Skip to main content
×
×
Home
The Cambridge Companion to the Singer-Songwriter
  • Get access
    Check if you have access via personal or institutional login
  • Cited by 1
  • Cited by
    This book has been cited by the following publications. This list is generated based on data provided by CrossRef.

    Phillips-Hutton, Ariana 2018. Private words, public emotions: performing confession in indie music. Popular Music, Vol. 37, Issue. 03, p. 329.

    ×

Book description

Most often associated with modern artists such as Bob Dylan, Elton John, Don McLean, Neil Diamond, and Carole King, the singer-songwriter tradition in fact has a long and complex history dating back to the medieval troubadour and earlier. This Companion explains the historical contexts, musical analyses, and theoretical frameworks of the singer-songwriter tradition. Divided into five parts, the book explores the tradition in the context of issues including authenticity, gender, queer studies, musical analysis, and performance. The contributors reveal how the tradition has been expressed around the world and throughout its history to the present day. Essential reading for enthusiasts, practitioners, students, and scholars, this book features case studies of a wide range of both well and lesser-known singer-songwriters, from Thomas d'Urfey through to Carole King and Kanye West.

Reviews

'… lead[s] the reader to analyse big themes in music: genre, race, gender, societal trends and industry machinations.'

Jeanette Leach Source: Shindig!

'There is emphasis on singer-songwriters from the LGBTQ community. Including detailed notes, this fascinating survey will have something for anyone interested in the topic.'

R. D. Cohen Source: Choice

'The editors are clear in their introduction that this companion is aimed both at readers who like and perform and engage with popular music and also at students and teachers and researchers involved with formal (and informal) study of popular music. By this token, implied themes such as gender and sexuality, race and politics emerge regularly throughout the work, and these are used to explain and illuminate the singing-songwriting creative act itself.'

Stuart Hannabuss Source: Reference Reviews

Refine List
Actions for selected content:
Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Send to Kindle
  • Send to Dropbox
  • Send to Google Drive
  • Send content to

    To send content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to .

    To send content items to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle.

    Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

    Find out more about the Kindle Personal Document Service.

    Please be advised that item(s) you selected are not available.
    You are about to send
    ×

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
×

Page 1 of 2



Page 1 of 2


Abel, Sam, Opera in the Flesh: Sexuality in Operatic Performance (Boulder: Colorado, 1996).
Adria, Marco, Music of Our Times: Eight Canadian Singer-Songwriters (Toronto: James Lorimer and Company, 1990).
Alberti, John, ‘“I Have Come Out to Play”: Jonathan Richman and the Politics of the Faux Naif’, in Kevin, J. Dettmar, H. and Richey, William (eds.), Reading Rock and Roll: Authenticity, Appropriation, Aesthetics (New York: Columbia University Press, 1999), pp. 17389.
Aldredge, Marcus, Singer-Songwriters and Musical Open Mics (Farnham, Ashgate, 2013).
Almén, Byron, A Theory of Musical Narrative (Bloomington: Indiana University Press, 2008).
Alper, Aaron, ‘A Chat with Tori Amos’, Tampa Bay Times (10 August 2005), available at: aaronalper.com/interviews/tori.html (accessed 27 May 2014).
Amos, Tori and Powers, Ann, Piece by Piece (New York: Broadway Books, 2005).
Anderson, Benedict R., Imagined Communities: Reflections on the Origins and Spread of Nationalism (London: Verso, 1983).
Andreopoulos, Andreas, ‘Imago Poetae: The Aesthetics of Manos Hadjidakis’, Journal of Modern Greek Studies, 19 (2001), pp. 25568.
Anon, , ‘Joanie Goes to Jail Again’, Rolling Stone (23 November 1967), p. 7.
Anon, ‘Wildflower, Judy Collins’ New LP’, Rolling Stone (23 November 1967), p. 7.
Armstrong, Edward G., ‘Eminem’s Construction of Authenticity’. Popular Music and Society 27/3 (2004), pp. 33555.
Arthur, Dave, Bert: the Life and Times of A. L. Lloyd (London: Pluto, 2012).
Bacharach, Burt, Anyone Who Had a Heart: My Life and Music (London: Atlantic Books, 2013).
Baillie, Russell, ‘Don McGlashan and the Seven Sisters – Marvellous Year’. New Zealand Herald (11 March 2009), available at: www.nzherald.co.nz/music/news/article.cfm?c_id=264&objectid=10561129 (accessed 17 July 2014).
Baillie, RussellConcert Review: Kiwi Legends’ Double Act is Heaven Sent’. New Zealand Herald (30 September 2013), available at: www.nzherald.co.nz/music/news/article.cfm?c_id=264&objectid=11131978 (accessed 17 July 2014).
Banks, Mark, The Politics of Cultural Work (London: Palgrave, 2007).
Bannister, Matthew, ‘A Thing Well Made? NZ Settler Identity and Pakeha Masculinity in the Work of Don McGlashan’, Perfect Beat 8/1 (2006), pp. 2249.
Bannister, MatthewGoing out to Everyone? Bic Runga as a New Zealand Artist’, in Johnston, Henry (ed.), Many Voices: Music and National Identity in Aotearoa/New Zealand (Newcastle: Cambridge Scholars Publishing, 2010), pp. 8491.
Barretta, Scott (ed.), The Conscience of the Folk Revival: The Writings of Israel ‘Izzy’ Young. American Folk Music and Musicians, no. 18 (Lanham, MD: Scarecrow Press, 2013).
Bartlett, Andrew. ‘Airshafts, Loudspeakers, and the Hip-Hop Sample’, in Murray Forman, and Neal, Mark Anthony (eds.), The Hip-Hop Studies Reader (London: Routledge, 2012), pp. 56579.
Bates, Courtney A., ‘The Fan Letter Correspondence of Willa Cather: Challenging the Divide Between Professional and Common Reader’. Transformative Works and Cultures [online], 11 (2011), available at: journal.transformativeworks.org/index.php/twc/article/view/221/214 (Accessed 17 August 2014).
Baym, Nancy, ‘Fans Or Friends? Seeing Social Media Audiences As Musicians Do’. Participations: Journal of Audience & Reception Studies, 9/2 (2012), pp. 287316, available at: www.participations.org/Volume%209/Issue%202/17%20Baym.pdf (accessed 17 August 2014).
Bayton, Mavis, ‘Women and the Electric Guitar’, in Sheila, Whiteley (ed.), Sexing the Groove: Popular Music and Gender (London: Routledge, 1997), pp. 3749.
Beer, David, ‘Making Friends with Jarvis Cocker: Music Culture in the Context of Web 2.0’, Cultural Sociology, 2/2 (2008), pp. 22241.
Behr, Adam. ‘The Real “Crossroads” of Live Music – the Conventions of Performance at Open Mic Nights in Edinburgh’, Social Semiotics, 22/5 (2012), pp. 55973.
Bennett, Joe, ‘Constraint, Collaboration and Creativity in Popular Songwriting Teams’, in Collins, D. (ed.), The Act of Musical Composition: Studies in the Creative Process (Aldershot: Ashgate, 2012), pp. 13969.
Bennett, JoeYou Can’t Teach Songwriting’, Total Guitar (September 2012), p. 34.
Bennett, JoeCreativities in Popular Songwriting Curricula’, in Burnard, Pamela and Haddon, Elizabeth (eds.), Activating Diverse Musical Creativities: Teaching and Learning in Higher Education (London: Bloomsbury, 2015), pp. 3756.
Bennett, Lucy, ‘Fan-Celebrity Interactions and Social Media: Connectivity and Engagement in Lady Gaga Fandom’ in Duits, Linda, Zwaan, Koos and Reijnders, Stijn (eds.), The Ashgate Companion to Fan Cultures (Farnham: Ashgate Press, 2014), pp. 10920.
Betrock, Alan, Girl Groups: The Story of a Sound (New York: Delilah, 1982).
Boden, Margaret, The Creative Mind: Myths and Mechanisms (London: Routledge, 2005).
Bogue, Ronald, Deleuze on Music Painting and the Arts (New York: Routledge, 2003).
Born, Georgina, and Hesmondhalgh, David (eds.), Western Music and Its Others: Difference,Representation and Appropriation in Music (London: University of California Press, 2000).
Bourdage, Monique, ‘A Young Girl’s Dream: Examining the Barriers Facing Female Electric Guitarists’, Journal of the International Association for the Study of Popular Music 1/1 (2010), available at www.iaspmjournal.net (accessed 5 July 2014).
Bourdieu, Pierre, and Nice, Richard, ‘The Production of Belief: Contribution to an Economy of Symbolic Goods’, Media, Culture & Society 2/3 (1980), pp. 26193.
Boyd, Joe, White Bicycles: Making Music in the 1960s (London: Serpent’s Tail, 2006).
Boyd, Joe ‘Bumpy, Bikers and the Story Behind “Leader of the Pack”’, Fresh Air. NPR Radio (26 September 2013), available at www.npr.org/2013/09/26/200445875/bumpy-bikers-and-the-story-behind-leader-of-the-pack (accessed 26 February 2015).
Brackett, Donald, Dark Mirror: The Pathology of the Singer-Songwriter (Westport, CT: Greenwood Publishing Group, 2008).
Bradley, Adam, Book of Rhymes: The Poetics of Hip Hop (New York: BasicCivitas, 2009).
Braudy, Susan, ‘James Taylor, a New Troubadour’, New York Times Magazine (21 February 1971), p. 28.
Breihan, Tom, ‘Music: Post-Graduate Depression’, The Village Voice 53/48 (2008), p. 64.
Breskin, David, ‘Steely Dan Musician Interview’ (1 March 1981), The Steely Dan Reader: Four Decades of News and Interviews, available at steelydanreader.com/1981/03/01/steely-dan-interview (accessed 27 February 2015).
Brett, Philip, Wood, Elizabeth and Thomas, Gary C. (eds.), Queering the Pitch: The New Gay and Lesbian Musicology (New York: Routledge, 1994. Second edn, 2006).
Brocken, Michael, The British Folk Revival 1944–2002 (Aldershot, Hampshire: Ashgate, 2003).
Bromell, Nick, Tomorrow Never Knows: Rock and Psychedelics in the 1960s. (Chicago: University of Chicago Press, 2000).
Brooks, Daphne, ‘“This Voice Which is Not One”: Amy Winehouse Sings the Ballad of Sonic Blue(s)face Culture’, Women & Performance: A Journal of Feminist Theory, 20/1 (2010), pp. 3760.
Brown, Andrew, Computers in Music Education: Amplifying Musicality (New York, Routledge, 2007).
Bryan, Maurice L. Jr , ‘Good Morning Blues: Gordon Parks Imagines Leadbelly’, in Bolden, Tony (ed.), The Funk Era and Beyond. New Perspectives on Black Popular Culture (New York: Palgrave McMillan, 2008), pp. 12542.
Buchanan, Brad, ‘Am I So Dear? Do I Run Rare?: Affections and Affectations in Joanna Newsom’s The Milk Eyed Mender’, in Buchanan, Brad (ed.), Visions of Joanna Newsom (Sacramento: Roan Press, 2010), pp. 3756.
Burnard, Pamela, Musical Creativities in Practice (Oxford: Oxford University Press, 2012).
Büsser, Martin, ‘Free Folk: Kollektive Improvisation. Kollektivimprovisation und Naturmystik’, De:Bug Magazin (2007). Translated by Maximilian Georg Spiegel in ‘Gender Construction’, MPhil thesis, 2012.
Butler, Judith, Gender Trouble: Feminism and the Subversion of Identity, 2nd edn (London and New York: Routledge, 1999).
Butler, Mark, ‘Taking It Seriously: Intertextuality and Authenticity in Two Covers by The Pet Shop Boys’. Popular Music 22/1 (2003), pp. 119.
Campbell, Laura, ‘Joni Chic’, Sunday Telegraph (London, 8 February 1998), available at: jonimitchell.com/library/print.cfm?id=367 (accessed 20 September 2015).
Cantwell, Robert, ‘Smith’s Memory Theatre: The Folkways Anthology of American Folk Music’, New England Review (1990–) 13 (1991), pp. 36497.
Cantwell, Robert When We Were Good: The Folk Revival (Cambridge, MA: Harvard University Press, 1996).
Cantwell, Robert Bluegrass Breakdown: The Making of the Old Southern Sound (Urbana and Chicago: University of Illinois Press, 2003).
Cardwell, Nancy, The Words and Music of Dolly Parton: Getting to Know Country Music’s ‘Iron Butterfly’ (Santa Barbara: Praeger, 2011).
Carmichael, Emma, ‘Kanye’s 808s: How A Machine Brought Heartbreak to Hip Hop’, The Awl (21 September 2011), available at: www.theawl.com/2011/09/kanye’s-808s-how-a-machine-brought-heartbreak-to-hip-hop (accessed 27 February 2015).
Carroll, Hamilton. Affirmative Reaction: New Formations of White Masculinity (Durham & London: Duke University Press, 2011).
Carter, Claire, ‘James Blunt Exposes Twitter Trolls’, The Telegraph (26 October 2013). Available at: www.telegraph.co.uk/culture/music/music-news/10406405/James-Blunt-exposes-Twitter-trolls.html (accessed 17 August 2014).
Cashmore, Pete, ‘James Arthur: Anatomy of a Twitter Disaster’, The Guardian (18 November 2013). Available at: www.theguardian.com/music/musicblog/2013/nov/18/james-arthur-anatomy-twitter-disaster (accessed 17 August 2014).
Childerhose, Buffy, From Lilith to Lilith Fair: The Authorized Story (New York: St. Martin’s Press, 1998).
Chin, Bertha, ‘The Veronica Mars Movie: Crowdfunding – Or Fan-Funding – at Its Best?’, On/Off Screen (13 March 2013), available at: onoffscreen.wordpress.com/2013/03/13/the-veronica-mars-movie-crowdfunding-or-fan-funding-at-its-best/. (accessed 25 February 2015).
Chonin, Neva, ‘Lilith Fair’, Rolling Stone (6 August 1998), p. 34.
Citron, Stephen, Songwriting: A Complete Guide to the Craft (Revised and Updated Edition) (New York: Limelight Editions, 2008).
Clawson, Mary Ann, ‘When Women Play the Bass: Instrument Specialization and Gender Interpretation in Alternative Rock Music’, Gender and Society 13/2 (April 1999), pp. 193210.
Clifford, James, Routes: Travel and Translation in the Late Twentieth Century (Cambridge, MA: Harvard University Press, 1997).
Coates, Norma, ‘Teenyboppers, Groupies, and Other Grotesques: Girls and Women and Rock Culture in the 1960s and early 1970s’, Journal of Popular Music Studies 15/1 (2003), pp. 6594.
Cohen, , , Ronald D. (ed.), Rainbow Quest: The Folk Music Revival and American Society, 1940–1970 (Amherst, MA: University of Massachusetts Press, 2002).
Cohen, Ronald D. Alan Lomax. Selected Writings 1934–1997 (New York: Routledge, 2003), p. 198.
Coleman, Vernon, ‘Kanye West Says MBDTF was “Perfect”, Yeezus is Advancing the Culture’, XXL.com (3 September 2013). Available at: www.xxlmag.com/news/2013/09/kanye-west-says-mbdtf-perfect-yeezus-advancing-culture/ (accessed 27 February 2015).
Collinson Scott, Jo, ‘Becoming Other: Only Skinlessness’, in Buchanan, Brad (ed.), Visions of Joanna Newsom (Sacramento: Roan Press, 2010), pp. 7594.
Conti, Jacopo, ‘You Can Call Them, If You Like, Emotions. The (Un)Orthodox Songs of Lucio Battisti’, in Fabbri, Franco and Plastino, Goffredo (eds.), Made in Italy: Studies in Popular Music (New York and London: Routledge, 2014), pp. 11022.
Cope, Danny, Righting Wrongs in Writing Songs (Boston, MA: Couse Technology, 2009).
Courrier, Kevin, Randy Newman’s American Dreams. (Toronto: ECW Press, 2005).
Cowan, Jane K., ‘Politics, Identity and Popular Music in Contemporary Greece’, Κάμπος: Cambridge Papers in Modern Greek, 1 (1993), pp. 122.
Cragg, Gulliver, ‘Ridiculous, Then Sublime’, Review of Joanna Newsom, ICA, London. The Independent (9 November 2004). Available at: www.independent.co.uk/arts-entertainment/music/reviews/joanna-newsom-ica-london-19329.html (accessed 27 February 2015).
Crawford, Kate, ‘These Foolish Things: On Intimacy and Insignificance in Mobile Media’, in Goggin, Gerard and Hjorth, Larissa (eds.), Mobile Technologies: From Telecommunications to Media (New York:Routledge, 2009), pp. 25265.
Crouse, Timothy. ‘The First Family of the New Rock’, Rolling Stone (18 February 1971), pp. 347.
Crouse, TimothyReview of Blue’, Rolling Stone (5 August 1971), 42.
Crowe, Cameron. ‘A Child’s Garden of Jackson Browne’, Rolling Stone (23 May 1974), pp. 3944.
Crowe, CameronJoni Mitchell’, in Peter, Herbst (ed.), The Rolling Stone Interviews, 1967–1980: Talking with the Legends of Rock & Roll. (New York: St. Martin’s, 1981), pp. 37691.
Csikszentmihalyi, Mihalyi, ‘Society, Culture and Person: ASystems View of Creativity’, in Sternberg, Robert J. (ed.), The Nature of Creativity: Contemporary Psychological Perspectives (Cambridge: Cambridge University Press, 1988), pp. 32539.
Csikszentmihalyi, Mihalyi Creativity, Flow and the Psychology of Discovery and Invention (New York: Harper Collins, 1996).
Cullen, Brian, ‘Exploring Second Language Creativity: Understanding and helping L2 Songwriters’, unpublished PhD thesis, Leeds Metropolitan University (2009).
Cushing, Steve, Pioneers of Blues Revival (Champaign, IL: University of Illinois Press, 2014).
Cusic, Don. ‘In Defense of Cover Songs’. Popular Music and Society 28/2 (2005), pp. 1717.
Dann, Trevor, Darker Than the Deepest Sea: The Search for Nick Drake (Cambridge, MA: Da Capo Press, 2006).
Davis, Angela Y., Blues Legacies and Black Feminism (New York: Vintage Books, 1998), p. 67.
Davis, Eric, ‘Nearer the Heart of Things’, Arthur Magazine, 25 (Winter 2006). Available at: arthurmag.com/2006/12/23/nearer-the-heart-of-things-erik-davis-on-joanna-newsom-from-arthur-no-25winter-02006/ (accessed 27 February 2015).
Davis, Sheila, The Craft of Lyric Writing (New York/London/Sydney: Omnibus Press, 1985).
de Laat, Kim. ‘“Write a Word, Get a Third”: Managing Conflict and Rewards in Professional Songwriting Teams’, Work and Occupations, 42/2 (2015), pp. 22556.
Deleuze, Gilles, and Guattari, Felix, What Is Philosophy? (New York: Columbia University Press, 1994).
Deleuze, Gilles, and Guattari, Felix A Thousand Plateaus: Capitalism and Schizophrenia (London: Continuum, 2004).
Denney, Alex, ‘Interview: Steve Albini’, The Stool Pigeon (6 February 2013). Formerly available at: www.thestoolpigeon.co.uk/features/interview-steve-albini.html (accessed 17 August 2014).
DeVries, Peter, ‘The Rise and Fall of a Songwriting Partnership’, The Qualitative Report, 10/1 (2005) pp. 3954.
Dibben, Nicola, ‘Subjectivity and the Construction of Emotion in the Music of Björk’, Music Analysis 25 (2007), pp. 17197.
Diederichsen, Diedrich, ‘Raus aus dem Kuscheluniversum’, Taz.de (2007). Translated by Maximilian Georg Spiegel in, ‘Gender Construction’, MPhil thesis, 2012.
Dolan, Emily I. ‘“… This Little Ukulele Tells the Truth”: Indie Pop and Kitsch Authenticity’. Popular Music 29/3 (2010): 45769.
Douglas, Ann, Terrible Honesty: Mongrel Manhattan in the 1920s (New York: FSG, 1995).
Douglas, Susan J., Where the Girls Are: Growing up Female with the Mass Media (New York: Times, 1994).
Doyle, Tom, ‘Tori Amos: Ready, Steady, Kook!’, Q Magazine (12 April 1998), pp. 808. Available at: thedent.com/q0598.html (accessed 29 May 2014).
Driver, Susan. Queer Girls and Popular Culture: Reading, Resisting, and Creating Media (New York: Peter Lang, 2007).
Dukoff, Lauren, Family (San Francisco: Chronicle Books, 2009).
Dunlap, David W., ‘Half Empty but Full of History, Brill Building Seeks Tenants’, The New York Times (24 July 2013). Available at: www.nytimes.com/2013/07/25/nyregion/half-empty-but-full-of-history-brill-building-seeks-tenants.html (accessed 24 February 2015).
Dürr, Walther, Das deutsche Sololied im 19. Jahrhundert: Untersuchungen zur Sprache und Musik (Wilhelmshaven: Heinrichshofen, 1984).
Dyer, Richard, ‘Heavenly Bodies’ in Redmond, Sean and Holmes, Su (eds.), Stardom and Celebrity: A Reader (London: Sage 2007), pp. 859.
Eccleston, Danny, ‘Pet Shop Boys’ Neil Tennant Slates Social Media’, Mojo (3 July 2013), available at: www.mojo4music.com/642/pet-shop-boys-neil-tennant-slates-social-media/ (accessed 17 August 2014).
Eco, Umberto, ‘Prefazione’, in Straniero, Michele L., Liberovici, Sergio, Jona, Emilio, and De Maria, Giorgio (eds.), Le canzoni della cattiva coscienza (Milan: Bompiani, 1964), pp. 528.
Elton, John website. Available at: www.eltonjohn.com/about/biography (accessed 24 February 2015).
Emerson, Ken, Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era (London: Fourth Estate, 2006).
Encarnacao, John, Punk Aesthetics and New Folk: Way Down the Old Plank Road (Burlington: Ashgate, 2013).
Etzkorn, Peter, ‘Social Context of Songwriting in the United States’, Ethnomusicology, 7/2 (1963), pp. 96106.
Etzkorn, PeterThe Relationship Between Musical and Social Patterns in American Popular Music’, Journal of Research in Music Education, 12/4 (1964), pp. 27986.
Etzkorn, PeterOn Esthetic Standards and Reference Groups of Popular Songwriters’, Sociological Enquiry, 36/1 (1966), pp. 3947.
Evans, David, ‘Blues: Chronological Overview’, in Burnim, Melonee V. and Maultsby, Portia K. (eds.), African American Music: An Introduction (New York: Routledge, 2006), pp. 7996.
Evans, Liz, Women, Sex and Rock ‘n Roll in Their Own Words (London: Pandora, 1994).
Everett, Walter, ‘The Learned vs. The Vernacular in the Songs of Billy Joel’, Contemporary Music Review 18/4 (2000), pp. 10529.
Fabbri, Franco, Around the Clock. Una breve storia della popular music (Turin: UTET Libreria, 2008).
Fabbri, FrancoHow Genres Are Born, Change, Die: Conventions, Communities and Diachronic Processes’, in Hawkins, Stan (ed.), Critical Musicological Reflections (Aldershot: Ashgate, 2012), pp. 17991.
Fabbri, FrancoIl Trentennio: “musica leggera” alla radio italiana, 1928–1958’, in De Benedictis, Angela Ida (ed.), La musica alla radio: 1924–1954. Storia, effetti, contesti in prospettiva europea (Rome: Bulzoni Editore, 2014), pp. 22543.
Fabbri, Franco and Plastino, Goffredo (eds.), Made in Italy: Studies in Popular Music (New York and London: Routledge, 2014).
Fagen, Donald, Eminent Hipsters (New York: Viking, 2013).
Feigenbaum, Anna, ‘“Some Guy Designed this Room I’m Standing In”: Marking Gender in Press Coverage of Ani DiFranco’, Popular Music 25/1 (January 2005), pp. 3756.
Fennessey, Sean, ‘Pride (In the Name of Love)’. Vibe Magazine 17/2 (February 2009), p. 80.
Fenton, Natalie, ‘Bridging the Mythical Divide: Political Economy and Cultural Studies Approaches to the Analysis of the Media’, in Devereux, Eoin (ed.), Media Studies: Key Issues and Debates (London: Sage, 2007), pp. 731.
Fitzgerald, Jon, ‘When the Brill Building Met Lennon-McCartney: Continuity and Change in the Early Evolution of the Mainstream Pop Song’, Popular Music & Society 19/1 (1995), pp. 5977.
Flanagan, Bill, Written in My Soul: Rock’s Great Songwriters Talk About Creating Their Music (Chicago, Contemporary Books, 1986).
Foster, Mo, Play Like Elvis: How British Musicians Bought the American Dream (London: Sanctuary 1997).
Fox, Aaron A., Real Country: Music and Language in Working-Class Culture (Durham: Duke University Press, 2004).
Frith, Simon, and Zagorski-Thomas, Simon (eds.), The Art of Record Production: An Introductory Reader for a New Academic Field (Aldershot: Ashgate, 2012).
Gamman, Lorraine,and Marshement, Margaret (eds.), The Female Gaze: Women as Viewers of Popular Culture (London: The Women’s Press Limited, 1988).
Garbarini, Vic, ‘Joni Mitchell Is A Nervy Broad’. Musician (January 1983), pp. 4252.
George, Nelson, Hip Hop America (New York: Penguin Publishing, 1998).
Gilbert, Jeremy, ‘More Than a Woman: Becoming-Woman on the Disco Floor’, in Reitsamer, Rosa and Weinzierl, Rupert (eds.), Female Consequences: Feminismus, Antirassimus, Popmusik (Wien: Löcker, 2006), pp. 18193.
Gill, John. Queer Noises: Male and Female Homosexuality in 20th Century Music (Minnesota: Minnesota University Press, 1995).
Golding, Peter, and Murdock, Graham (eds.), The Political Economy of the Media (Cheltenham: Edward Elgar Publishing, 1997).
Goldman, Andrew, ‘Billy Joel on Not Working and Not Giving Up Drinking.’ The New York Times (24 May 2013). Available at www.nytimes.com/2013/05/26/magazine/billy-joel-on-not-working-and-not-giving-up-drinking.html (accessed 24 February 2015).
Goldsmith, Thomas (ed.), The Bluegrass Reader (Urbana and Chicago: University of Illinois Press, 2004).
Gorrell, Lorraine. The Nineteenth-Century German Lied (Portland: Amadeus Press, 1993).
Gottlieb, Joanne and Wald, Gayle, ‘Smells Like Teen Spirit: Riot Grrrls, Revolution and Women in Independent Rock’, in Ross, Andrew and Rose, Tricia (eds.), Microphone Fiends: Youth Music and Youth Culture (New York: Routledge, 1994), pp. 25074.
Govenar, Alan, Texas Blues. The Rise of a Contemporary Sound (College Station: Texas A&M University Press, 2008).
Gracyk, Theodore, I Wanna Be Me: Rock Music and the Politics of Identity (Philadelphia: Temple University Press, 2001).
Grasso, Linda M., ‘“You Are No Stranger to Me”: Georgia O’Keeffe’s Fan Mail’, Reception: Texts, Readers, Audienceses, History, 5 (2013), pp. 2440.
Gray, Jonathan, ‘New Audiences, New Textualities: Anti-fans and Non-fans’, International Journal of Cultural Studies, 6/1 (2003), pp. 6481.
Gray, Jonathan ‘Antifandom and the Moral Text: Television Without Pity and Textual Dislike’, American Behavioral Scientist, 48 (2005), pp. 84058.
Grazian, David, ‘The Production of Popular Music as a Confidence Game: The Case of the Chicago Blues’, Qualitative Sociology 27 (2) (2004), pp. 137158.
Green, Lucy, Music on Deaf Ears: Musical Meaning, Ideology and Education (Manchester: Manchester University Press, 1988).
Green, Lucy Gender, Music and Education (Cambridge: Cambridge University Press, 1997).
Green, Lucy How Popular Musicians Learn (Aldershot, Ashgate: 2001).
Grenfell, Michael and James, David, Bourdieu and Education (London: Taylor and Francis, 1998).
Grier, Miles Park, ‘The Only Black Man at the Party: Joni Mitchell Enters the Rock Canon’. Genders 56 (2012), pp. 144, available at: www.genders.org/g56/g56_grier.html (accessed 15 November 2012).
Halberstadt, Alex, Lonely Avenue: The Unlikely Life and Times of Doc Pomus (London: Jonathan Cape, 2007).
Halberstam, Judith, Female Masculinity (Durham: Duke University Press, 1998).
Hallmark, Rufus (ed.), German Lieder in the Nineteenth Century, 2nd edn (New York & London: Routledge, 2010).
Harker, Ben, Class Act: the Cultural and Political Life of Ewan MacColl (London: Pluto, 2007).
Harper, Colin, Dazzling Stranger: Bert Jansch and the British Folk and Blues Revival (London: Bloomsbury, 2000).
Harris, Charles K., How to Write a Popular Song (New York: Charles K. Harris, 1906.)
Hatten, Robert S., Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert (Bloomington: Indiana University Press, 2004).
Hawkins, Stan, Settling the Pop Score: Pop Texts and Identity Politics (Aldershot: Ashgate, 2002).
Hawkins, Stan The British Pop Dandy: Masculinity, Popular Music and Culture (Farnham, Surrey: Ashgate: 2009).
Hayes, Eileen M., Songs in Black and Lavender: Race, Sexual Politics, and Women’s Music (Champaign: University of Illinois Press, 2010).
Heckman, Dan, ‘Pop: Jim Morrison at the End; Joni Mitchell at a Crossroads’, Review of Blue, by Joni Mitchell, New York Times (8 August 1971), p. D15.
Henderson, Stuart, ‘“All Pink and Clean and Full of Wonder?” Gendering “Joni Mitchell”, 1966–1974’, New Left History 10 (2) (2005), 83109.
Hesmondhalgh, David and Baker, Sarah, Creative Labour: Media Work in Three Cultural Industries (Basingstoke: Routledge, 2013).
Hirshey, Gerri, ‘Women Who Rocked the World’, Rolling Stone (13 November 1997): 6480.
Hisama, Ellie, ‘Voice, Race, and Sexuality in the music of Joan Armatrading’, in Barkin, Elaine and Hamessley, Lydia (eds.), Audible Traces: Gender, Identity, and Music (Zurich: Carciofoli Verlagshaus, 1999), pp. 11532.
Hodgkinson, Will, The Ballad of Britain (London: Portico, 2009).
Holden, Stephen. ‘Tom Rush Does It Himself’, Rolling Stone (2 October 1980), p. 22.
Holden, StephenThe Evolution of the Singer-Songwriter’, in Henke, James, DeCurtis, Anthony, and George-Warren, Holly (eds.), The Rolling Stone Illustrated History of Rock & Roll (New York: Random House, 1992), pp. 48091.
Holden, StephenThe Ambivalent Hall of Famer’, New York Times (1 December 1996), p. 36.
Holst-Warhaft, Gail, Theodorakis: Myth and Politics in Modern Greek Music (Amsterdam: Hakkert, 1980).
Holst-Warhaft, GailPolitics and Popular Music in Modern Greece’. Journal of Political and Military Sociology, 30: 2 (2002), pp. 292323.
Hooks, Bell, ‘Selling Hot Pussy: Representations of Black Female Sexuality in the Cultural Marketplace’, in Conboy, Katie, Medina, Nadia, and Stanbury, Sarah (eds.), Writing on the Body: Female Embodiment and Feminist Theory (New York: Columbia University Press, 1997), pp. 11328.
Hope, Clover, ‘The 100 Problems of Kanye West’, The Village Voice 54/4 (12–27 January 2009), p. 72.
Hoskyns, Barney, Hotel California: The True-Life Adventures of Crosby, Stills, Nash, Young, Mitchell, Taylor, Browne, Ronstadt, Geffen, The Eagles, and Their Many Friends (Hoboken, NJ: John Wiley & Sons, 2006).
Howe, Irving, ‘The Plath Celebration: A Partial Dissent’, In The Critical Point: On Literature and Culture (New York: Dell, 1973, pp. 15869).
Hubbs, Nadine. Rednecks, Queers, and Country Music (Berkeley, CA: University of California Press, 2014).
Hunter, Tea, To Joy My Freedom: Southern Black Women’s Lives and Labors After the Civil War (Cambridge, MA: Harvard University Press, 1997).
Hyland, William G, The Song is Ended: Songwritersand American Music, 1900–1950. (New York: Oxford University Press, 1995).
Inglis, Ian, ‘“Some Kind of Wonderful”: The Creative Legacy of the Brill Building’, American Music 21/2 (2003): pp. 21435.
Inness, Sherrie A., Disco Divas: Women and Popular Culture in the 1970s (London: Routledge, 2003).
Isherwood, Martin, Sounding Out Songwriting (York: Higher Education AcademyReport, January 2014).
Jackson, Jerma A., Singing in My Soul: Black Gospel Music in a Secular Age (Chapel Hill: University of North Carolina Press, 2004).
Jacobs, Jay S. Pretty Good Years: A Biography of Tori Amos (Hal Leonard, 2006).
Jacobson, Marion, Squeeze This!: A Cultural History of the Accordion in America (Urbana, IL: University of Illinois Press, 2012).
Jahr, Cliff, ‘Elton John: It’s Lonely at the Top’, Rolling Stone, 223 (1976), pp. 11, 1617.
Jarman, Freya (ed.), Oh Boy!: Masculinities and Popular Music Culture (New York/London: Routledge, 2007).
Jasen, David, Tin Pan Alley (New York: Donald Fine, 1988).
Joel, Billy, Interview with Tom Hoving, 20/20. ABC-TV. 1 May 1980, available at www.youtube.com/watch?v=i-gUgyf1-3w (accessed 24 February 2015).
Johnson-Grau, Brenda, ‘Sweet Nothings: Presentation of Women Musicians in Pop Journalism’, in Jones, Steve (ed.), Pop Music and the Press (Philadelphia: Temple University Press, 2002), pp. 20218.
Johnson, Corey W., ‘“Don’t Call Him a Cowboy”: Masculinity, Cowboy Drag, and a Costume Change’, Journal of Leisure Research, 40/3 (2008), pp. 385403.
Johnson, Henry, (ed.) Many Voices: Music and National Identity in Aotearoa/New Zealand (Newcastle: Cambridge Scholars Publishing, 2010).
Johnson, Kevin C., ‘Healing Through Song: Singing About a Painful Experience Gives Tori Amos Strength’, Akron Beacon Journal (12 September 1996). Available at: www.yessaid.com/interviews/96-09-12AkronBeaconJournal.html (accessed 13 May 2014).
Jones, Leroi Baraka, Amiri, Blues People. Negro Music in White America (New York: Harper Perennial, 2002 [1963]).
Jones, A. Morgan, ‘The Other Sides of Billy Joel: Six Case Studies Revealing the Sociologist, The Balladeer, and the Historian’ (PhD dissertation, University of Western Ontario, 2011).
Kallimopoulou, Eleni, Paradosiaká: Music, Meaning and Identity in Modern Greece (London: Ashgate, 2009).
Keam, Glenda, and Mitchell, Tony (eds.), Home, Land and Sea: Situating Music in Aotearoa/New Zealand (Auckland: Pearson, 2011).
Keenan, David, ‘The Fire Down Below: Welcome to the New Weird America’, The Wire 234 (2003), pp. 340.
Keenan, Elizabeth K., and Dougher, Sarah, ‘Riot Grrrl, Ladyfest, and Rock Camps for Girls’, in Downes, Julia (ed.), Women Make Noise: Girl Bands from Motown to the Modern Twickenham (UK: Supernova Books, 2012), pp. 25991.
Keil, Charles, Urban Blues (Chicago: University of Chicago Press, 1991 [1966]).
Keil, Charles, and Keil, Angeliki V., Polka Happiness (Philadelphia: Temple University Press, 1992).
Kellman, Andy, ‘My Beautiful Dark Twisted Fantasy Album Review’, AllMusic.com (21 November 2010), available at: www.allmusic.com/album/my-beautiful-dark-twisted-fantasy-mw0002022752 (accessed 27 February 2015).
King, Carole, A Natural Woman: A Memoir (London: Virago, 2012).
Kirn, Peter, ‘Data Moshing the Online Videos: My God, It’s Full of Glitch’, Create Digital Motion (18 February 2009). Formerly available at: createdigitalmotion.com/2009/02/data-moshing-the-online-videos-my-god-its-full-of-glitch/ (accessed 27 February 2015).
Klein, Michael, Intertextuality in Western Art Music (Bloomington: Indiana University Press, 2005).
Koestenbaum, Wayne, The Queen’s Throat: Opera, Homosexuality, and the Mystery of Desire (London: Penguin Books, 1993).
Koestler, Arthur, The Act of Creation (London: Hutchinson and Co., 1964).
Koozin, Timothy, ‘Guitar Voicing in Pop-Rock Music: A Performance-Based Analytical Approach’, Music Theory Online 17/3 (2011). Available at: www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.koozin.html (accessed 27 February 2015).
Krims, Adam. Rap Music and the Poetics of Identity (New York: Cambridge University Press, 2001).
Kristeva, Julia, La Révolution du Langage Poétique : L’avant-Garde à la Fin du XIXe Siècle, Lautréamont et Mallarmé (Paris: Éditions du Seuil, 1974).
Kutulas, Judy, ‘“That’s the Way I’ve Always Heard It Should Be”: Baby Boomers, 1970s Singer-Songwriters, and Romantic Relationships’, Journal of American History 97/3 (2010), pp. 682702.
Kutulas, Judy, “You probably Think this Song is About You”: 1970s Women’s Music from Carole King to the Disco Divas’, in Sherrie A. Inness(ed.), Disco Divas: Women and Popular Culture in the 1970s (Philadelphia: University of Pennsylvania Press, 2003), pp. 1734.
Lake, Kirk, There Will Be Rainbows: A Biography of Rufus Wainwright (London: Orion Books, 2009).
LaMay, Thomasin and Armstrong, Robin, ‘The Navel, the Corporate, the Contradictory: Pop Sirens at the Twenty-first Century’, in Austern, Linda Phyllis and Naroditskaya, Irma (eds.), Music of the Sirens (Bloomington: Indiana University Press, 2006), pp. 31745.
Landau, Jon, Review of James Taylor. Rolling Stone (19 April 1969), p. 28.
Lankford, Ronald D., Women Singer-Songwriters in Rock: A Populist Rebellion in the 1990s (Plymouth: Scarecrow Press, 2010).
Larson, Steve, Musical Forces: Motion, Metaphor, and Meaning in Music (Bloomington: Indiana University Press, 2012).
Lawson, R. A., Jim Crow’s Counterculture. The Blues and Black Southerners 1890–1945 (Baton Rouge: Louisiana State University, 2013).
Leach, Elizabeth Eva, ‘Vicars of “Wannabe”: Authenticity and The Spice Girls’. Popular Music 20/2 (2001), pp. 14367.
Leiber, Jerry, and Stoller, Mike, Hound Dog: The Leiber & Stoller Autobiography (London: Omnibus Press, 2010).
Leibetseder, Doris, Queer Tracks: Subversive Strategies in Rock and Pop Music (Farnham: Ashgate, 2012).
Leonard, Marion, Gender in the Music Industry: Rock, Discourse and Girl Power (Aldershot: Ashgate Publishing, 2007).
Leydi, Roberto, ‘Nuova canzone e rapporto città–campagna oggi’, in Leydi, Roberto (ed.), Il folk music revival (Palermo: Flaccovio, 1972), pp. 24751.
Lidov, David, Is Language a Music: Writings on Musical Form and Signification (Bloomington: Indiana University Press, 2005).
Lipsitz, George, Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place (New York: Verso, 1994).
Lister, Linda, ‘Divafication: The Deification of Modern Female Pop Stars’, Popular Music & Society 25/3–4 (2001), pp. 110.
Liszka, James Jakób, The Semiotic of Myth: A Critical Study of the Symbol (Bloomington: Indiana University Press, 1989).
Locke, Ralph P., Musical Exoticism: Images and Reflections (Cambridge: Cambridge University Press, 2009).
Lomax, Alan, ‘Bluegrass Background: Folk Music with Overdrive’, in Goldsmith, Thomas (ed.), The Bluegrass Reader (Urbana and Chicago: University of Illinois Press, 2004), pp. 1313.
Lott, Eric, Love and Theft: Blackface Minstrelsy and the American Working Class (New York: Oxford University Press, 1993).
Lowe, Zane. ‘BBC Radio 1 Interview with Kanye West’, XXL (23 September 2013). Available at: www.xxlmag.com/news/2013/09/kanye-west-says-mbdtf-perfect-yeezus-advancing-culture/ (accessed 27February 2015).
Lowell, Robert, Life Studies (New York: Farrar, Straus, 1959).
Luckett, Moya, ‘Toxic: The Implosion of Britney Spears’ Star Image’, The Velvet Light Trap 65 (Spring 2010), pp. 3941.
Luftig, Stacy (ed.), The Joni Mitchell Companion: Four Decades of Commentary (New York: Schirmer, 2000).
Lynskey, Dorian, ‘Pet Shop Boys: Cab Drivers Ask Us if We’ve Retired’, The Guardian (13 September 2012). Available at: www.theguardian.com/music/2012/sep/13/pet-shop-boys (accessed 17 August 2014).
Mahon, Maureen, Right to Rock: The Black Rock Coalition and the Cultural Politics of Race (North Carolina: Duke University Press, 2004).
Malone, Ailbhe, ‘17 Reasons You Should Be Following James Blunt On Twitter’, Buzzfeed (28 October 2013), available at: www.buzzfeed.com/ailbhemalone/17-reasons-you-should-be-following-james-blunt-on-twitter (accessed 17 August 2014).
Manning, Kara, ‘Lady Adele’, Jazziz 25/6 (2008), p. 46.
Manuel, Peter, ‘Composition, Authorship, and Ownership in Flamenco, Past and Present’, Ethnomusicology 54/1 (2010), pp. 10635.
Marcus, Greil, Mystery Train: Images of America in Rock’n’Roll Music. (New York: E.P. Dutton, 1975).
Marcus, Greil ‘The Old, Weird America’, in Various Artists, Anthology of American Folk Music. Smithsonian Folkways Recordings reissue, Sony SFW40090/A28750, 1997. Liner notes.
Marcus, Greil Invisible Republic: Bob Dylan’s Basement Tapes (London: Picador, 1998).
Marom, Malka, Joni Mitchell: In Her Own Words, Conversations with Malka Marom (Toronto: ECW Press, 2014).
Marqusee, Mike, Wicked Messenger: Bob Dylan and the 1960s (New York: Seven Stories, 2005).
Marrington, Mark, ‘Experiencing Musical Composition in the DAW: The Software Interface as Mediator of the Musical Idea’, Journal on the Art of Record Production 5 (2011). Available at: www.academia.edu/6674629/Experiencing_Musical_Composition_In_The_DAW_The_Software_Interface_As_Mediator_Of_The_Musical_Idea (accessed 28 September 2015).
Marshall, P. David, The Celebrity Culture Reader (New York, London: Routledge, 2006).
Marshall, P. DavidThe Promotion and Presentation of the Self: Celebrity as Marker of Presentational Media’, Celebrity Studies, 1 (1) (2010), pp. 3548.
Marwick, Alice and Boyd, Danah, ‘To See and Be Seen: Celebrity Practice on Twitter’, Convergence, 17/2 (2011), pp. 13958.
Maslin, Janet, ‘Review of Merrimack County by Tom Rush’, Rolling Stone (11 May 1972), p. 56.
Masters, Marc, ‘Harp of Darkness’, The Wire, 251 (2005), pp. 245
Mayer, Vicki, Banks, Miranda J., and Caldwell, John T. (eds.), Production Studies: Cultural Studies of Media Industries (New York: Routledge, 2009).
McCarthy, Kate, ‘Not Pretty Girls?: Sexuality, Spirituality, and Gender Construction in Women’s Rock Music’, Journal of Popular Culture 39/1 (2006), pp. 6994.
McGlashan, Don, ‘Afterword’, in Keam, Glenda and Mitchell, Tony (eds.), Home, Land and Sea: Situating Music in Aotearoa/New Zealand (Auckland: Pearson, 2011), pp. 2801.
McIntyre, Philip, ‘The Domain of Songwriters: Towards Defining the Term “Song”’, Perfect Beat, 5/3 (2001), pp. 10011.
McIntyre, PhilipPaul McCartney and the Creation of “Yesterday”: The Systems Model in Operation’, Popular Music, 25/2 (2006), pp. 20119.
McIntyre, PhilipCreativity and Cultural Production: A Study of Contemporary Western Popular Music Songwriting’, Creativity Research Journal, 20/1 (2008), pp. 4052.
McLeod, Kembrew, Creative License: The Law and Culture of Digital Sampling (Durham: Duke University Press, 2011).
Meltzer, Richard, ‘Young Jackson Browne’s Old Days’, Rolling Stone (22 June 1972), pp. 1416.
Middleton, Richard. Studying Popular Music (Buckingham: Open University Press, 1990).
Mitchell, Gillian, The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945–1980 (Aldershot: Ashgate, 2007).
Mitchell, Tony, ‘Aotearoa Songlines’, Perfect Beat 8 (2007), pp. 6875.
Mitchell, TonySonic Psychogeography: A Poetics of Place in Popular Music in Aotearoa/New Zealand’, Perfect Beat 10/2 (2009), pp. 14575.
Moehn, Frederick, Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene (Durham: Duke University Press, 2012).
Monelle, Raymond, The Sense of Music: Semiotic Essays (Princeton, NJ: Princeton University Press, 2000).
Monk, Katherine, Joni: The Creative Odyssey of Joni Mitchell (Vancouver, Toronto, and Berkeley: Greystone Books, 2012).
Mooney, James, ‘Frameworks and Affordances: Understanding the Tools of Music-making’, Journal of Music, Technology and Education 3/2–3 (2010), pp. 14154.
Moore, Allan F., ‘The So-Called ‘Flattened Seventh’ in Rock’. Popular Music 14/2 (1995), pp. 185201.
Moore, Allan F. Rock: The Primary Text, 2nd edn (Aldershot: Ashgate, 2001).
Moore, Allan F.‘Authenticity as Authentication’, Popular Music 21/2 (2002): 20923.
Moore, Allan F. The Cambridge Companion to Blues and Gospel Music (Cambridge: Cambridge University Press, 2002).
Moore, Allan F. ‘Principles for Teaching and Assessing Songwriting in Higher Education’, Palatine Papers (2004). Formerly available at www.lancs.ac.uk/palatine/reports/allanmoore.htm (accessed 7 August 2014).
Moore, Allan F.The Track’, in Bayley, Amanda (ed.), Recorded Music: Performance, Culture and Technology (Cambridge: Cambridge University Press, 2010), pp. 25267.
Moore, Allan F. Song Means: Analysing and Interpreting Recorded Popular Song (Aldershot: Ashgate, 2012).
Moore, Allan F.The Persona–Environment Relation in Recorded Song’, Music Theory Online 11/4 (2005). Available at: mto.societymusictheory.org/issues/mto.05.11.4/toc.11.4.html (accessed 27 February 2015).
Moore, Allan F. and Vacca, Giovanni (eds.), The Legacies of Ewan MacColl (Farnham, Surrey: Ashgate, 2014).
Morey, Justin and McIntyre, Phillip, ‘Working Out the Split’: Creative Collaboration and the Assignation of Copyright Across Differing Musical Worlds’, Journal on the Art of Record Production 5 (2011), available at arpjournal.com/ (accessed 24 June 2014).
Mosco, Vincent, The Political Economy of Communication (London: Sage, 1996).
Mosco, Vincent MTV News Feature, ‘Tori Amos Brings the Noise’ (1999). Available at: www.angelfire.com/mi2/starchild/toriart10a.html (accessed 28 September 2015).
Mulvey, Laura, ‘Visual Pleasure in Narrative Cinema’, Screen, 16/3 (1975), pp. 618.
Muntean, Nick and Peterson, Anne Helen, ‘Celebrity Twitter: Strategies of Intrusion and Disclosure in the Age of Technoculture’, M/C Journal, 12/5 (2009). Available at: journal.media-culture.org.au/index.php/mcjournal/article/viewArticle/194 (accessed 17 August 2014).
Nealon, Jeffrey T., ‘Refraining, Becoming-Black: Repetition and Difference in Amiri Baraka’s Blues People’, Sympoke 61 (1998), pp. 8395.
Negus, Keith, ‘The Work of Cultural Intermediaries and the Enduring Distance Between Production and Consumption’, Cultural Studies 16/4 (2002), pp. 50115.
Newman, Meredith, ‘Author discusses race, culture in relation to Joni Mitchell’. The Daily Orange (9 October 2011), available at: dailyorange.com/2011/10/author-discusses-race-culture-in-relation-to-joni-mitchell/ (accessed 1 May 2014).
Norman, Philip, ‘The Rebirth of Elton John’, Rolling Stone 626 (1992), pp. 43–9, 110.
O’Brien, Karen, Joni Mitchell, Shadows and Light: The Definitive Biography (London: Virgin Books, Ltd., 2002).
O’Brien, Lucy, She-Bop: The Definitive History of Women in Rock, Pop and Soul (London: Continuum, 2002).
Ollivier, Michèle. ‘Snobs and Quétaines: Prestige and Boundaries in Popular Music in Quebec’. Popular Music 25/1 (2006), pp. 97116.
Palmer, Amanda, ‘Amanda Palmer: The new RECORD, ART BOOK, and TOUR’, Kickstarter (2012). Available at: www.kickstarter.com/projects/amandapalmer/amanda-palmer-the-new-record-art-book-and-tour (accessed 17 August 2014).
Papanikolaou, Dimitris, Singing Poets. Literature and Popular Music in France and Greece (Oxford: Legenda, 2007).
Paphides, Peter, ‘The Inner Life of Nick Drake’, The Observer (24 April 2004).
Pareles, Jon, ‘Songs for All Occasions, But Sparing Ground Zero’. The New York Times (14 June 2002), available at www.nytimes.com/2002/06/14/movies/pop-review-songs-for-all-occasions-but-sparing-ground-zero.html (accessed 24 February 2015).
Parsons, James (ed.), The Cambridge Companion to the Lied (Cambridge: Cambridge University Press, 2004).
Pavese, Errico, ‘Saved Souls. Locating Style in Fabrizio De André’s and Ivano Fossati’s Record Production’, in Fabbri, Franco and Plastino, Goffredo (eds.), Made in Italy: Studies in Popular Music (New York and London: Routledge, 2014), pp. 12335.
Perricone, Jack, Melody in Songwriting: Tools and Techniques for Writing Hit Songs (Boston, MA: Berklee Press, 2000).
Perry, Imani, Prophets of the Hood: Politics and Poetics in Hip Hop (Durham: Duke University Press, 2004).
Pestelli, Carlo, ‘An Escape from Escapism: The Short History of Cantacronache’, in Fabbri, Franco and Plastino, Goffredo (eds.), Made in Italy: Studies in Popular Music (New York and London: Routledge, 2014), pp. 15361.
Petrusich, Amanda, Pink Moon (New York: Continuum, 2007).
Podolsky, Rich, Don Kirshner: The Man with the Golden Ear: How He Changed the Face of Rock and Roll (Milwaukee: Hal Leonard Corporation, 2012).
Podolsky, Rich Neil Sedaka: Rock ‘n’ Roll Survivor: The Inside Story of His Incredible Comeback (London: Jawbone Press, 2013).
Pollack, Bruce, ‘Donald Fagen Interview’. The Steely Dan Reader: Four Decades of News and Interviews (7 November 2012). Available at: steelydanreader.com/2012/11/07/donald-fagen-interview/ (accessed 24 February 2015).
Postal, Matthew A., The Brill Building (Designation Report), Landmarks Preservation Commission, List 427, LP-2387 (23 March 2010). Available at: www.nyc.gov/html/lpc/downloads/pdf/reports/brill.pdf (accessed 23 February 2015).
Potts, Liza, ‘Amanda Palmer and the #LOFNOTC: How Online Fan Participation is Rewriting Music Labels’, Participations, 9/2 (2012), pp. 36082, available at: www.participations.org/Volume%209/Issue%202/20%20Potts.pdf (accessed 17 August 2014).
Powers, Ann, ‘Fiona Apple: Trying Something New, Trying Something Mellow’, New York Times (25 October 1997), p. B7.
Pullen, Christopher (ed.), Queer Youth and Media Cultures (New York: Palmgrave Macmillan, 2014).
Rachel, Daniel, Isle of Noises: Conversations with Great British Songwriters (London: Picador, 2013).
Rajchman, John, The Deleuze Connections (Athens: MIT Press, 2000).
Ratliff, Ben, ‘Free Spirits in a Groove That’s Folky and Tribal’, The New York Times (5 February 2007). Available at: www.nytimes.com/2007/02/05/arts/music/05drea.html (accessed 27 February 2015).
Regev, Motti, ‘Israeli Rock, or a Study in the Politics of “Local Authenticity”’. Popular Music 11/1 (1992), pp. 114.
Regev, MottiProducing Artistic Value: The Case of Rock Music’. The Sociological Quarterly 35/1 (1994), pp. 85102.
Reid, Vernon and Tate, Greg, ‘Steely Dan: Understood as the Redemption of the White Negro’, in Tate, Greg (ed.), Nothing But the Burden (New York: Broadway Books, 2003), pp. 11015.
Reilly, Peter, Review of Blue, reprinted from Stereo Review, October 1971, in Luftig, Stacy (ed.), The Joni Mitchell Companion: Four Decades of Commentary (New York: Schirmer, 2000), pp. 402.
Rettberg, Jill Walker, Seeing Ourselves Through Technology: How We Use Selfies, Blogs and Wearable Devices to See and Shape Ourselves (Basingstoke: Palgrave Macmillan, 2014).
Reynolds, Simon, Retromania: Pop Culture’s Addiction to its Own Past (London: Faber and Faber, 2011).
Reynolds, Simon Energy Flash: A Journey Through Rave Music and Dance Culture (Berkeley: Soft Skull Press, 2012)
Reynolds, Simon and Press, Joy. The Sex Revolts: Gender, Rebellion and Rock ‘n Roll. (Cambridge, MA: Harvard University Press, 1995).
Rhiel, Mary and Suchoff, David (eds.), The Seductions of Biography (New York: Routledge, 1996).
Richardson, Niall, Smith, Clarissa, & Werndly, Angela, Studying Sexualities; Theories, Representations, Cultures (Hampshire: Palgrave Macmillan, 2013)
Righi, Len, ‘Billy Joel Revisits “Allentown”’, The Morning Call (28 November 2007). Available at PopMatters, www.popmatters.com/article/billy-joel-revisits-allentown, on 15 May 2014).
Rodgers, Jeffrey Pepper (ed.), Songwriting and the Guitar (Acoustic Guitar Guides) (San Anselmo, CA: String Letter Publishing, 2000).
Rohlfing, Mary E., ‘“Don’t say Nothin’ Bad About My Baby”: A Re-evaluation of Women’s Roles in the Brill Building Era of Early Rock ‘n’ Roll’, Critical Studies in Media Communication 13/2 (1996), pp. 93114.
Rooksby, Rikky, How to Write Songs on Guitar (London: Balafon Books, 2000).
Rosand, Ellen, ‘The Descending Tetrachord: An Emblem of Lament’, The Musical Quarterly 65/3 (1979), pp. 34659.
Rose, Tricia, The Hip Hop Wars: What We Talk About When We Talk About Hip Hop – and Why It Matters (New York: Basic Books, 2008).
Rosen, Jody, ‘After a Hard Breakup, Kanye Writes His Own “Blood on the Tracks,”Rolling Stone (11 December 2008), pp. 912.
Rosenberg, Neil V. and Wolfe, Charles K., The Music of Bill Monroe (Urbana and Chicago: University of Illinois Press, 2007).
Rosenthal, Elizabeth, His Song: The Musical Journey of Elton John (New York: Billboard Books, 2001).
Rosenthal, M. L., The Modern Poets: A Critical Introduction (New York: Oxford University Press, 1960).
Santoro, Marco, ‘The Tenco Effect. Suicide, San Remo, and the Social Construction of the Canzone D’autore’, Journal of Modern Italian Studies, 3 (2006), pp. 34266.
Schechner, Richard, Essays on Performance Theory 1970–1976 (New York City: Drama Book Specialists, 1977).
Scheurer, Timothy E., ‘The Beatles, the Brill Building, and the Persistence of Tin Pan Alley in the Age of Rock’, Popular Music & Society 20/4 (1996), pp. 89102.
Schloss, Joseph G., Making Beats: The Art of Sample-Based Hip-hop (Middletown, CT: Wesleyan University Press, 2004).
Schmalfeldt, Janet, ‘In Search of Dido’, The Journal of Musicology 18/4 (2001), pp. 584615.
Schultz, Robert D., ‘Beethoven’s Pop Legacy: Classical Structure in the Music of Billy Joel’, in ‘Three Analytical Essays in Twentieth-Century Music’ (MA Thesis, University of Washington, 2005), pp. 26–54.
Schwartz, Tony, ‘Billy the Kid’, Newsweek (11 December 1978).
Scott, Richard, Billy Joel: All About Soul (New York: Vantage, 2000).
Selvin, Joel, Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues (Berkeley: Counterpoint Press, 2014).
Sheff, David and Victoria, , ‘Playboy Interview: Billy Joel’, Playboy (May 1982), pp. 712.
Shuker, Roy, Key Concepts in Popular Music (New York: Routledge, 1998).
Shuker, Roy, and Pickering, Michael, ‘Kiwi Rock: Popular Music and Cultural Identity in New Zealand’. Popular Music 13/3 (1994), pp. 26178.
Shumway, David R., Rock Star: The Making of Cultural Icons from Elvis to Springsteen (Baltimore: Johns Hopkins University Press, 2014).
Simonett, Helena, The Accordion in the Americas: Klezmer, Polka, Zydeco, and More! (Urbana, IL: University of Illinois Press, 2012).
Skinner, Katherine, ‘“Must Be Born Again”: Resurrecting the Anthology of American Folk Music’, Popular Music 25 (2006), pp. 5775.
Smith, L. Mayne, ‘An Introduction to Bluegrass’, in Goldsmith, Thomas (ed.), The Bluegrass Reader (Urbana and Chicago: University of Illinois Press, 2004), pp. 7791.
Smith, Richard D., Can’t You Hear Me Callin’: The Life of Bill Monroe, Father of Bluegrass (Boston: Little, Brown and Company, 2000).
Solie, Ruth A., ‘Introduction: On “Difference”’. Musicology and Difference: Gender and Sexuality in Music Scholarship (Berkeley: University of California Press, 1993).
Spiegel, Maximilian Georg, ‘Gender Construction and American “Free Folk” Music(s)’, MPhil thesis, University of Vienna (2012). Available at: othes.univie.ac.at/18384/1/2012-01-27_0348807.pdf.
Starr, Victoria, k. d. lang: All You Get Is Me (Toronto: Random House, 1994).
Sternberg, Robert J. (ed.), The Nature of Creativity: Contemporary Psychological Perspectives (Cambridge: Cambridge University Press, 1988).
Street, John, ‘Invisible Republics and Secret Histories: A Politics of Music’, Cultural Values 4 (2000), pp. 298313.
Sullivan, Caroline, ‘James Blunt on Twitter: how the most hated man in pop is fixing his image’, The Guardian (29 October 2013). Available at: www.theguardian.com/music/shortcuts/2013/oct/29/james-blunt-twitter-most-hated-man-pop-fixing-image (accessed 17 August 2014).
Sullivan, Paul, Remixology: Tracing the Dub Diaspora (London: Reaktion Books, 2014).
Svec, Henry Adam, ‘“Who Don’t Care If The Money’s No Good?”: Authenticity and The Band’. Popular Music and Society 35/3 (2012), pp. 42745.
Sweers, Britta, Electric Folk: the Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005).
Sweet, Brian. Reelin’ in the Years, 3rd edn. (London: Ominbus, 2009).
Szwed, John, Alan Lomax. The Man Who Recorded the World (New York: Viking, 2010).
Taylor, Jodie, ‘Lesbian Musicalities, Queer Strains and Celesbian Pop’ in Baker, Sarah, Bennet, Andy and Taylor, Jodie (eds.), Redefining Mainstream Popular Music (New York: Routledge, 2013), pp. 3949.
Taylor, Timothy D., Beyond Exoticism: Western Music and the World (London: Duke University Press, 2007).
Till, Rupert, Pop Cult: Religion and Popular Music (London: Continuum, 2010).
Toft, Robert, Hits and Misses: Crafting Top 40 Singles, 1963–71 (London: Continuum, 2011).
Tomatis, Jacopo, ‘A Portrait of the Author as an Artist. Ideology, Authenticity, and Stylization in the Canzone d’Autore’, in Fabbri, Franco and Plastino, Goffredo (eds.), Made in Italy: Studies in Popular Music (New York and London: Routledge, 2014), pp. 8799.
Toynbee, Jason, ‘Musicians’, in Frith, Simon and Marshall, Lee (eds.), Music and Copyright (Edinburgh: Edinburgh University Press, 2004), pp. 12338.
Tragaki, Dafni, ‘“Humanizing the Masses”: Enlightened Intellectuals and the Music of the People’, in Cooper, David and Dawe, Kevin (eds.), The Mediterranean in Music: Critical Perspectives, Common Concerns, Cultural Differences (Lanham, MD: Scarecrow Press, 2005), pp. 4976.
Tragaki, Dafni Rebetiko Worlds (Newcastle: Cambridge Scholars, 2007).
Trier-Bieniek, Adrienne, Sing Us a Song, Piano Woman: Female Fans and the Music of Tori Amos (Lanham, MD: Scarecrow Press, 2013).
Tsioulakis, Ioannis, ‘Jazz in Athens: Frustrated Cosmopolitans in a Music Subculture’, Ethnomusicology Forum, 20 (2) (2011), pp. 17599.
Turner, Graeme, Understanding Celebrity (London: Sage, 2004).
Turino, Thomas, Music as Social Life: the Politics of Participation (Chicago: The University of Chicago Press, 2008).
Tyrangiel, Josh, ‘Why You Can’t Ignore Kanye: More GQ than Gangsta, Kanye West is Challenging the Way Rap Thinks About Race and Class – and Striking a Chord with Fans of All Stripes’, TIME 166/9 (29 August 2005), p. 54.
Väkevä, Lauri, ‘Garage Band or Garage Band®? Remixing Musical Futures’, British Journal of Music Education, 27/1 (2010), pp. 5970.
Varelopoulos, Dimitris, ‘Producing Entechno: Amalgamation and Hybridization in a Controversial Musical Style’, in Tragaki, Dafni (ed.), Made in Greece: Studies in Popular Music (New York and London: Routledge, forthcoming).
Vargas, Elizabeth. ‘Chase Away the Darkness’, 20/20, broadcast 15 February 1999. Available at: www.youtube.com/watch?v=UXKK2JeC_tY (accessed 27 May 2014).
Veal, Michael Dub: Soundscapes and Shattered Songs in Jamaican Reggae (Middletown: Wesleyan University Press, 2007).
Vega, Suzanne, Official Website, Frequently Asked Questions. Available at: www.suzannevega.com/ (Accessed 23 September 2015).
Waksman, Steve, This Ain’t No Summer of Love: Conflict and Crossover in Heavy Metal and Punk (Berkeley: University of California Press, 2009).
Wald, Gayle, ‘Just a Girl? Rock Music, Feminism, and the Cultural Construction of Female Youth’, Signs, 23/3 (Spring 1998), pp. 585610.
Walker, Michael, Laurel Canyon: The Inside Story of Rock and Roll’s Legendary Neighborhood (New York: Faber and Faber, 2006).
Warner, Jay, American Singing Groups: A History from 1940s to Today (New York: Hal Leonard, 1992).
Watson, Jada, ‘The Dixie Chicks’ “Lubbock or Leave it”: Negotiating Identity and Place in Country Song’, Journal of the Society for American Music, 8/1 (2014), pp. 4975.
Webb, Jimmy, Tunesmith (New York: Hyperion, 1998).
Weisbard, Eric, ‘Love, Lore, Celebrity, and Dead Babies: Dolly Parton’s “Down from Dover”’, in Wilentz, Sean and Marcus, Greil (eds.), The Rose and the Briar: Death, Love and Liberty in the American Ballad (New York: W.W. Norton & Company, 2004), pp. 287304.
Weissman, Dick, Which Side Are You On?: An Inside History of the Folk Music Revival in America (New York: Continuum, 2005).
Weller, Sheila, Girls Like Us: Carole King, Joni Mitchell, Carly Simon and the Journey of a Generation (New York: Atria Books, 2008).
West, Andy, Developing Pedagogical Tools for the Teaching of Songwriting at Postgraduate Level (York: Higher Education Academy Report (2007). 78.158.56.101/archive/palatine/development-awards/297/index.html (accessed 7 August 2014).
West, Kanye, ‘Singapore Press Conference’ (3 November 2008). Available at: www.youtube.com/watch?v=VTNe5xcv3Y0&feature=player_embedded (accessed 27 February 2015).
West, Kanye ‘New Zealand Press Conference’ (1 December 2008) part 1, Available at: www.youtube.com/watch?v=fbzu8znDWoA (accessed 23 September 2015).
West, Kanye ‘New Zealand Press Conference’ (1 December 2008) part 2, Available at: www.youtube.com/watch?v=vtscn03scig (accessed 23 September 2015).
White, Timothy, ‘A Portrait of the Artist’, Billboard (9 December 1995), pp. 1416.
Whiteley, Sheila (ed.), Sexing the Groove: Popular Music and Gender (London and New York: Routledge, 1997).
Whiteley, Sheila Women and Popular Music: Sexuality,Identity and Subjectivity (London and New York: Routledge, 2013 [2000]).
Whiteley, Sheila, Bennett, Andy, and Hawkins, Stan (eds.), Music, Space and Place: Popular Music and Cultural Identity (Aldershot: Ashgate, 2005).
Whiteley, Sheila, and Rycenga, Jennifer (eds.), Queering the Popular Pitch (London and New York: Routledge, 2006).
Whitesell, Lloyd, The Music of Joni Mitchell (New York: Oxford University Press, 2008).
Wierzynski, Gregory, ‘The Students: All Quiet on the Campus Front’, Time (22 February 1971), 97/8, pp. 1415.
Wilhardt, Mark, ‘Available Rebels and Folk Authenticities: Michelle Shocked and Billy Bragg’, in Peddie, Iain (ed.), The Resisting Muse: Popular Music and Social Protest (Aldershot: Ashgate, 2006), pp. 3048.
Williams, Justin and Wilson, Ross, ‘Music and Crowdfunded Websites: Digital Patronage and Fan–Artist Interactivity’, in Whiteley, Sheila and Rambarran, Shara (eds.), The Oxford Handbook of Music and Virtuality. (New York: Oxford University Press, forthcoming).
Williams, Katherine, ‘Post-World War II Jazz in Britain: Venues and Values 1945–1970’, Jazz Research Journal, 7/1 (2013), pp. 11331.
Williams, Katherine Rufus Wainwright (London: Equinox, forthcoming).
Willis, Roy, ‘New Shamanism’, Anthropology Today 10/6 (1994), pp. 1618.
Wilton, Tamsin, Lesbian Studies; Setting an Agenda (London & New York: Routledge, 1995).
Winsby, Meghan, ‘Lady Sings The Blues: A Woman’s Perspective on Authenticity’, in Steinberg, Jesse R. and Fairweather, Abrol (eds.), Blues-Philosophy for Everyone: Thinking Deep About Feeling Low (Hoboken: Wiley-Blackwell, 2012), pp. 15566.
Witt, Jennifer, ‘Feminism Across Generations: The Importance of Youth Culture Lyrics and Performances’, MP: A Feminist Journal Online 1/6 (2007). Available at academinist.org/wp-content/uploads/2010/07/witt.pdf (accessed 12 July 2014).
Wolfe, Charles and Lornell, Kip, The Life and Legend of Leadbelly (New York: Da Capo Press, 1992).
Wood, Jessica L., ‘Pained Expression: Metaphors of Sickness and Signs of “Authenticity” in Kurt Cobain’s Journals’. Popular Music 30/3 (2011), pp. 33149.
Woods, Fred, Folk Revival (Poole, Dorset: Blandford, 1979).
Young, Rob, Electric Eden: Unearthing Britain’s Visionary Music (London: Faber & Faber, 2010).
Zbikowski, Lawrence, Conceptualizing Music: Cognitive Structure, Theory, and Analysis (Oxford: Oxford University Press, 2002).
Zollo, Paul, Songwriters on Songwriting (New York: Da Capo Press, 1997).

Metrics

Altmetric attention score

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed