fairchild, Charles. “The Medium and Materials of Popular Music: ‘Hound Dog,’ Turntablism and Muzak as Situated Musical Practices.” Popular Music 27, no. 1 (2008): 99-116. <Intertextuality> <Recording and mediation> <Performance> Katz, Mark. “The Turntable as Weapon: Understand the DJ Battle.” In Capturing Sound: How Technology has Changed Music (Berkeley: University of California Press, 2004), 114-36. <Performance> <Meaning and signification> Schloss, Joseph G. Making Beats: The Art of Sample-Based Hip-Hop. Middletown, CT: Wesleyan University Press, 2004. <Recording and mediation> <Intertextuality> <Performance> Souvignier, Todd. The World of DJs and the Turntable Culture. Milwaukee, WI: Hal Leonard Corporation, 2003. <Social and cultural context> <Textbook> Webber, Stephen. DJ Skills: The Essential Guide to Mixing and Scratching. Oxford, UK: Focal Press, 2008. <Textbook> Webber, Stephen. Turntable Technique: The Art of the DJ. Boston, MA: Berklee Press Publications, 2003. <Textbook> SPECIFIC ARTISTS AND GROUPS (see also Continuum’s 33 1/3 series for studies of individual albums, and Omnibus’s “Complete Guide to the Music” series.) Beach Boys Cunningham, Don, and Jeff Bleiel, eds. 2000. Add Some Music to Your Day: Analyzing and Enjoying the Music of the Beach Boys. Tiny Ripple Books. <Aesthetics> <General Reader> Doe, Andrew, and John Tobler. 2004. Brian Wilson and The Beach Boys: The Complete Guide to Their Music. Omnibus Press & Schirmer Trade Books. <Social and cultural context> <General Reader> Fitzgerald, Jon. 2009. “Creating Those Good Vibrations: An Analysis of Brian Wilson's US Top 40 Hits 1963–66.” Popular Music and Society 32.1: 3-24. <Performance> <Lyrics and text> <Harmony and Melody> Fusilli, Jim. 2005. Beach’s Boys’ Pet Sounds. Continuum. <Social and cultural context> Granata, Charles L. 2003. Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A Cappella. <Social and cultural context> Harrison, Daniel. 1997. “‘After Sundown’: The Beach Boys’ Experimental Music.” In Understanding Rock, ed. John Covach and Graeme M. Boone, 33-57. Oxford. <Harmony and Melody> Hascher, Xavier. 2007. “A Harmonic Investigation into Three Songs of the Beach Boys: ‘All Summer Long,’ ‘Help Me Rhonda,’ and ‘California Girls.’” Sonus 27/2: 27-52. <Harmony and Melody> Lambert, Philip. 2007. Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius. Continuum. <Intertextuality> <Lyrics and text> <Harmony and Melody> Lambert, Philip. 2008. “Brian Wilson's Pet Sounds.” twentieth-century music 5.01: 109-133. <Social and cultural context> Pirenne, Christophe. 2002. “Entre analyse historiaste et interdisciplinarité: Pet Sounds des Beach Boys.” Musurgia 2002: 9-22. <Intertextuality> <Social and cultural context> Smith, Mandy. 2011. “‘Spirit of America’: Socio-cultural and Gender Issues in Early Beach Boys Songs.” PhD diss., University of California at Long Beach. <Gender and sexuality> <Social and cultural context> <Lyrics and text> Beatles Benitez, Vincent Perez. 2010. The Words and Music of Paul McCartney: The Solo Years. ABC-CLIO. <General Reader> Cohen, Sara. “Liverpool and the Beatles: Exploring Relations between Music and Place, Text and Context.” Keeping Score, 90-106. <Social and cultural context> <Meaning and signification> <Lyrics and text> Collaros, Pandel. “The Music of the Beatles in Undergraduate Music Theory Instruction.” Indiana Theory Review 21 (2000): 53-78. <Harmony and Melody> <Review> 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> <Harmony and Melody> Everett, Walter. The Beatles as Musicians: The Quarry Men through Rubber Soul. Oxford University Press, 2001. <Social and cultural context> <Performance> Everett, Walter. The Beatles as Musicians: Revolver through The Anthology. Oxford University Press, 1999. <Social and cultural context> <Performance> Everett, Walter. “The Beatles as Composers: the Genesis of Abbey Road, Side Two.” Concert Music, Rock, and Jazz since 1945, ed. Elizabeth West Marvin and Richard Herrmann, 172-228. University of Rochester Press, 1995. <Social and cultural context> <Performance> Everett, Walter. “Fantastic Remembrance in John Lennon’s ‘Strawberry Fields Forever’ and ‘Julia.’” Musical Quarterly 72/3 (1986): 360-393. <Lyrics and text> <Meaning and signification> Everett, Walter. “Painting Their Room in a Colorful Way: The Beatles’ Explorations of Timbre.” Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four, ed. Kenneth Womack and Todd F. Davis, 71-94. State University of New York Press, 2006. <Timbre> <Lyrics and text> <Meaning and signification> Everett, Walter. “Text-Painting in the Foreground and Middleground of the Paul McCartney Song, ‘She’s Leaving Home’: A Musical Study of Psychological Conflict.” In Theory Only 9 (1985): 5-21. <Harmony and Melody> <Lyrics and text> <Meaning and signification> Everett, Walter. “Voice-Leading and Harmony as Expressive Devices in the Early Music of the Beatles: ‘She Loves You.’” College Music Symposium 32 (1992): 19-37. <Harmony and Melody> <Lyrics and text> <Meaning and signification> Hammond, Ian. “Old Sweet Songs: In Search of the Sources of “I Saw Her Standing There” and “Yesterday.” Soundscapes 5 (2002). http://www.icce.rug.nl/~soundscapes/VOLUME05/Oldsweetsongs.shtml. <Intertextuality> <Lyrics and text> <Meaning and signification> Heinonen, Yrjo, Terhi Nurmesjarvi, John Richardson, Tuomas Eerola, and Jouni Koskimaki. Beatlestudies 1: Songwriting, Recording, and Style Change. University of Jyvaskyla, 1998. <Recording and mediation> <Lyrics and text> <Aesthetics> Heinonen, Yrjo, Terhi Nurmesjarvi, Jouni Koskimaki, Seppo Niemi, and Francis Kiernan. Beatlestudies 2: History, Identity, Authenticity. University of Jyvaskyla, 2000. <Recording and mediation> <Lyrics and text> <Aesthetics> Heinonen, Yrjo, Markus Heuger, Sheila Whiteley, Terhi Nurmesjarvi, and Jouni Koskimaki, eds. Beatlestudies 3: Proceedings of the Beatles 2000 Conference. University of Hertsgaard, Mark. A Day in the Life: the Music and Artistry of the Beatles. Delta, 1996. Johanssen, K. G. “The Harmonic Language of the Beatles.” STM-Online(Svensk Tidskrift för Musikforskning) 2 (1999). http://www.musik.uu.se/ssm/stmonline/vol_2_1/KGJO/index.html. <Harmony and Melody> Johnson, Mark L., and Steve Larson. 2003. “‘Something in the Way She Moves’-Metaphors of Musical Motion.” Metaphor and Symbol 18 (2): 63–84. <Lyrics and text> <Meaning and signification> <Embodiment> Julien, Olivier. Sgt. Pepper and the Beatles. Ashgate, 2008. <Social and cultural context> Jyvaskyla, 2001. <Recording and mediation> <Lyrics and text> <Aesthetics> MacFarlane, Thomas. The Beatles’ Abbey Road Medley: Extended Forms in Popular Music. Scarecrow, 2008. <Form> Matteo, Steve. Beatles’ Let It Be. Continuum, 2004. <Social and cultural context> Mellers, Wilfrid. Twilight of the Gods: The Music of The Beatles. Viking Press, 1973. <Harmony and Melody> <Performance> <Social and cultural context> Moore, Allan F. The Beatles: Sgt. Pepper’s Lonely Hearts Club Band. Cambridge University Press, 1997. <Social and cultural context> Mulder, Juul. “Semantic Shifts in Beatles’ Chord Progressions.” Soundscapes 7 (2004). http://www.icce.rug.nl/~soundscapes/VOLUME07/Semantic_shifts.shtml. <Harmony and Melody> O’Grady, Terence. The Beatles: A Musical Evolution. Twayne, 1983. <Social and cultural context> <Harmony and Melody> Pollack, Alan. “Notes On . . . [Beatles Songs] Series.” Soundscapes 1 (1999). http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-notes_on.shtml. <General Reader> Porter, Steven Clark. “Rhythm and Harmony in the Music of the Beatles.” Ph.D. dissertation, City University of New York, 1979. <Rhythm and Meter> <Harmony and Melody> Price, Charles Gower. “Sources of American Styles in the Music of the Beatles.” American Music 15/2 (1997): 208-232. <Intertextuality> <Race and ethnicity> Reck, David R. “Beatles Orientalis: Influences from Asia in a Popular Song Tradition.” Asian Music 16/1 (1985): 83-149.<Race and ethnicity> <Intertextuality> Reising, Russell, ed. Every Sound There Is: The Beatles’ Revolver and the Transformation of Rock and Roll. Ashgate, 2002. <General Reader> Riley, Tim. Tell Me Why: The Beatles: Album by Album, Song By Song, the Sixties and After. Knopf, 1988. <Social and cultural context> <Lyrics and text> <Harmony and Melody> <Form> Schwarz, David. “Scatting, the Acoustic Mirror, and the Real in the Beatles’ ‘I Want You (She’s So Heavy).’” Listening Subjects, ed. David Schwarz, 23-37. Duke University Press, 1997. <Timbre> <Voice> <Authenticity> <Identity> Tillekens, Ger. “A Flood of Flat Sevenths, or, What are All Those Flat Sevenths Doing in the Beatles’ Revolver?” Soundscapes 9 (2006). http://www.icce.rug.nl/~soundscapes/VOLUME09/A_flood_of_flat-sevenths.shtml. <Harmony and Melody> Tillekens, Ger. “Words and Chords: The Semantic Shifts of the Beatles’ Chords.” Soundscapes 3 (2000). http://www.icce.rug.nl/~soundscapes/VOLUME03/Words_and_chords.shtml. <Lyrics and text> <Harmony and Melody> Wagner, Napthali. “Domestication of Blue Notes in the Beatles’ Songs.” Music Theory Spectrum 25 (2003): 353-365. <Harmony and Melody> Wagner Napthali. “Fixing a Hole in the Scale: Suppressed Notes in the Beatles’ Songs.” Popular Music 23 (2004): 257-269. <Harmony and Melody> Urish, Ben. 2007. The Words and Music of John Lennon. Greenwood Publishing Group. <General Reader> Womack, Kenneth, and Todd F. Davis, eds. The Cambridge Companion to the Beatles. Cambridge University Press, 2009. <General Reader> Womack, Kenneth, and Todd F. Davis, eds. Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four. State University of New York, 2006. <General Reader> Bjork Dibben, Nicola. 2009. Björk. Indiana University Press. <General Reader> Davis, Miles Waters, Keith. 2011. The Studio Recordings of the Miles Davis Quintet, 1965-68. Oxford University Press. <General Reader> Dylan, Bob Benson, Carl. The Bob Dylan Companion—Four Decades of Commentary. Schirmer, 1998. <Social and cultural context> Bickford, Tyler. 2007. “Music of Poetry and Poetry of Song: Expressivity and Grammar in Vocal Performance.” Ethnomusicology 51/3: 439–76. <Voice> <Lyrics and text> <Harmony and Melody> Bowden, Betsy. 2001. Performed Literature: Words and Music by Bob Dylan, 2nd ed. Lanham, MD: University Press of America. <Intertextuality> <Lyrics and text> <Performance> Cherlin, Michael and Sumanth Gopinath. 2009. “‘Somewhere Down in the United States’: The Art of Bob Dylan’s Ventriloquism.” In Highway 61 Revisited: Bob Dylan’s Road from Minnesota to the World, ed. Colleen J. Sheehy and Thomas Swiss, pp. 225–36. Minneapolis: University of Minnesota Press. <Voice> <Social and cultural context> Daley, Michael. 1997. “‘One Who Sings with His Tongue on Fire’: Change, Continuity and Meaning in Bob Dylan’s Vocal Style, 1960–66.” M.A. thesis, York University. <Voice> <Meaning and signification> <Timbre> Dettmar, Kevin, ed. The Cambridge Companion to Bob Dylan. Cambridge University Press, 2009. <General Reader> Harvey, Todd. The Formative Dylan: Transmission and Stylistic Influences, 1961-1963. Scarecrow Press, 2001. <Intertextuality> <Lyrics and text> <Social and cultural context> Long, Tim Lee. “Take What You Need: Musical, Cultural, and Literary Influences on Bob Dylan.” D.A. thesis, Middle Tennessee State University, 2002. <Intertextuality> <Meaning and signification> <Social and cultural context> Mellers, Wilfrid. A Darker Shade of Pale: A Backdrop to Bob Dylan. Faber, 1984. <Social and cultural context> <Voice> <Identity> Negus, Keith. 2008. Bob Dylan. Bloomington: Indiana University Press. <General Reader> <Social and cultural context> Polizzotti, Mark. Bob Dylan’s Highway 61 Revisited. Continuum, 2006. <Lyrics and text> <Harmony and Melody> <Meaning and signification> Riley, Tim. Hard Rain: A Dylan Commentary. Knopf, 1992. <Performance> <Social and cultural context> <Identity> Rings, Steven. 2013. “A Foreign Sound to Your Ear: Bob Dylan Performs ‘It’s Alright, Ma (I’m Only Bleeding).’” Music Theory Online 2013 (4). <Performance> Shelton, Robert. No Direction Home: The Life and Music of Bob Dylan. Penguin, 1986. <Social and cultural context> <Identity> Snow, Craig Robert. “Folksinger and Beat Poet: The Prophetic Vision of Bob Dylan.” Ph.D. dissertation, Purdue University, 1987. http://docs.lib.purdue.edu/dissertations/AAI8807676/. <Lyrics and text> <Harmony and Melody> Varesi, Anthony. The Bob Dylan Albums: A Critical Study. Guernica, 2002. <Social and cultural context> <Voice> Williams, Paul. 1991. Bob Dylan, Performing Artist. 1960–1973: The Early Years. London: Omnibus. <Social and cultural context> ———. 1992. Bob Dylan, Performing Artist. 1974–1986: The Middle Years. London: Omnibus. <Social and cultural context> ———. 2003. Bob Dylan, Performing Artist. 1986–1990 and Beyond: Mind Out of Time. London: Omnibus. <Social and cultural context> Zak, Albin. “Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation—‘All along the Watchtower.’” Journal of the American Musicological Society 57/3 (2004): 599-644. <Intertextuality> <Harmony and Melody> There are also a handful of major Dylan resources that are not explicitly of a music-analytical bent but would need to be on any Dylan researcher's shelf. As long as the biblio already includes sources like the Benson and the Riley, these seem worth including too (the Gray books, at the very least, are indispensable): Gray, Michael. 2000. Song and Dance Man III: The Art of Bob Dylan. London: Cassell. <Social and cultural context> <Harmony and Melody> <Lyrics and text> ———. 2006. The Bob Dylan Encyclopedia. New York: Continuum. <General Reader> Marqusee, Mike. 2005. Wicked Messenger: Bob Dylan and the 1960s. New York: Seven Stories. <Social and cultural context> <General Reader> Ricks, Christopher. 2004. Dylan’s Visions of Sin. New York: Ecco. <Lyrics and text> <Meaning and signification> Scobie, Stephen. 2003. Alias Bob Dylan Revisited. Calgary: Red Deer Press. <Social and cultural context> Trager, Oliver. 2004. Keys to the Rain: The Definitive Bob Dylan Encyclopedia. New York: Billboard Books. <General Reader> Genesis Holm-Hudson, Kevin. Genesis and The Lamb Lies Down on Broadway. Ashgate, 2008. <Lyrics and text> <Form> <Harmony and Melody> Spicer, Mark. “Genesis’s Foxtrot.” Composition and Experimentation in British Rock, 1966–1976, special issue of Philomusica Online (2007). <Form> <Harmony and Melody> 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> Grateful Dead Boone, Graeme M. “Tonal and Expressive Ambiguity in ‘Dark Star.’” Understanding Rock, ed. John Covach and Graeme M. Boone, 171-210. Oxford University Press, 1997. <Harmony and Melody> <Lyrics and text> Dodd, David G., and Diana Spaulding, eds. The Grateful Dead Reader. Oxford University Press, 2000. <General Reader> Doerschuk, Robert L. “Keyboards in the Grateful Dead.” Keyboard 17/1 (1991): 80-96. <Performance> Meriweather, Nicholas, ed. All Graceful Instruments: The Contexts of the Grateful Dead Phenomenon. Cambridge Scholars Press, 2007. <Social and cultural context> <Performance> Weiner, Robert G, ed. Perspectives on the Grateful Dead: Critical Writings. Greenwood Press, 1999. <General Reader> Hendrix, Jimi Brown, Matthew. “‘Little Wing’: A Study in Musical Cognition.” Understanding Rock, ed. John Covach and Graeme M. Boone, 155-167. Oxford University Press, 1997. <Performance> <Harmony and Melody> Perry, John. Jimi Hendrix’s Electric Ladyland. Continuum, 2004. <Social and cultural context> <General Reader> Van der Bliek, Rob. “The Hendrix Chord: Blues, Flexible Pitch Relationships, and Self-Standing Harmony.” Popular Music 26/2 (2007): 342-364. <Harmony and Melody> <Performance> Murray, Charles Shaar. Crosstown Traffic: Jimi Hendrix and Post-War Pop. St. Martin’s Press, 1990. <Social and cultural context> Potash, Chris. The Jimi Hendrix Companion: Three Decades of Commentary. Schirmer, 1996. <Social and cultural context> Waksman, Steve. “Black Sound, Black Body: Jimi Hendrix, the Electric Guitar, and the Meanings of Blackness.” Waksman, Instruments of Desire: the Electric Guitar and the Shaping of Musical Experience, 167-206. Harvard University Press, 1999. Repr. The Popular Music Studies Reader, ed. Andy Bennett, Barry Shank, and Jayson Toynbee, 64-70. Routledge, 2006. <Gender and sexuality> <Race and ethnicity> <Recording and mediation> <Timbre> Wells, Jeremy. “Blackness 'Scuzed: Jimi Hendrix's (In)visible Legacy in Heavy Metal.” Race Consciousness: African-American Studies for the New Century, ed. , 55-63. New York University Press, 1997. <Race and ethnicity> <Intertextuality> Whiteley, Sheila. “Progressive Rock and Psychedelic Coding in the Work of Jimi Hendrix.” Popular Music 9 (1990): 37-60. Response by Richard Keena-Levin, Popular Music 10/1 (1991): 89-91. <Social and cultural context> <Form> <Harmony and Melody> Zak, Albin. “Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation—‘All along the Watchtower.’” Journal of the American Musicological Society 57/3 (2004): 599-644. <Intertextuality> <Lyrics and text> <Harmony and Melody> Led Zeppelin Brackett, John. “Examining Rhythmic and Metric Practices in Led Zeppelin’s Musical Style. Popular Music 27/1 (2008): 53-76. <Rhythm and Meter> Davis, Eric. Led Zeppelin IV. Continuum, 2005. <General Reader> <Social and cultural context> Fast, Susan. In the Houses of the Holy: Led Zeppelin and the Power of Rock Music. Oxford University Press, 2001. <Identity> <Social and cultural context> Fast, Susan. “Rethinking Issues of Gender and Sexuality in Led Zeppelin: A Woman’s View of Pleasure and Power in Hard Rock.” The Popular Music Studies Reader, ed. Andy Bennett, Barry Shank, and Jayson Toynbee, 362-369. Routledge, 2006. <Identity> <Gender and sexuality> Fyfe, Andy. When the Levee Breaks: The Making of Led Zeppelin IV. Chicago Review Press, 2003. <Social and cultural context> Headlam, Dave. “Does the Song Remain the Same?: Questions of Authorship and Identification in the Music of Led Zeppelin.” Concert Music, Rock, and Jazz since 1945, ed. Elizabeth West Marvin and Richard Herrmann, 313-363. University of Rochester Press, 1995. <Authenticity> <Issues in current popular music> Hoskyns, Barney. Led Zeppelin IV. Rodale, 2006. <General Reader> <Social and cultural context> Waksman, Steve. “Every Inch of My Love: Led Zeppelin and the Problem of Cock Rock.” Journal of Popular Music Studies 8 (1996): 5-25. <Gender and sexuality> McLachlan, Sarah Burns, Lori. “Meaning in a Popular Song: The Representation of Masochistic Desire in Sarah McLachlan's ‘Ice.’” Engaging Music, ed. Deborah Stein, 136-148. Oxford University Press, 2004. <Gender and sexuality> <Lyrics and text> <Meaning and signification> Burns, Lori. “Sarah McLachlan's ‘Possession’ (1993): Representations of Dominance and Subordination in Lyrics, Music, and Images.” Studies in Music at the University of Western Ontario 19-20 (2005): 59-94. <Gender and sexuality> <Lyrics and text> <Multimedia> <Meaning and signification> Koozin, Timothy. “Fumbling Towards Ecstasy: Voice Leading, Tonal Structure, and the Theme of Self-Realization in the Music of Sarah McLachlan.” Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 267-284. Routledge, 2008. <Harmony and Melody> <Meaning and signification> <Lyrics and text> Mitchell, Joni Nelson, Sean. Joni Mitchell’s Court and Spark. Continuum, 2006. <Lyrics and text> <General Reader> Sonenberg, Daniel. “Who in the World She Might Be: A Contextual and Stylistic Approach to the Early Music of Joni Mitchell.” D.M.A. dissertation, City University of New York, 2003. <Lyrics and text> <Intertextuality> <Identity> Whitesell, Lloyd. “Harmonic Palette in Early Joni Mitchell.” Popular Music 21/2 (2002): 173-193. <Harmony and Melody> Whitesell, Lloyd. The Music of Joni Mitchell. Oxford University Press, 2008. <General Reader> <Harmony and Melody> <Lyrics and text> Pet Shop Boys Balfour, Ian. “Queen Theory: Notes on the Pet Shop Boys.” Rock over the Edge: Transformations in Popular Music Culture, ed. Roger Beebe, Ben Saunders, and Denise Fulbrook,357-370. Duke University Press, 2002. Butler, Mark. “Taking it Seriously: Intertextuality and Authenticity in Two Covers by the Pet Shop Boys.” Popular Music 22/1 (2003) 1-19. Hawkins, Stan. “The Pet Shop Boys: Musicology, Masculinity, and Banality.” Sexing the Groove: Popular Music and Gender, ed. Sheila Whiteley, 118-113. Routledge, 1997. Maus, Fred. “Glamour and Evasion: The Fabulous Ambivalence of the Pet Shop Boys.” Popular Music 20/3 (2001): 379-393. Repr. Critical Essays in Popular Musicology, ed. Allan F. Moore, 525-540. Pink Floyd Cavanagh, John Eric. Pink Floyd's The Piper at the Gates of Dawn. Continuum, 2003. <Social and cultural context> Cotner, John. “Pink Floyd’s ‘Careful with that Axe, Eugene’ (ca. 1968-1969): A Study of Genre,Texture, Medium, and Structure.” Progressive Rock Reconsidered, ed. Kevin Holm-Hudson, 65-90. Routledge, 2002. <Aesthetics> <Timbre> <Form> <Performance> O’Donnell, Shaugn. “‘Sailing to the Sun’: Revolver’s Influence on Pink Floyd.” Every Sound There Is: The Beatles’ Revolver and the Transformation of Rock and Roll, ed Russell Reising, 69-86. Ashgate, 2002. <Intertextuality> Reising, Russell, ed. “Speak to Me”: the Legacy of Pink Floyd’s Dark Side of the Moon. Ashgate, 2005. <Social and cultural context> <General Reader> Schaffner, Nicholas. Saucerful of Secrets: The Pink Floyd Odyssey. Harmony Books, 1991. <Social and cultural context> Porter, Cole Eells, George. 1967. The Life That Late He Led; a Biography of Cole Porter. New York: G. P. Putnam’s Sons. <General Reader> Porter, Cole, and Richard Gibson Hubler. 1965. The Cole Porter Story, as Told to Richard G. Hubler. Cleveland: World Pub. Co. <General Reader> Schwartz, Charles. 1977. Cole Porter: A Biography. New York: Dial Press. <General Reader> Shaftel, Matthew. 1999. “From Inspiration to Archive: Cole Porter’s ‘Night and Day.’” Journal of Music Theory 43 (2): 315–47. <Lyrics and Text> <Harmony and Melody> Siebert, Lynn Laitman. 1975. “Cole Porter: An Analysis of Five Musical Comedies and a Thematic Catalogue of the Complete Works.” Ph.D., United States -- New York: City University of New York. http://search.proquest.com.turing.library.northwestern.edu/pqdtft/docview/302727792/citation/13CB0D66FED7AAFF37/1?accountid=12861. <Harmony and Melody> Presley, Elvis Bertrand, Michael T. Race, Rock and Elvis. University of Illinois Press, 2000. <Race and ethnicity> <Identity> <Intertextuality> Chadwick, Vernon, ed. In Search of Elvis: Music, Race, Art, Religion. Westview, 1997. <Race and ethnicity> <General Reader> Duffett, Mark. “Caught in a Trap? Beyond Pop Theory’s ‘Butch’ Construction of Male Elvis Fans.” Popular Music 20/3 (2001): 389-402. <Gender and sexuality> <Identity> Frith, Simon. “The Academic Elvis.” Dixie Debates: Perspectives on Southern Cultures, ed. Richard King and Helen Taylor, 99-114. New York University Press, 1996. <Identity> <Voice> <Social and cultural context> Malone, Bill C. “Elvis, Country Music, and the South.” Elvis: Images and Fancies, ed. Jac L. Tharpe, 123-134. University Press of Mississippi, 1980. <Social and cultural context> Middleton, Richard. “All shook up? Innovation and Continuity in Elvis Presley's Vocal Style.” Elvis: Images and Fancies, ed. Jac L. Tharpe, 151-161. University Press of Mississippi, 1980. <Voice> <Harmony and Melody> Wolfe, Charles. “Presley and the Gospel Tradition.” Elvis: Images and Fancies, ed. Jac L. Tharpe, 135-150. University Press of Mississippi, 1980. <Intertextuality> <Voice> <Race and ethnicity> Radiohead Griffiths, Dai. Radiohead’s OK Computer. Continuum, 2004. <Harmony and Melody> <Lyrics and text> Hubbs, Nadine. “The Imagination of Pop-Rock Criticism.” Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 215-237. Routledge, 2008. <Issues in current popular music> <Meaning and signification> <Aesthetics> Osborn, Brad. "Kid Algebra: Radiohead's Euclidean and Maximally Even Rhythms." Perspectives of New Music 52, no. 1, 81–105, 2014. <Rhythm and Meter> Shaffer, Kris. “‘A Delicate Balance’: Music Theory, New Musicology, and the Analysis of Sound in Radiohead’s ‘Like Spinning Plates.’ Unpublished seminar paper, Yale University. http://kris.shaffermusic.com/doc/LSPAnalysis.pdf. <Issues in current popular music> Tate, Joseph, ed. The Music and Art of Radiohead. Ashgate, 2006. <General Reader> Tatom-Letts, Marianne. “‘How to Disappear Completely’: Radiohead and the Resistant Concept Album.” Ph.D. dissertation, University of Texas at Austin, 2005. http://www.illuin.org/Marianne/Marianne_Tatom_Letts_dissertation.pdf. <Form> <Harmony and Melody> <Lyrics and text> Rush Bowman, Durrell. “Let Them All Make Their Own Music: Individualism, Rush, and the Progressive/Hard Rock Alloy, 1976-77.” Progressive Rock Reconsidered, ed. Kevin Holm-Hudson, 183-218. Routledge, 2002. <Identity> <Social and cultural context> <Timbre> <Lyrics and text> Bowman, Durrell. “Permanent Change: Rush, Musician’s Rock, and the Progressive Post-Counterculture.” PhD dissertation, University of California at Los Angeles, 2003. http://www.humnet.ucla.edu/humnet/musicology/grads/bowman/PDFS/DBowman_dissertation.pdf. <Social and cultural context> Bowman, Durrell. “Textu(r)al Undercoding and the Music of the Rock Band Rush: String Quartets, Death Metal, Trip-Hop, and other Tributes.” <http://durrellbowman.com/textual_undercoding_2004.html>. <Timbre> <Intertextuality> <Meaning and signification> McDonald, Christopher. “Grand Designs: A Musical, Social, and Ethnographic Study of Rush.” Ph.D. dissertation, York University, 2002. <Social and cultural context> McDonald, Christopher. “Open Secrets: Individualism and Middle-Class Identity in the Songs of Rush.” Popular Music and Society 31/3 (2008): 313-328. <Identity> <Social and cultural context> Walsh, Brian. “Structure, Function, and Process in the Early Song Cycles and Extended Songs of the Canadian Rock Group Rush.” Ph.D. dissertation, Ohio State University, 2002. <Form> <Harmony and Melody> <Lyrics and text> Simon, Paul Bennighof, James. “Fluidity in Paul Simon’s ‘Graceland’: On Text and Music in a Popular Song.” College Music Symposium 33-34 (1993): 212-236. <Aesthetics> <Lyrics and text> Bennighof, James. The Words and Music of Paul Simon. Praeger, 2007. <Social and cultural context> <Lyrics and text> <Harmony and Melody> <Form> Everett, Walter. “Swallowed by a Song: Paul Simon's Crisis of Chromaticism.” Understanding Rock, ed. John Covach and Graeme M. Boone, 113-153. Oxford University Press, 1997. <Harmony and Melody> <Meaning and signification> Kaminsky, Peter. “The Popular Album as Song Cycle: Paul Simon’s Still Crazy After All These Years.” College Music Symposium 32 (1992): 38–54. <Form> <Lyrics and text> Luftig, Stacey, ed. The Paul Simon Companion: Four Decades of Commentary. Schirmer, 1997. <General Reader> Meintjes, Louise. “Paul Simon's Graceland, South Africa, and the Mediation of Musical Meaning,” Ethnomusicology 34.1 (1990): 37-73. <Race and ethnicity> <Meaning and signification> Perone, James E. Paul Simon: A Bio-Bibliography. Greenwood Press, 2000. <Social and cultural context> Stephan-Robinson, Anna. “Form in Paul Simon's Music.” Ph.D. diss., University of Rochester, 2009. <Form> U2 Catanzarite, Steven. U2’s Achtung Baby: Meditations on love in the shadow of the Fall. Continuum, 2007. <Social and cultural context> <Lyrics and text> Endrinal, Christopher. 2011. “Burning Bridges: Defining the Interverse in the Music of U2.” Music Theory Online 17 (3). <Harmony and Melody> <Form> <Meaning and signification> Fast, Susan. “Music, Contexts and Meaning in U2.” Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 175-197. Routledge, 2008. <Intertextuality> <Lyrics and text> <Meaning and signification> Moore, Allan F. “U2 and the Myth of Authenticity in Rock.” Popular Music 3 (1998): 4-24. <Authenticity> Wrathall, Mark A., ed. U2 and Philosophy: How to Decipher an Atomic Band. Open Court, 2006. <Meaning and signification> <Aesthetics> <General Reader> Wonder, Stevie Horn, Martin. Innervisions: The Music of Stevie Wonder. 1st Books Library, 2000. <Harmony and Melody> <Form> <Lyrics and text> Hughes, Tim. “Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder.” Ph.D. dissertation, University of Washington, 2003. <http://www.surrey.ac.uk/Music/NewsGenInfo/AcademicStaff/Hughes/GrooveAndFlow.pdf> <Rhythm and Meter> Hughes, Tim. “Trapped within the Wheels: Flow and Repetition, Modernism and Tradition in Stevie Wonder’s ‘Living for the City.’” Expression in Pop-Rock Music: Critical and Analytical Essays,2nd ed., ed. Walter Everett, 239-265. Routledge, 2008. <Rhythm and Meter> <Form> Perone, James E. The Sound of Stevie Wonder: His Words and Music. Praeger, 2006. <Social and cultural context> <Lyrics and text> <Harmony and Melody> Yes Bourque, Matthew. “Approaching the Edge: Yes’s Techniques that Lead to ‘Close to the Edge.’” M.A. thesis, Arizona State University, 2004. <Performance> Chambers, Stuart. Yes: An Endless Dream of ‘70s, ‘80s, and ‘90s Rock Music—An Unauthorized Interpretive History in Three Phases. General Store, 2002. <Social and cultural context> <Meaning and signification> Covach, John. “Musical Worlding: Heidegger’s Fundamental Ontology and the Understanding of Music. Methods: A Journal for Human Science (1994): 49-58. <Aesthetics> <Meaning and signification> Covach, John. “Progressive Rock, ‘Close to the Edge,’ and the Boundaries of Style.” Understanding Rock, ed. John Covach and Graeme M. Boone, 3-32. Oxford University Press, 1997. <Form> <Harmony and Melody> Fabbri, Franco. “You’re Pushing the Needle to the Red, ovvero della prospettiva, arte dell’illusione.” Il suono in cui viviamo: Inventare, produrre e diffondere musica, ed. Franco Fabbri, 113-115. Feltrinelli, 1996. <Aesthetics> Martin, Bill. Music of Yes: Structure and Vision in Progressive Rock. Open Court, 1996. <Form> Mosbø, Thomas J. Yes, But What Does It Mean? Exploring the Music of Yes. Wyndstar, 1994. <Harmony and Melody> <Form> Palmer, John R. “Yes, Awaken, and the Progressive Rock Style.” Popular Music 20/2 (2001): 243-261. <Harmony and Melody> <Form> Zappa, Frank Ashby, Arved. “Frank Zappa and the Anti-Fetishist Orchestra.” Musical Quarterly 83 (1999): 557-606. <Social and cultural context> <Performance> <Aesthetics> Bernard, Jonathan W. “Listening to Zappa.” American Rock and the Classical Music Tradition. 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Lowe, Kelly Fisher. The Words and Music of Frank Zappa. Praeger, 2006. <Identity> <Meaning and signification> 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>
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