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Society for Music TheoryPopular Music Interest Group
BASIC BIBLIOGRAPHY
GENERAL
pop-rock theory and analysis
“popular music” and the canon
undergraduate pop-music textbooks
jazz theory textbooks
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
STYLES AND GENRES
blues and R&B
blues-rock
classical influences
country
cover versions
dance music
film, TV and video
folk (Anglo-American)
funkglobal pop
heavy metal
jazz
new wave
popular song
progressive rock
punk
rap and hip-hop
SPECIFIC ARTISTS AND GROUPS
Beach Boys
Beatles
Dylan, Bob
Genesis
Grateful Dead
Hendrix, Jimi
Led Zeppelin
McLachlan, Sarah
Mitchell, Joni
Pet Shop Boys
Pink Floyd
Presley, Elvis
Radiohead
Rush
Simon, Paul
U2
Wonder, Stevie
Yes
Zappa, Frank
GENERAL
pop-rock theory and analysis
Bennett, Andy; Barry Shank; and Jayson Toynbee, eds. The Popular Music Studies Reader. Routledge, 2006.Brackett, David. Interpreting Popular Music. University of California Press, 2000.Brackett, David, ed. The Pop, Rock, and Soul Reader, 2nd ed. Oxford University Press, 2008.Covach, John. “Popular Music, Unpopular Musicology.” Rethinking Music, ed. Nicholas Cook and Mark
Everist, 452-470. Oxford University Press, 1999.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.
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.
Covach, John, and Graeme M. Boone, eds. Understanding Rock: Essays in Musical Analysis. Oxford University Press, 1997.
Covach, John, and Mark Spicer, eds. Sounding Out Rock: Further Essays in Musical Analysis. Forthcoming, University of Michigan Press.
Covach, John, and Walter Everett, eds. Traditions, Institutions, and American Popular Music. Contemporary Music Review 19/1 (2000).
Cutler, Chris. File under Popular: Theoretical and Critical Writings on Music. Autonomedia, 1992.Everett, Walter. The Foundations of Rock: From “Blue Suede Shoes” to “Suite: Judy Blue Eyes.” Oxford
University Press, 2008.Everett, Walter, ed. Expression in Pop-Rock Music, 2nd ed. Routledge, 2008. Everett, Walter. “Pitch Down the Middle.” Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd
ed., ed. Walter Everett, 111-174. Routledge, 2008.Fink, Robert. “Elvis Everywhere: Musicology and Popular Music Studies at the Twilight of the Canon.
American Music 16/2 (1998): 135-179.Frith, Simon, Will Straw, and John Street, eds. The Cambridge Companion to Pop and Rock. Cambridge
University Press, 2001.Gordon, Christopher P. Form and Content in Commercial Music. Ardsley House, 1992.Gracyk, Theodore. Listening to Popular Music; Or, How I Learned to Stop Worrying and Love Led Zeppelin.
University of Michigan Press, 2007.Gracyk, Theodore. Rhythm and Noise: An Aesthetics of Rock. Duke University Press, 1996.Hamm, Charles. Putting Popular Music in its Place. Cambridge University Press, 1995.Hatch, David, and Stephen Millward. From Blues to Rock: An Analytical History of Pop Music.
St. Martin’s Press, 1987.Hesmondhalgh, David and Keith Negus, eds. Popular Music Studies. Oxford University Press, 2002.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.Jones, Steve. Tracking: Popular Music Studies.
http://www.icce.rug.nl/~soundscapes/DATABASES/TRA/Tracking.shtmlKaminsky, 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.htmlKrims, Adam. Music and Urban Geography. Routledge, 2007.Krims, Adam. “What Does It Mean to Analyse Popular Music?” Music Analysis 22/1–2 (2003): 181-209.Marvin, Elizabeth West, and Richard Hermann, eds. Concert Music, Rock, and Jazz since 1945: Essays and
Analytical Studies. University of Rochester Press, 1995.Middleton, Richard. “Popular Music Analysis and Musicology: Bridging the Gap.” Popular Music 12/2
(1993): 177-190.Middleton, Richard. Studying Popular Music. Open University Press, 1990.Moore, Allan F. Rock: The Primary Text, 2nd ed. Ashgate, 2001.
Moore, Allan F., ed. Analyzing Popular Music. Cambridge University Press, 2003.Moore, Allan F., ed. Critical Essays in Popular Musicology. Ashgate, 2007.Negus, Keith. Popular Music in Theory: An Introduction. Polity Press, 1996.Scott, Derek B., ed. The Ashgate Research Companion to Popular Musicology. Ashgate, 2009.Shuker, Roy. Understanding Popular Music. Routledge, 1994.Sorce, Richard. Music Theory for the Music Professional: A Comparison of Common-Practice and Popular
Genres. Ardsley House, 1995.Spicer, Mark. “(Ac)cumulative Form in Pop-Rock Music.” 20th-Century Music 1/1 (2004): 29-64.Stephenson, Ken. What to Listen For in Rock: A Stylistic Analysis. Yale University Press, 2003.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.Van der Merwe, Peter. Origins of the Popular Style: the Antecedents of 20th-Century Popular Music. Clarendon
Press, 1989.Whiteley, Sheila. The Space Between the Notes: Rock and the Counter-Culture. Routledge, 1992.
“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.
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.
Gracyk, Theodore. Listening to Popular Music: Or, How I Learned to Stop Worrying and Love Led Zeppelin. University of Michigan Press, 2007.
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.
Horn, David, ed. Popular Music Perspectives 2 (2nd International Conference on Popular Music Studies). Göteborg & Exeter, 1985.
Horn, David, and Philip Tagg, eds. Popular Music Perspectives 1 (1st International Conference on Popular Music Studies). Göteborg & Exeter, 1982.
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.
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.
Regev, Motti. “The ‘Pop-Rockization’ of Popular Music.” Popular Music Studies, ed. David Hesmondhalgh and Keith Negus, 251-264. Arnold, 2002.
Wyn Jones, Carys. The Rock Canon: Canonical Values in the Reception of Rock Albums. Ashgate, 2008.
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.
Campbell, Michael, and James Brody. Rock and Roll: An Introduction, 2nd ed. Schirmer, 2007.Charlton, Katherine. Rock Music Styles: A History, 5th ed. McGraw-Hill, 2007.Covach, John. What’s That Sound? An Introduction to Rock and its History. Norton, 2006.Friedlander, Paul. Rock and Roll: A Social History. Westview Press, 1996.Garofalo, Reebee. Rockin’ Out: Popular Music in the USA, 4th ed. Prentice Hall, 2007.Kastin, David. I Hear America Singing: An Introduction to Popular Music. Prentice Hall, 2002.Starr, Larry, and Christopher Waterman. American Popular Music: from Minstrelsy to Mp3, 2nd ed. Oxford
University Press, 2006.Stuessy, Joe. Rock and Roll: Its History and Stylistic Development, 5th ed. Prentice Hall, 2005.Szatmary, David P. Rockin’ in Time: A Social History of Rock and Roll, 5th ed. Prentice Hall, 2003.
jazz theory textbooks
Baker, David. Jazz Improvisation, 2nd ed. Alfred, 1988.Baker, David. Advanced Improvisation. Rev. ed., 2 vols. Alfred, 1990.Benward, Bruce, and Joan Wildman. Jazz Improvisation in Theory and Practice. William C. Brown, 1984.Boling, Mark. The Jazz Theory Workbook. Advance Music, 1993.Elsen, Frans. Jazz Harmony At the Piano: Practical Harmony Method for the Jazz Musician. The Royal
Conservatory, 2001.Haerle, Dan. The Jazz Language. Alfred, 1982.Jaffe, Andy. Jazz Harmony, 2nd ed. Advance Music, 1996.Larson, Steve. Analyzing Jazz: A Schenkerian Approach. 2 vols. Pendragon Press, 2009.Lawn, Richard J. and Hellmer, Jeffrey L. Jazz Theory and Practice. Alfred, 1996.Levine, Mark. The Jazz Theory Book. Sher Music, 1995.Liebman, Dave. A Chromatic Approach to Jazz Harmony and Melody. Advance Music, 1991.Ligon, Bert. Jazz Theory Resources: Tonal, Harmonic, Melodic and Rhythmic Organization of Jazz. Hal
Leonard, 2001.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.
Rawlins, Robert, and Nor Eddine Bahha. Jazzology: The Encyclopedia of Jazz Theory for All Musicians. Hal Leonard, 2005.
Reeves, Scott. Creative Jazz Improvisation, 3rd ed. Prentice Hall, 2000.Russell, George. The Lydian Chromatic Concept of Tonal Organization for Improvisation. 4th ed., Concept,
2001.Schenkel, Steve. The Tools of Jazz. Prentice-Hall, 1983.Spitzer, Peter. The Jazz Theory Handbook. Mel Bay, 2001.
ANALYTICAL APPROACHES
form
Covach, John. “Form in Rock Music: A Primer.” Engaging Music, ed. Deborah Stein. Oxford University Press, 2004.
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.
McClary, Susan. Conventional Wisdom: The Content of Musical Form. University of California Press, 2001.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.
Spicer, Mark. “(Ac)cumulative Form in Pop-Rock Music.” Twentieth-Century Music 1/1 (2004): 29-54.Spicer, Mark. “Large-Scale Strategy and Compositional Design in the Early Music of Genesis.” Expression in
Pop-Rock Music, 2nd ed., ed. Walter Everett, 313-344.Zak, Albin. “Rock and Roll Rhapsody: Pop Epics of the 1970s.” Expression in Pop-Rock Music, 2nd ed., ed.
Walter Everett, 345-360.
pitch structures
Bjöenberg, Alf. “On Aeolian Harmony in Contemporary Popular Music.” In Critical Essays in Popular Musicology, ed. Allan F. Moore, 275-282. Ashgate, 2007.
Bobbitt, Richard. Harmonic Technique in the Rock Idiom: The Theory and Practice of Rock Harmony. Wadsworth Publishing Co., 1976.
Bronson, Bertrand. “Folksong and the Modes.” Musical Quarterly 32/1 (1946): 37–49.Burns, Gary. “A Typology of ‘Hooks’ in Popular Records.” Popular Music 6 (1987): 1-20.
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.
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
Capuzzo, Guy. “Neo-Riemannian Theory and the Analysis of Pop-Rock Music.” Music Theory Spectrum 26/2 (2004): 177-199.
Capuzzo, Guy. “Sectional Tonality and Sectional Centricity in Rock Music.” Forthcoming, Music Theory Spectrum 31/1 (2009).
Doll, Christopher. “Listening to Rock Harmony.” Ph.D. dissertation, Columbia University, 2007.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
Everett, Walter. “A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan.” Music Theory Spectrum 26 (2004): 201-235.
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.
Kramarz, Volkmar. Harmonie-Analyse der Rockmusic. Von Folk und Blues zu Rock und New Wave. Schott, 1983.
London, Justin. “One Step Up: A Lesson from Pop Music.” Journal of Music Theory Pedagogy 4/1 (1990): 111-114.
MacDonald, Chris. “Exploring Modal Subversions in Alternative Music.” Popular Music 19/3 (2000): 355-363.
Moore, Allan. “Patterns of Harmony.” Popular Music 11 (1992): 73-106.Moore, Allan. “The So-Called ‘Flat 7th’ in Rock,” Popular Music 14 (1995): 185-201.Morss, Benjamin M. “Pitch-Skipping in Rock Music.” Ph.D. dissertation, University of California at Davis,
2000.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.Salzman, Eric, and Michael Sahl. Making Changes: A Practical Guide to Vernacular Harmony. Schirmer, 1977. Temperley, Davy. “The Melodic-Harmonic ‘Divorce’ in Rock.” Popular Music 26/2 (2007): 323-342.Weisethaunet, Hans. “Is There Such a Thing as a Blue Note?” Popular Music 20 (2001): 99-116.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.
rhythmic structures
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.
Benadon, Fernando. “Slicing the Beat: Jazz Eighth-Notes as Expressive Microrhythm.” Ethnomusicology 50/1 (2006): 73–98.
Brackett, John. “Examining Rhythmic and Metric Practices in Led Zeppelin’s Musical Style. Popular Music 27/1 (2008): 53-76.
Brownell, John. “The Changing Same: Asymmetry and Rhythmic Structure in Repetitive Idioms.” Ph.D. dissertation, York University, 2003.
Butterfield, Matthew W. “The Power of Anacrusis: Engendered Feeling in Groove-Based Musics.” Music Theory Online 12/4 (2006). http://mto.societymusictheory.org/issues/mto.06.12.4/mto.06.12.4.butterfield.htmlCommentary by Fernando Benadon, 13/1 (2007). http://mto.societymusictheory.org/issues/mto.07.13.1/mto.07.13.1.benadon.html
Response by Butterfield, 13/3 (2007). http://mto.societymusictheory.org/issues/mto.07.13.3/mto.07.13.3.butterfield.html
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
Collier, Geoffrey L., and James Lincoln Collier. “Microrhythms in Jazz: A Review of Papers.” Annual Review of Jazz Studies 8 (1996): 117–139.
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.
Keil, Charles. “The Theory of Participatory Discrepancies: A Progress Report.” Ethnomusicology 39/1 (1995): 1–19.
Keil, Charles, and Steven Feld. Music Grooves: Essays and Dialogues. University of Chicago Press, 1994.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.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.Nelson, Angela M. S., ed. “This is How We Flow”: Rhythm in Black Cultures. University of South Carolina
Press, 1999.Prögler, Joseph A. “Searching for Swing: Participatory Discrepancies in the Jazz Rhythm Section.”
Ethnomusicology 39/1 (1995): 21–54.Stewart, Alexander. “Funky Drummer: New Orleans, James Brown, and the Rhythmic Transformation of
American Popular Music.” Popular Music 19/3 (2000): 293-318.Stewart, Michael. “The Feel Factor: Music with Soul.” Electronic Musician, October 1987, 57–65.Temperley, David. “Syncopation in Rock: A Perceptual Perspective.” Popular Music 18/1 (1999): 19-40.Yako, Masato. “Classification of Rhythm Patterns.” Popular Music: Intercultural Interpretations (IASPM 9th
International Conference), ed. Mitsui Toru, 398-411. Kanazawa University, 1998.
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.
Bloustien, Gerry, Margaret Peters, and Susan Luckman, eds. Sonic Synergies: Music, Technology, Community, Identity. Ashgate, 2008.
Cogan, Robert. Sonic Design: The Nature of Sound and Music. Prentice Hall, 1976.Frith, Simon. “Art versus Technology: The Strange Case of Popular Music.” Media, Culture, and Society 8/3
(1987): 263-279.Goodwin, Andrew. “Rationalization and Democratization in the New Technologies of Popular Music.”
Popular Music and Communication, ed. James Lull, 75-100. Sage, 1992.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.Greene, Paul D., and Thomas Porcello, eds. Wired for Sound: Engineering and Technologies in Sonic Cultures.
Wesleyan University Press, 2005.Julien, Olivier. “The Diverting of Musical Technology by Rock Musicians: The Example of Double-Tracking.
Popular Music 18/3 (1999): 357-365. 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.Moorefield, Virgil. 2005. The Producer as Composer: Shaping the Sounds of Popular Music. Massachusetts
Institute of Technology, 2005.Théberge, Paul. Any Sound You Can Imagine: Making Music/Consuming Technology. University Press of New
England, 1997.
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.
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.
Van Leeuwen, Theo. Speech, Music, Sound. St. Martin's Press, 1999. Zak, Albin. The Poetics of Rock: Cutting Tracks, Making Records. University of California Press, 2001.
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.
Bowman, Robert M. “The Stax Sound: A Musicological Analysis.” Popular Music 14/3 (1995): 285-320.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.
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.
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
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.
Mortensen, Tore. “Rockanalysens parametre. I: Sound og soundscapes.” Col legno 1 (1992): 45-52Overduin, Jan, and James Overduin. “The Pipe Organ in Rock Music of the 1970s.” Diapason 87/9 (1996):
18-21.Phelps, Thomas, and Ralf von Appen, eds. Pop-Sounds: Klangtexturen in der Pop- und Rockmusik. Transcript
Verlag, 2003.Stewart, Alexander. “Funky Drummer: New Orleans, James Brown, and the Rhythmic Transformation of
Popular Music.” Popular Music 19 (2000): 293-318.Tagg, Philip. “Subjectivity and Soundscapes, Motorbikes and Music.” Soundscapes: Essays on Vroom and
Moo, 48-66.Valdez, Stephen K. “The Development of the Electric Guitar Solo in Rock Music, 1954-1971.” D.M.A.
dissertation, University of Oregon, 1992.Waksman, Steve. Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience. Harvard
University Press, 1999.
meaning and text
Brackett, David. “James Brown’s ‘Superbad’ and the Double-Voiced Utterance.” Interpreting Popular Music, 108-156. University of California Press, 2000.
Frith, Simon. “Why Do Songs Have Words?” Contemporary Music Review 5 (1989): 77-96.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.Lacasse, Serge. “Intertextuality and Hypertextuality in Recorded Popular Music.” The Musical Work: Reality
or Invention? ed. Michael Talbot, 35-58. Liverpool University Press, 2000.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.Middleton, Richard, ed. Reading Pop: Approaches to Textual Analysis in Popular Music. Oxford University
Press, 2000.
Montgomery, David. “The Rock Concept Album: Context and Analysis.” Ph.D. dissertation, University of Toronto, 2002.
Moore, Allan F. “The Persona-Environment Relation in Recorded Song.” Music Theory Online 11/4 (2005).Springer, Robert, ed. The Lyrics in African American Popular Music. University of Metz, 2000.Tagg, Philip. Fernando the Flute: Analysis of Musical Meaning in the ABBA Mega-Hit. Institute of Popular
Music, 1992.Tagg, Philip. “Introductory Notes to the Semiotics of Music.” Unpublished ms, 1999.
http://tagg.org/xpdfs/semiotug.pdf
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.
Auner, Joseph. “‘Sing it for Me’: Posthuman Ventriloquism in Recent Popular Music. Journal of the Royal Musical Association 128/1 (2003): 98-122.
Bauer, William. “Billie Holiday and Betty Carter: Emotion and Style in the Jazz Vocal Line.” Annual Review of Jazz Studies 6 (1993): 99-152.
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
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.
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
Middleton, Richard. “Rock Singing.” The Cambridge Companion to Singing, ed. John Potter, 28-41. Cambridge University Press, 2000.
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.
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
gender and sexuality
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.
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.
Burns, Lori, and Melissa Lafrance, eds. Disruptive Divas: Feminism, Identity, and Popular Music. Routledge, 2002.
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.
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.
Dibben, Nicola. “Representations of Femininity in Popular Music.” Popular Music 18/3 (1999): 331-355.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.
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.
Leonard, Marion. Gender in the Music Industry. Ashgate, 2007.
Maus, Fred. “Intimacy and Distance: On Stipe’s Queerness.” Journal of Popular Music Studies 18/2 (2006): 191-214.
Maus, Fred. “Masculine Discourse in Music Theory,” Perspectives of New Music 31/2 (1993): 264-293. McClary, Susan. Feminine Endings: Music, Gender, and Sexuality, 2nd ed. University of Minnesota Press,
2002.McCusker, Kristine M., and Diane Pecknold, eds. A Boy Named Sue: Gender and Country Music. University
Press of Mississippi, 2004.Press, Joy, and Simon Reynolds. The Sex Revolts: Gender, Rebellion, and Rock’n’Roll. Harvard University
Press, 1995.Reddington, Helen. The Lost Women of Rock Music: Female Musicians of the Punk Era. Ashgate, 2007.Waksman, Steve. “Every Inch of My Love: Led Zeppelin and the Problem of Cock Rock.” Journal of Popular
Music Studies 8 (1996): 5-25.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.
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.
Whiteley, Sheila. Women and Popular Music: Sexuality, Identity, and Subjectivity. Routledge, 2000.Whiteley, Sheila, ed. Sexing the Groove: Popular Music and Gender. Routledge, 1997.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.Bertrand, Michael T. Race, Rock and Elvis. University of Illinois Press, 2000.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. 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.
Floyd, Samuel A. The Power of Black Music: Interpreting Its History from Africa to the United States. Oxford University Press, 1995.
Gracyk, Theodore. I Wanna Be Me: Rock Music and the Politics of Identity. Temple University Press, 2001.Hawkins, Stan. Settling the Pop Score: Pop Texts and Identity Politics. Ashgate, 2002.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.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.
Hisama, Ellie M. “Postcolonialism on the Make: The Music of John Mellencamp, David Bowie, and John Zorn. Popular Music 12/2 (1993): 91-104.
Mahon, Maureen. Right to Rock: The Black Rock Coalition and the Cultural Politics of Race. Duke University Press, 2004.
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.
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.
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.
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.
Thomas, Rebecca A. The Color of Music: Race and the Making of America's Country Music. Ph.D. dissertation, University of Missouri, 2000.
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.
Ward, Brian. Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations. University of California Press, 1998.
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.
Werner, Craig. A Change Is Gonna Come: Music, Race & the Soul of America. Penguin Books, 1998.
Whiteley, Sheila, ed. Music, Space and Place: Popular Music and Cultural Identity. Ashgate, 2005.
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.
Cohn, Lawrence. Nothing But the Blues: The Music and the Musicians. Abbeville Press, 1993.Evans, David. Big Road Blues: Tradition and Creativity in the Folk Blues. University of California Press, 1982.Evans, David, ed. Ramblin’ on my Mind: New Perspectives on the Blues. University of Illinois Press, 2008.Keil, Charles. Urban Blues. University of Chicago Press, 1966.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.Moore, Allan, ed. The Cambridge Companion to Blues and Gospel Music. Cambridge University Press, 2002.Oliver, Paul. Yonder Come the Blues: The Evolution of a Genre, 2nd ed. Cambridge University Press, 2001.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.Schwartz, Roberta Freund. How Britain Got the Blues: The Transmission and Reception of American Blues Style
in the United Kingdom. Ashgate, 2007.Titon, Jeff Todd. Early Downhome Blues: A Musical and Cultural Analysis. University of Illinois Press, 1977.Tracy, Steven C. Write Me a Few of Your Lines: A Blues Reader. University of Massachusetts, 1999.
blues-rock
Bane, Michael. White Boy Singin’ the Blues: the Black Roots of White Rock. Da Capo Press, 1992.Headlam, Dave. “Blues Transformations in the Music of Cream.” Understanding Rock, ed. John Covach and
Graeme M. Boone, 59-92. Oxford University Press, 1997.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.
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.
classical influences
Covach, John, and Walter Everett, eds. American Rock and the Classical Music Tradition. Contemporary Music Review 18/4 (2000).
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.
Fink, Robert. “The Story of ORCH5, or the Classical Ghost in the Hip-Hop Machine.” Popular Music 24/3 (2005): 339-356.
Josephson, Nora S. “Bach Meets Liszt: Traditional Formal Structures and Performance Practices in Progressive Rock.” Musical Quarterly 76/1 (1992): 67-92.
Macan, Edward. Rocking the Classics: English Progressive Rock and the Counterculture. Oxford University Press, 1997.
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.
McLeod, Ken. “Bohemian Rhapsodies: Operatic Influences on Rock Music.” Popular Music 20/2 (2001): 189-203.
country
Brackett, David. “When You’re Lookin’ at Hank (You’re Lookin’ at Country).” Interpreting Popular Music, 75-107. University of California Press, 2000.
Fox, Aaron. Real Country: Music and Language in Working-Class Culture. Duke University Press, 1994.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.Lewis, George H. All That Glitters: Country Music in America. Bowling Green University Press, 1993.McCusker, Kristine M., and Diane Pecknold, eds. A Boy Named Sue: Gender and Country Music. University
Press of Mississippi, 2004.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.Neal, Jocelyn R. “Narrative Paradigms, Musical Signifiers, and Form as Function in Country Music.” Music
Theory Spectrum 29/1 (2007): 41-72.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.Neal, Jocelyn R. The Songs of Jimmie Rodgers: A Legacy in Country Music. Indiana University Press, 2009.Malone, Bill C. Country Music, U.S.A, 2nd rev. ed. University of Texas Press, 2002.Malone, Bill C. “Elvis, Country Music, and the South.” Elvis: Images and Fancies, ed. Jac L. Tharpe, 123-
134. University Press of Mississippi, 1980.Tichi, Cecelia, ed. Reading Country Music: Steel Guitars, Opry Stars, and Honky-Tonk Bars. Duke University
Press, 1998.
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.
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.
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
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.
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
Plasketes, George M., ed. “Like a Version: Cover Songs in Popular Music.” Popular Music and Society 28/2 (2005): 137-248.
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.
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.
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.
dance music
Bradby, Barbara. “Sampling Sexuality: Gender, Technology and the Body in Dance Music.” Popular Music, 12/2 (1993): 155-176.
Butler, Mark. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Indiana University Press, 2006.
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
Gilbert, Jeremy, and Ewan Pearson. Discographies: Dance, Music, Culture and the Politics of Sound. Routledge, 1999.
Goldschmitt, Kariann Elaine. “Foreign Bodies: Innovation, Repetition, and Corporeality in Electronic Dance Music.” M.A. thesis, University of California at San Diego, 2004.
Hawkins, Stan. “Feeling the Beat Come Down: House Music as Rhetoric.” Analyzing Popular Music, ed. Allan F. Moore, 80-102. Cambridge University Press, 2003.
Tagg, Philip. Fernando the Flute: Analysis of Musical Meaning in the ABBA Mega-Hit. Institute of Popular Music, 1992.
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.
film, TV and video
Altman, Rick, ed. Sound Theory/Sound Practice. Routledge, 1992.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.Bjornberg, Alf. “Structural Relationships of Music and Images in Music Video.” Popular Music 13/1 (1994):
51-74. Buhler, James, David Neumeyer, and Rob Deemer. Hearing the Movies: Music and Sound in Film History.
Oxford university Press, 2009.Burlingame, Jon, and Leonard Maltin, eds. Sound and Vision: 60 Years of Motion Picture Soundtracks. Diane
Publishing Co., 2000. Collins, Karen. From Pac-Man to Pop Music: Interactive Audio in Games and New Media. Ashgate, 2008.Denisoff, R. Serge and William D. Romanowski. Risky Business: Rock in Film. Transaction Publishers, 1991.Dickinson, Kay, ed. Movie Music: The Film Reader. Routledge, 2003.Donnelly, Kevin J., ed. Film and Television Music: The Spectre of Sound. British Film Institute, 2008.Frith, Simon, Andrew Goodwin, and Lawrence Grossberg, eds. Sound and Vision: The Music Video Reader.
Routledge, 1993.Goldmark, Daniel. Tunes for ‘Toons: Music and the Hollywood Cartoon. University of California Press, 2005.Goldmark, Daniel, and Yuval Taylor, eds. The Cartoon Music Book. A Cappella Books, 2002.
Goodwin, Andrew. Dancing in the Distraction Factory: Music Television and Popular Culture. University of Minnesota Press, 1992.
Inglis, Ian. Popular Music and Film. Wallflower Press, 2001.Klein, Bethany. As Heard on TV: Popular Music in Advertising. Ashgate, 2009.Lock, Graham, and David Murray, eds. Thriving on a Riff: Jazz and Blues Influences in African-American
Literature. Oxford University Press, 2009.Powrie, Phil, and Robynn Stillwell, eds. Changing Tunes: The Use of Pre-existing Music in Film. Ashgate,
2006.Romney, Jonathan, and Adrian Wootton, eds. Celluloid Jukebox: Popular Music and the Movies since the
Fifties. British Film Institute, 1995. Tagg, Philip. Kojak: 50 Seconds of Television Music–Toward the Analysis of Affect in Popular Music. Mass
Media Music Scholar’s Press, 2000.Tagg, Philip, and Bob Clarida. Ten Little Title Tunes: Towards a Musicology of the Mass Media. Mass Media
Music Scholar’s Press, 2003.Vernallis, Carol. Experiencing Music Video: Aesthetics and Cultural Context. Columbia University Press,
2004.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.
Wojcik, Pamela Robertson. Soundtrack Available: Essays on Film and Popular Music. Duke University Press, 2001.
Wootton, Adrian, and Michael Romney, eds. The Celluloid Jukebox: Pop Music and the Movies since 1950. BFI, 1995.
folk (Anglo-American)
Bronson, Bertrand. “Folksong and the Modes,” Musical Quarterly 32/1 (1946): 37–49.Burman-Hall, Linda C. “Southern American Folk Fiddle Styles.” Ethnomusicology 19/1 (1975): 47-65. Cazden Norman. “A Simplified Mode Classification for Traditional Anglo-American Song Tunes.” Yearbook
of the International Folk Music Council 3 (1971): 45–78. Response by Betrand Bronson, “Are the Modes Outmoded?” Yearbook of the International Folk Music Council 4 (1972): 23-31.
Cohen, Ronald D. Folk Music: The Basics. Routledge, 2006.Cook, Harold. Shaker Music: A Manifestation of American Folk Culture. Bucknell University Press, 1973.Cowdery, James. The Melodic Tradition of Ireland. Kent State University, 1990.Gelbart, Matthew B. The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to
Wagner. Cambridge University Press, 2007. 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.
funkDanielsen, Anne. Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Wesleyan
University Press, 2006.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>
Vincent, Rickey. Funk: The Music, the People, and the Rhythm of the One. St. Martin’s Griffin, 1996.
global pop
Agawu, V. Kofi. Representing African Music: Postcolonial Notes, Queries, Positions. Routledge, 2003.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.
Berger, Harris M. and Michael T. Carroll, eds. Global Pop, Local Language. University Press of Mississippi, 2003.
Collins, John. West African Pop Roots. Temple University Press, 1992. Fernandez, Raul A. From Afro-Cuban Rhythms to Latin Jazz. University of California Press, 2006.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.Keil, Charles, and Steven Feld. Music Grooves: Essays and Dialogues. University of Chicago Press, 1994. Lipsitz, George. Dangerous Crossroads: Popular Music, Postmodernism and the Focus of Place. Verso, 1997.Manuel, Peter. Popular Musics of the Non-Western World. Oxford University Press, 1990. Manabe, Noriko. “Globalization and Japanese Creativity: Adaptation of Japanese Language to Rap.”
Ethnomusicology 50/1 (2006): 1-36.Manabe, Noriko. “Lovers and Rulers, the Real and the Surreal: Harmonic Metaphors in Silvio Rodríguez’s
Songs.” Revista Transcultural de Música 10 (2006).Manuel, Peter. Caribbean Currents: Caribbean Music from Rumba to Reggae, 2nd ed. Temple University
Press, 2006.Meintjes, Louise. “Paul Simon's Graceland, South Africa, and the Mediation of Musical Meaning.”
Ethnomusicology 36, no. 1 (Winter 1990): 37-73.Mitchell, Tony, ed. Global Noise: Rap and Hip-Hop outside the U.S.A. Wesleyan University Press, 2001. Perrone, Charles, and Christopher Dunn. Brazilian Popular Music and Globalization. University Press of
Florida, 2001.Roberts, John Storm. The Latin Tinge: The Impact of Latin American Music on the United States. Oxford
University Press, 1999.Taylor, Timothy. Global Pop: World Music, World Markets. Routledge, 1997. Veal, Michael. Dub: Soundscapes and Shattered Songs in Jamaican Reggae. Wesleyan University Press,
2007.Vila, Pablo. “Argentina's Rock Nacional: The Struggle for Meaning.” Latin American Music Review/Revista
de musica latinoamericana 10/1 (1989): 1-28. Working Documents: International Conference on African Music and Dance: Problems and Prospects.
Bellagio, 1992.Yano, Christine R. Tears of Longing: Nostalgia and the Nation in Japanese Popular Song. Harvard University
Asia Center, 2003.
heavy metal
Bayer, Gerd, ed. Heavy Metal Music in Britain. Ashgate, 2009.Berger, Harris M. “Death Metal Tonality and the Act of Listening.” Popular Music 18/2 (1999): 161-178.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.
Berger, Harris M. Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience. Wesleyan University Press/University Press of New England, 1999.
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.
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.
Kahn-Harris, Keith. Extreme Metal: Music and Culture on the Edge. Berg, 2007.Pieslak, Jonathan. “Re-casting Metal: Rhythm and Meter in the Music of Meshuggah.” Music Theory
Spectrum 29/2 (2007): 219-245.Pillsbury, Glenn T. Damage Incorporated: Metallica and the Production of Musical Identity. Routledge, 2006.
Walser, Robert. “Eruptions: Heavy Metal Appropriations of Classical Virtuosity.” Popular Music 11/3 (1992): 263-308.
Walser, Robert. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Wesleyan University Press, 1993.
jazz
see also: Jazzforschung/Jazz Research, Annual Review of Jazz Studies, Jazz Perspectives
Berliner, Paul. Thinking in Jazz: The Infinite Art of Improvisation.Block, Steven. “Pitch-Class Transformation in Free Jazz.” Music Theory Spectrum 12 (1990): 181-202.Dean-Lewis, Tim. “Playing Outside: Excursions from the Tonality in Jazz Improvisation.” Ph.D. dissertation,
City University of London, 2001.DeVeaux, Scott. The Birth of Bebop: A Social and Musical History. University of California Press, 1999.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.Haywood, Mark S. “The Harmonic Role of Melody in Vertical and Horizontal Jazz,” Annual Review of Jazz
Studies 5(1991): 109-120.Järvinen, Topi. “Tonal Hierarchies in Jazz Improvisation.” Music Perception 12 (1995): 415-437.Larson, Steven. “Musical Forces and Melodic Patterns.” Theory and Practice 22-23 (1997): 55-71.Larson, Steven. “Musical Forces, Melodic Expectation, and Jazz Melody.” Music Perception 19/3 (2002):
351-385.Larson, Steven. “Schenkerian Analysis of Modern Jazz: Questions about Method.” Music Theory Spectrum 20
(1998): 209-241.Martin, Henry. “Jazz Harmony: A Syntactic Background.” Annual Review of Jazz Studies 4 (1988): 9-30.Martin, Henry. “Jazz Theory and Analysis: An Introduction and Brief Bibliography.” Zeitschrift der
Gesellschaft für Musiktheorie 2/2–3, Bd. 2 (2005): 169-171.Martin, Henry. “Jazz Theory: An Overview.” Annual Review of Jazz Studies 8 (1996): 1-17. (special edition
on jazz theory)Martin, Henry, and Wason, Robert. “Constructing a Post-Modern-Jazz Pedagogy.” Jazzforschung/Jazz
Research 37 (2005): 163-177.McGowan, James J. “Dynamic Consonance in Selected Piano Performances of Tonal Jazz.” Ph.D. dissertation,
University of Rochester, 2005.Nettles, Barrie, and Richard Graf. The Chord Scale Theory and Jazz Harmony. Advance Music, 1997.Potter, Gary M. “Analyzing Improvised Jazz.” College Music Symposium 32 (1992): 143-160.Potter, Gary M. “The Unique Role of bVII7 in Bebop Harmony.” Jazzforschung/Jazz Research 21 (1989): 35-
47.Pressing, Jeff. “Pitch Class Set Structures in Contemporary Jazz.” Jazzforschung/Jazz Research 14 (1982):
133-172.Pressing, Jeff. “Towards an Understanding of Scales in Jazz.” Jazzforschung/Jazz Research 9 (1978): 25–35.Rohm, Joseph. “Jazz Harmony: Structure, Voicing, and Progression.” Ph.D. dissertation, Florida State
University, 1974.Salley, Keith. “Beyond Chord-Scale Theory: Realizing a Species Approach to Jazz Improvisation.” Journal of
Music Theory Pedagogy 21 (2007): 101-122.Satyendra, Ramon. “Analyzing the Unity Within Contrast: Chick Corea's ‘Starlight.’” In Engaging Music, ed.
Deborah Stein, 50–64. Oxford University Press, 2005.Schuller, Gunther. Early Jazz: Its Roots and Musical Development. Oxford University Press, 1968.Schuller, Gunther. The Swing Era: The Development of Jazz, 1930-1945. Oxford University Press, 1989.Steedman, Mark. “A Generative Grammar for Jazz Chord Sequences.” Music Perception 2/1 (1984): 52-77.Strunk, Steven. “Bebop Melodic Lines: Tonal Characteristics.” Journal of Jazz Studies 6 (1979): 4-53.Strunk, Steven. “The Harmony of Early Bop: A Layered Approach.” Annual Review of Jazz Studies 3 (1985):
97-120.
Strunk, Steven. “Linear Intervallic Patterns in Jazz Repertory.” Annual Review of Jazz Studies 8 (1996): 63-115.
Tymoczko, Dmitri. “The Consecutive-Semitone Constraint on Scalar Structure: A Link between Impressionism and Jazz.” Intégral 11 (1997): 135-179.
Williams, J. Kent. “Archetypical Schemata in Jazz Themes of the Bebop Era.” Annual Review of Jazz Studies 4 (1988): 49-74.
new wave
Cateforis, Theodore. “Are We Not New Wave? Nostalgia, Technology, and Exoticism in Popular Music at the Turn of the 1980s.” Ph.D. dissertation, State University of New York at Stony Brook, 2000.
Covach, John. “Pangs of History in Late-1970s New-Wave Rock.” Analyzing Popular Music, ed. Allan F. Moore, 173-195. Cambridge University Press, 2003.
Frew, Tim. The New Wave—Pop of the Early ‘80s. Friedman/Fairfax, 1997.
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.
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.
Berry, David Carson. “Gambling with Chromaticism? Extra-Diatonic Melodic Expression in the Songs of Irving Berlin,” Theory and Practice 26 (2001): 21–85.
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.
Forte, Allen. The American Popular Ballad of the Golden Era, 1924-50. Princeton University Press, 1995.Forte, Allen. “Secrets of Melody: Line and Design in the Songs of Cole Porter.” Musical Quarterly 77/4
(1993): 625-647.Hamm, Charles. “Genre, Performance and Ideology in the Early Songs of Irving Berlin.” Popular Music 13/2
(1994): 143-150.Hamm, Charles. Yesterdays: Popular Song in America. Norton, 1979.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.
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.Wilder, Alec. American Popular Song: The Great Innovators, 1900-1950, ed. James T. Maher. Oxford
University Press, 1972.
progressive rock
Cotner, John S. “Archetypes of Progressiveness in Rock, ca. 1966-1973.” Ph.D. dissertation, University of Wisconsin–Madison, 2001.
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.
Covach, John. “Echolyn and Progressive Rock.” American Rock and the Classical Music Tradition. Contemporary Music Review 18/4 (2000): 13-61.
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.
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.
Holm-Hudson, Kevin. “‘Come Sail Away’ and the Commodification of ‘Prog Lite.’” American Music 23/3 (2005): 377-394.
Holm-Hudson, Kevin, ed. Progressive Rock Reconsidered. Routledge, 2002.Josephson, Nora S. “Bach Meets Liszt: Traditional Formal Structures and Performance Practices in Progressive
Rock.” Musical Quarterly 76/1 (1992): 67-92.Macan, Edward. Rocking the Classics: English Progressive Rock and the Counterculture. Oxford University
Press, 1997.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.Martin, Bill. Listening to the Future: The Time of Progressive Rock, 1968-1978. Open Court, 1998.Spicer, Mark. “British Pop-Rock Music in the Post-Beatles Era: Three Analytical Studies.” Ph.D. dissertation,
Yale University, 2001.Stump, Paul. The Music’s All That Matters: A History of Progressive Rock. Quartet Books, 1997.
punk
Cateforis, Theo. “Total Trash: Analysis and Post-Punk Music.” Journal of Popular Music Studies 5 (1993): 39-57.
Hebdige, Dick. Subculture: the Meaning of Style. London, 1979.Heylin, Clinton. From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World. Penguin, 1993.Home, Stewart. Cranked Up Really High: Genre Theory and Punk Rock. Codex, 1995.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. Laing, Dave. One-Chord Wonders: Power and Meaning in Punk Rock. Open University Press, 1985.Savage, Jon. England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond, rev. ed. St. Martin’s Griffin,
2002.
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.
Chang, Jeff. Can’t Stop, Won’t Stop: A History of the Hip-Hop Generation. St. Martin’s Press, 2005.Cronbach, Lee. “Structural Polytonality in Contemporary Afro-American Music.” Black Music Research
Journal 2 (1981–82): 15–33.Fink, Robert. “The Story of ORCH5, or the Classical Ghost in the Hip-Hop Machine.” Popular Music 24/3
(2005): 339-356.Furman, Murray, and Mark Anthony Neal, eds. That’s the Joint! The Hip-Hop Studies Reader. Routledge,
2004.George, Nelson. Hip Hop America. Viking, 1998.Greenwald, Jeff. “Hip-Hop Drumming: The Rhyme May Define, but the Groove Makes You Move.” Black
Music Research Journal 22/2 (2002): 259–271.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.
Keyes, Cheryl L. Rap Music and Street Consciousness. University of Illinois Press, 2002.Krims, Adam. Rap Music and the Poetics of Identity. Cambridge University Press, 2000.Jacono, Jean-Marie. “Pour une analyse des chanson de rap.” Musurgia 5/2 (1998): 65-75.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.
Nielsen, Steen Kaargaard. “Wife Murder as Child's Game.” Danish Yearbook of Musicology 34 (2006): 31-46. Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Wesleyan University
Press, 1994.
Schloss, Joseph G. Making Beats: The Art of Sample-Based Hip-Hop. Wesleyan University Press, 2004.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.
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
Doe, Andrew. The Complete Guide to the Music of the Beach Boys. Omnibus, 1997.Fusilli, Jim. Beach’s Boys’ Pet Sounds. Continuum, 2005.Granata, Charles L. Wouldn't It Be Nice: Brian Wilson and the Making of the Beach Boys' Pet Sounds. A
Cappella, 2003.Harrison, Daniel. “‘After Sundown’: The Beach Boys’ Experimental Music.” In Understanding Rock, ed. John
Covach and Graeme M. Boone, 33-57. Oxford University Press, 1997.Hascher, Xavier. “A Harmonic Investigation into Three Songs of the Beach Boys: ‘All Summer Long,’ ‘Help
Me Rhonda,’ and ‘California Girls.’” Sonus 27/2 (2007): 27-52.Lambert, Philip. Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys'
Founding Genius. Continuum, 2007.Lambert, Philip. “Brian Wilson's Pet Sounds.” Twentieth-Century Music, forthcoming.
Beatles
Cohen, Sara. “Liverpool and the Beatles: Exploring Relations between Music and Place, Text and Context.” Keeping Score, 90-106.
Collaros, Pandel. “The Music of the Beatles in Undergraduate Music Theory Instruction.” Indiana Theory Review 21 (2000): 53-78.
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.
Everett, Walter. The Beatles as Musicians: The Quarry Men through Rubber Soul. Oxford University Press, 2001.
Everett, Walter. The Beatles as Musicians: Revolver through The Anthology. Oxford University Press, 1999.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.
Everett, Walter. “Fantastic Remembrance in John Lennon’s ‘Strawberry Fields Forever’ and ‘Julia.’” Musical Quarterly 72/3 (1986): 360-393.
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.
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.
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.
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
Heinonen, Yrjo, Terhi Nurmesjarvi, John Richardson, Tuomas Eerola, and Jouni Koskimaki. Beatlestudies 1: Songwriting, Recording, and Style Change. University of Jyvaskyla, 1998.
Heinonen, Yrjo, Terhi Nurmesjarvi, Jouni Koskimaki, Seppo Niemi, and Francis Kiernan. Beatlestudies 2: History, Identity, Authenticity. University of Jyvaskyla, 2000.
Heinonen, Yrjo, Markus Heuger, Sheila Whiteley, Terhi Nurmesjarvi, and Jouni Koskimaki, eds. Beatlestudies III: Proceedings of the Beatles 2000 Conference. University of Jyvaskyla, 2001
Hertsgaard, Mark. A Day in the Life: the Music and Artistry of the Beatles. Delta, 1996.Julien, Olivier. Sgt. Pepper and the Beatles. Ashgate, 2008.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.htmlMacFarlane, Thomas. The Beatles’ Abbey Road Medley: Extended Forms in Popular Music. Scarecrow, 2008.Matteo, Steve. Beatles’ Let It Be. Continuum, 2004.Mellers, Wilfrid. Twilight of the Gods: The Music of The Beatles. Viking Press, 1973.Moore, Allan F. The Beatles: Sgt. Pepper’s Lonely Hearts Club Band. Cambridge University Press, 1997.Mulder, Juul. “Semantic Shifts in Beatles’ Chord Progressions.” Soundscapes 7 (2004).
http://www.icce.rug.nl/~soundscapes/VOLUME07/Semantic_shifts.shtmlO’Grady, Terence. The Beatles: A Musical Evolution. Twayne, 1983.Pollack, Alan. “Notes On . . . [Beatles Songs] Series.” Soundscapes 1 (1999).
http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-notes_on.shtmlPorter, Steven Clark. “Rhythm and Harmony in the Music of the Beatles.” Ph.D. dissertation, City University
of New York, 1979.Price, Charles Gower. “Sources of American Styles in the Music of the Beatles.” American Music 15/2 (1997):
208-232.Reck, David R. “Beatles Orientalis: Influences from Asia in a Popular Song Tradition.” Asian Music 16/1
(1985): 83-149.Reising, Russell, ed. Every Sound There Is: The Beatles’ Revolver and the Transformation of Rock and Roll.
Ashgate, 2002.Riley, Tim. Tell Me Why: The Beatles: Album by Album, Song By Song, the Sixties and After. Knopf, 1988.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.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
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
Wagner, Napthali. “Domestication of Blue Notes in the Beatles’ Songs.” Music Theory Spectrum 25 (2003): 353-365.
Wagner Napthali. “Fixing a Hole in the Scale: Suppressed Notes in the Beatles’ Songs.” Popular Music 23 (2004): 257-269.
Womack, Kenneth, and Todd F. Davis, eds. The Cambridge Companion to the Beatles. Cambridge University Press, forthcoming.
Womack, Kenneth, and Todd F. Davis, eds. Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four. State University of New York, 2006.
Dylan, Bob
Benson, Carl. The Bob Dylan Companion—Four Decades of Commentary. Schirmer, 1998.Dettmar, Kevin, ed. The Cambridge Companion to Bob Dylan. Cambridge University Press, 2009.Harvey, Todd. The Formative Dylan: Transmission and Stylistic Influences, 1961-1963. Scarecrow Press,
2001.Long, Tim Lee. “Take What You Need: Musical, Cultural, and Literary Influences on Bob Dylan.” D.A.
thesis, Middle Tennessee State University, 2002.Mellers, Wilfrid. A Darker Shade of Pale: A Backdrop to Bob Dylan. Faber, 1984.Polizzotti, Mark. Bob Dylan’s Highway 61 Revisited. Continuum, 2006.Riley, Tim. Hard Rain: A Dylan Commentary. Knopf, 1992.Shelton, Robert. No Direction Home: The Life and Music of Bob Dylan. Penguin, 1986.
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/
Varesi, Anthony. The Bob Dylan Albums: A Critical Study. Guernica, 2002.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.
Genesis
Holm-Hudson, Kevin. Genesis and The Lamb Lies Down on Broadway. Ashgate, 2008.Spicer, Mark. “Genesis’s Foxtrot.” Composition and Experimentation in British Rock, 1966–1976, special
issue of Philomusica Online (2007).Spicer, Mark. “Large-Scale Strategy and Compositional Design in the Early Music of Genesis.” Expression in
Pop-Rock Music, 2nd ed., ed. Walter Everett, 313-344.
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.
Dodd, David G., and Diana Spaulding. The Grateful Dead Reader. Oxford University Press, 2000.Doerschuk, Robert L. “Keyboards in the Grateful Dead.” Keyboard 17/1 (1991): 80-96.Meriweather, Nicholas, ed. All Graceful Instruments: The Contexts of the Grateful Dead Phenomenon.
Cambridge Scholars Press, 2007.Weiner, Robert G. Perspectives on the Grateful Dead: Critical Writings. Greenwood Press, 1999.
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.
Perry, John. Jimi Hendrix’s Electric Ladyland. Continuum, 2004.Van der Bliek, Rob. “The Hendrix Chord: Blues, Flexible Pitch Relationships, and Self-Standing Harmony.”
Popular Music 26/2 (2007): 342-364.Murray, Charles Shaar. Crosstown Traffic: Jimi Hendrix and Post-War Pop. St. Martin’s Press, 1990.Potash, Chris. The Jimi Hendrix Companion : Three Decades of Commentary. Schirmer, 1996.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.
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.
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.
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.
Led Zeppelin
Brackett, John. “Examining Rhythmic and Metric Practices in Led Zeppelin’s Musical Style. Popular Music 27/1 (2008): 53-76.
Davis, Eric. Led Zeppelin IV. Continuum, 2005.Fast, Susan. In the Houses of the Holy: Led Zeppelin and the Power of Rock Music. Oxford University Press,
2001.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.
Fyfe, Andy. When the Levee Breaks: the Making of Led Zeppelin IV. Chicago Review Press, 2003.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.
Hoskyns, Barney. Led Zeppelin IV. Rodale, 2006.Waksman, Steve. “Every Inch of My Love: Led Zeppelin and the Problem of Cock Rock.” Journal of Popular
Music Studies 8 (1996): 5-25.
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.
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.
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.
Mitchell, Joni
Nelson, Sean. Joni Mitchell’s Court and Spark. Continuum, 2006.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.Whitesell, Lloyd. “Harmonic Palette in Early Joni Mitchell.” Popular Music 21/2 (2002): 173-193.Whitesell, Lloyd. The Music of Joni Mitchell. Oxford University Press, 2008.
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. The Piper at the Gates of Dawn. Continuum, 2003.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.
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.
Reising, Russell, ed. “Speak to Me”: the Legacy of Pink Floyd’s Dark Side of the Moon. Ashgate, 2005.Schaffner, Nicholas. Saucerful of Secrets: the Pink Floyd Odyssey. Harmony Books, 1991.
Presley, Elvis
Bertrand, Michael T. Race, Rock and Elvis. University of Illinois Press, 2000.Chadwick, Vernon, ed. In Search of Elvis: Music, Race, Art, Religion. Westview, 1997.Duffett, Mark. “Caught in a Trap? Beyond Pop Theory’s ‘Butch’ Construction of Male Elvis Fans.” Popular
Music 20/3 (2001): 389-402.
Frith, Simon. “The Academic Elvis.” Dixie Debates: Perspectives on Southern Cultures, ed. Richard King and Helen Taylor, 99-114. New York University Press, 1996.
Malone, Bill C. “Elvis, Country Music, and the South.” Elvis: Images and Fancies, ed. Jac L. Tharpe, 123-134. University Press of Mississippi, 1980.
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.
Wolfe, Charles. “Presley and the Gospel Tradition.” Elvis: Images and Fancies, ed. Jac L. Tharpe, 135-150. University Press of Mississippi, 1980.
Radiohead
Griffiths, Dai. Radiohead’s OK Computer. Continuum, 2004.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.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
Tate, Joseph. The Music and Art of Radiohead. Ashgate, 2006.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
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.
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
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>.
McDonald, Christopher. “Grand Designs: A Musical, Social, and Ethnographic Study of Rush.” Ph.D. dissertation, York University, 2002.
McDonald, Christopher. “Open Secrets: Individualism and Middle-Class Identity in the Songs of Rush.” Popular Music and Society 31/3 (2008): 313-328.
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.
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.
Bennighof, James. The Words and Music of Paul Simon. Praeger, 2007.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.Kaminsky, Peter. “The Popular Album as Song Cycle: Paul Simon’s Still Crazy After All These Years.” College
Music Symposium 32 (1992): 38–54.Luftig, Stacey, ed. The Paul Simon Companion: Four Decades of Commentary. Schirmer, 1997.Perone, James E. Paul Simon: A Bio-Bibliography. Greenwood Press, 2000.
U2
Catanzarite, Steven. U2’s Achtung Baby. Continuum, 2007.
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.
Moore, Allan F. “U2 and the Myth of Authenticity in Rock.” Popular Music 3 (1998): 4-24.Wrathall, Mark A., ed. U2 and Philosophy: How to Decipher an Atomic Band. Open Court, 2006.
Wonder, Stevie
Horn, Martin. Innervisions: The Music of Stevie Wonder. 1st Books Library, 2000.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>
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.
Perone, James E. The Sound of Stevie Wonder: His Words and Music. Praeger, 2006.
Yes
Bourque, Matthew. “Approaching the Edge: Yes’s Techniques that Lead to ‘Close to the Edge.’” M.A. thesis, Arizona State University, 2004.
Chambers, Stuart. Yes: An Endless Dream of ‘70s, ‘80s, and ‘90s Rock Music—An Unauthorized Interpretive History in Three Phases. General Store, 2002.
Covach, John. “Musical Worlding: Heidegger’s Fundamental Ontology and the Understanding of Music. Methods: A Journal for Human Science (1994): 49-58.
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.
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.
Martin, Bill. Music of Yes: Structure and Vision in Progressive Rock. Open Court, 1996.Mosbø, Thomas J. Yes, But What Does It Mean? Exploring the Music of Yes. Wyndstar, 1994.Palmer, John R. “Yes, Awaken, and the Progressive Rock Style.” Popular Music 20/2 (2001): 243-261.
Zappa, Frank
Ashby, Arved. “Frank Zappa and the Anti-Fetishist Orchestra.” Musical Quarterly 83 (1999): 557-606.Bernard, Jonathan W. “Listening to Zappa.” American Rock and the Classical Music Tradition.
Contemporary Music Review 18/4 (2000): 63-103.Bernard, Jonathan W. “The Musical World(s?) of Frank Zappa: Some Observations of His ‘Crossover’ Pieces.”
Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 1-44. Routledge, 2008.
Borders, James M. “Form and the Concept Album: Aspects of Modernism in Frank Zappa’s Early Releases.” Perspectives of New Music 39/1 (2001): 118-160.
Borders, James M. “Frank Zappa’s ‘The Black Page’: A Case of Musical ‘Conceptual Continuity.’” Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 45-61. Routledge, 2008.
Clarke, Eric F. “Subject-position and the Specification of Invariants in Music by Frank Zappa and P. J. Harvey.” Music Analysis 18/3 (1999): 347-374.
Lowe, Kelly Fisher. The Words and Music of Frank Zappa. Praeger, 2006.Smith, Christopher John. “Broadway the Hard Way: Techniques of Allusion in the Music of Frank Zappa.”
College Music Symposium 35 (1995): 35-60.Watson, Ben. “Frank Zappa as Dadaist: Recording Technology and the Power to Repeat.” Contemporary
Music Review 15/1-2 (1996): 109-137.
