Abeles, Hal. ‘Are Musical Instrument Gender Associations Changing?’ Journal of Research in Music Education 57/2 (2009), 127–39.
Armstrong, Victoria. Technology and the Gendering of Music Education. Farnham: Ashgate, 2011.
Atkinson, Will. ‘The Context and Genesis of Musical Tastes: Omnivorousness Debunked, Bourdieu Buttressed’. Poetics 39 (2011), 169–86.
Bayton, Mavis. Frock Rock: Women Performing Popular Music. Oxford: Oxford University Press, 1997.
Beer, David. ‘The Iconic Interface and the Veneer of Simplicity: MP3 Players and the Reconfiguration of Music Collecting and Reproduction Practices in the Digital Era’. Information, Communication & Society 11/1 (2008), 71–88.
Beer, David and Taylor, Mark. ‘The Hidden Dimensions of the Musical Field and the Potential of the New Social Data’. Sociological Research Online 18/2 (2013), online.
Behr, Adam. ‘Cultural Policy and the Creative Industries’, in The Routledge Reader on the Sociology of Music, ed. Shepherd, John and Devine, Kyle. New York: Routledge, 2015. 277–86.
Bennett, Tony, Savage, Mike, Silva, Elizabeth, Warde, Alan, Gayo-Cal, Modesto and Wright, David. Culture, Class, Distinction. London: Routledge, 2009.
Bergeron, Katherine and Bohlman, Philip, eds. Disciplining Music: Musicology and Its Canons. Chicago: University of Chicago Press, 1992.
Bijsterveld, Karin. Mechanical Sound: Technology, Culture, and Public Problems of Noise in the Twentieth Century. Cambridge, MA: MIT Press, 2008.
Blickenstaff, Jacob Clark. ‘Women and Science Careers: Leaky Pipeline or Gender Filter?’ Gender and Education 17/4 (2005), 369–86.
Boehm, Carola. ‘The Thing About the Quotes: “Music Technology” Degrees in Britain’. Proceedings of the International Computer Music Conference. New Orleans, 2006.
Boehm, Carola. ‘The Discipline That Never Was: Current Developments in Music Technology in Higher Education in Britain’. Journal of Music, Technology and Education 1/1 (2007), 7–21.
Boltanski, Luc. On Critique: A Sociology of Emancipation. Cambridge: Polity, 2011.
Boltanski, Luc and Chiapello, Eve. The New Spirit of Capitalism. London: Verso, 2005.
Bolton, Paul. ‘Education: Historical Statistics’. House of Commons Library, 27 November 2012.
Born, Georgina. Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. Berkeley: University of California Press, 1995.
Born, Georgina. ‘On Musical Mediation: Ontology, Technology and Creativity’. Twentieth-Century Music 2/1 (2005), 7–36.
Born, Georgina. Uncertain Vision: Birt, Dyke and the Reinvention of the BBC. London: Vintage, 2005.
Born, Georgina. ‘For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn’. Journal of the Royal Musical Association 135/2 (2010), 205–43.
Born, Georgina. ‘Listening, Mediation, Event: Anthropological and Sociological Perspectives’. Journal of the Royal Musical Association 135/1 (2010), 79–89.
Born, Georgina. ‘The Social and the Aesthetic: For a Post-Bourdieuian Theory of Cultural Production’. Cultural Sociology 4/2 (2010), 171–208.
Born, Georgina. ‘Music and the Materialization of Identities’. Journal of Material Culture 16/4 (2011), 376–88.
Born, Georgina. ‘Music and the Social’, in The Cultural Study of Music: A Critical Introduction, ed. Clayton, Martin, Herbert, Trevor and Middleton, Richard. London: Routledge, 2012. 261–74.
Born, Georgina. ‘Musico-Material Experiments: Ontological Politics in Digital Art Musics’. Presented at Retheorising the Mutual Mediation of Technology and Aesthetics: The Case of Music, University of Oxford, October 2012.
Born, Georgina. ‘Creative Destruction: Electronic and Digital Art Musics in the UK in the Era of Creative Industries and Creative Economy’. Presented at Music and Digitisation: Industry, Institutions and Livelihoods, University of Oxford, March 2013.
Born, Georgina. ‘Lecture 5 – Ontologies and Interdisciplinarities’, The Bloch Lectures, Department of Music, University of California, Berkeley, 3 November 2014.
Born, Georgina and Devine, Kyle, eds. Contemporary Music Review (Special issue: ‘Gender, Education and Creativity in Digital Music and Sound Art’) (forthcoming 2015).
Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Cambridge, MA: Harvard University Press, 1984.
Bourdieu, Pierre. ‘The Forms of Capital’, in Handbook of Theory and Research for the Sociology of Education, ed. Richardson, John. New York: Greenwood, 1986. 241–58.
Bradby, Barbara. ‘Sampling Sexuality: Gender, Technology and the Body in Dance Music’. Popular Music 12/2 (1993), 155–76.
British Labour Party. New Labour, New Life for Britain. London: Labour Party, 1996.
British Labour Party. Britain Forward Not Backward: The Labour Party Manifesto, 2005. London: Labour Party, 2005.
Brown, Katherine Butler. ‘The Social Liminality of Musicians: Case Studies from Mughal India and Beyond’. Twentieth-Century Music 3/1 (2007): 13–49.
Bull, Anna. ‘The Musical Body: How Gender and Class are Reproduced Among Young People Playing Classical Music in England’. PhD diss., Goldsmiths College, University of London, 2014.
Bull, Michael. Sound Moves: iPod Culture and Urban Experience. London: Routledge, 2008.
Caputo, Virginia. ‘Add Technology and Stir: Music, Gender and Technology in Music Classrooms’. Quarterly Journal of Music Teaching and Learning 4/4 (1993–94), 85–90.
Cascone, Kim. ‘The Aesthetics of Failure’. Computer Music Journal 24/3 (2000), 12–18.
Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, NJ: Prentice Hall, 1997.
Chan, Tak Wing and Goldthorpe, John. ‘Social Stratification and Cultural Consumption: Music in England’. European Sociological Review 23/1 (2007), 1–19.
Citron, Marcia. Gender and the Musical Canon. Cambridge: Cambridge University Press, 1993.
Clarke, David. ‘Elvis and Darmstadt, or: Twentieth-Century Music and the Politics of Cultural Pluralism’. Twentieth-Century Music 4/1 (2007), 3–45.
Cockburn, Cynthia. Brothers: Male Dominance and Technological Change. London: Pluto Press, 1983.
Cohen, Nicole. ‘Cultural Work as a Site of Struggle: Freelancers and Exploitation’. tripleC 10/2 (2012), 141–55.
Cohen, Sara. ‘Men Making a Scene: Popular Music and the Production of Gender’, in Sexing the Groove: Popular Music and Gender, ed. Whiteley, Sheila. New York: Routledge, 1997. 17–34.
Comber, Chris, Hargreaves, David and Colley, Ann. ‘Girls, Boys and Technology in Music Education’. British Journal of Music Education 10/2 (1993), 123–34.
Cooper, Joel. ‘The Digital Divide: The Special Case of Gender’. Journal of Computer Assisted Learning 22 (2006), 320–34.
Coulangeon, Philippe. ‘The Omnivore and the ‘Class Defector’: Musical Taste and Social Mobility in Contemporary France’. Notes and Documents, 2013–03, Paris: OSC, Sciences Po/CNRS, 2013.
Coulangeon, Philippe and Lemel, Yannick. ‘Is “Distinction” Really Outdated? Questioning the Meaning of the Omnivorization of Musical Taste in Contemporary France’. Poetics 35/2–3 (2007), 93–111.
Cox, Christoph and Warner, eds, Daniel. Audio Culture: Readings in Modern Music. London: Continuum, 2004.
David, Miriam, et al.Widening Participation in Higher Education: A Commentary by the Teaching and Learning Research Programme. TLRP and ESRC, 2008.
Department for Business, Innovation and Skills. ‘Participation Rates in Higher Education: Academic Years 2006/2007–2012/2013’. London: Department for Business, Innovation and Skills, 2014.
Devine, Kyle. ‘Imperfect Sound Forever: Loudness Wars, Listening Formations and the History of Sound Reproduction’. Popular Music 32/3 (2013), 159–76.
Dibben, Nicola. ‘The Socio-Cultural and Learning Experiences of Music Students in a British University’. British Journal of Music Education 23/1 (2006), 91–116.
Doubleday, Veronica. ‘Sounds of Power: An Overview of Musical Instruments and Gender’. Ethnomusicology Forum 17/1 (2008), 3–39.
Dyer, Richard. White. London: Routledge, 1997.
Farrugia, Rebekah. Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture. Bristol: Intellect, 2012.
Faulkner, Wendy. ‘The Technology Question in Feminism: A View from Feminist Technology Studies’. Women's Studies International Forum 24/1 (2001), 79–95.
Ferreira, Giselle. ‘Crossing Borders: Issues in Music Technology Education’. Journal of Music, Technology and Education 1/1 (2007), 23–35.
Froehlich, Hildegard and Green, Lucy. ‘Sociology of Music Education’, in The Grove Dictionary of American Music, 2nd edn.New York: Oxford University Press, 2013.
Garner, Richard. ‘Treat White Working-Class Boys Like Ethnic Minority’. The Independent, 3 January 2013, online.
Garnham, Nicholas. Capitalism and Communication. London: Sage, 1990.
Gill, John. ‘Labour Concedes That It Won't Deliver Its 50% Target On Time’. Times Higher Education, 17 April 2008, online.
Green, Lucy. Music, Gender, Education. Cambridge: University of Cambridge Press, 1997.
Green, Lucy. ‘Music Education, Cultural Capital, and Social Group Identity’, in The Cultural Study of Music: A Critical Introduction, ed. Clayton, Martin, Herbert, Trevor and Middleton, Richard. London: Routledge, 2012. 206–16.
Hallam, Susan, Rogers, Lynne and Creech, Andrea. ‘Gender Differences in Musical Instrument Choice’. International Journal of Music Education 26/1 (2008), 7–19.
HEFCE. 2005. Young Participation in Higher Education.
HEFCE. 2010. Trends in Young Participation in Higher Education: Core Results from England.
Henley, Darren. The Importance of Music: A National Plan for Music Education. London: Department for Education, 2011.
Hennion, Antoine. ‘Those Things That Hold Us Together: Taste and Sociology’. Cultural Sociology 1/1 (2007), 97–114.
Hennion, Antoine. ‘The Price of the People: Sociology, Performance and Reflexivity’, in Cultural Analysis and Bourdieu's Legacy: Settling Accounts and Developing Alternatives, ed. Silva, Elizabeth and Warde, Alan. London: Routledge, 2010. 117–27.
Hesmondhalgh, David. ‘The Digitalisation of Music’, in Creativity, Innovation and the Cultural Economy, ed. Pratt, Andy and Jeffcutt, Paul. London: Routledge, 2009.
Hesmondhalgh, David. Why Music Matters. Oxford: Blackwell, 2013.
Hewison, Robert. Cultural Capital: The Rise and Fall of Creative Britain. London: Verso, 2014.
Ingleton, Holly. ‘Recalibrating Fundamentals of Discipline and Desire through the Automatic Music Tent’. Paper presented at the NIME (New Instruments for Musical Expression) conference, Goldsmiths' College, University of London (July 2014).
Jones, Steve. ‘Music that Moves: Popular Music, Distribution and Network Technologies’. Cultural Studies 16/2 (2002), 213–32.
Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts. Cambridge, MA: MIT Press, 1999.
Keightley, Keir. ‘“Turn it Down!” She Shrieked: Gender, Domestic Space and High Fidelity, 1948–59’. Popular Music 15/2 (1996), 149–77.
Landy, Leigh. Understanding the Art of Sound Organization. Cambridge, MA: MIT Press, 2007.
Latour, Bruno. Science in Action: How to Follow Scientists and Engineers through Society. Cambridge, MA: Harvard University Press, 1987.
Latour, Bruno. Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford: Oxford University Press, 2005.
Lee, David, Oakley, Kate and Naylor, Richard. ‘“The Public gets what the Public Wants”? The Uses and Abuses of “Public Value” in Contemporary British Cultural Policy’. International Journal of Cultural Policy 17/3 (2011), 289–300.
Legg, Robert. ‘“One Equal Music”: An Exploration of Gender Perceptions and the Fair Assessment by Beginning Music Teachers of Musical Compositions’. Music Education Research 12/2 (2010), 141–59.
Leonard, Marion. Gender in the Music Industry: Rock, Discourse and Girl Power. Farnham: Ashgate, 2007.
Leonard, Marion. ‘Gender and Sexuality’, in The Routledge Reader on the Sociology of Music, ed. Shepherd, John and Devine, Kyle. New York: Routledge, 2015, 181–9.
Manning, Peter. Electronic and Computer Music. Oxford: Oxford University Press, 2013.
Miège, Bernard. ‘The Logics at Work in the New Cultural Industries’. Media, Culture and Society 9 (1987), 273–89.
Mueller, John. ‘Is Art the Product of Its Age?’ Social Forces 13/3 (1935), 367–75.
Mueller, John. The American Symphony Orchestra: A Social History of Musical Taste. Bloomington: Indiana University Press, 1951.
Mueller, John. ‘Musical Taste and How it is Formed’, in The Routledge Reader on the Sociology of Music, ed. Shepherd, John and Devine, Kyle. New York: Routledge, 2015. 49–55.
O'Brien, Dave. Measuring the Value of Culture. London: Department of Culture, Media and Sport, 2010.
O'Brien, Dave. Cultural Policy: Management, Value and Modernity in the Creative Industries. London: Routledge, 2014.
O'Connor, Justin. The Cultural and Creative Industries: A Review of the Literature. London: Creative Partnerships, 2007.
O'Connor, Justin. ‘The Cultural and Creative Industries: A Critical History’. Ekonomiaz 78/3 (2011), 24–47.
Oudshoorn, Nelly, Rommes, Els and Stienstra, Marcelle. ‘Configuring the User as Everybody: Gender and Design Cultures in Information and Communication Technologies’. Science, Technology and Human Values 29/1 (2004), 30–64.
Osborne, Peter. Anywhere or Not at All. London: Verso, 2013.
Ostertag, Bob. ‘Why Computer Music Sucks’. Resonance 5/1 (1996), 2.
Perry, Emma and Francis, Becky. The Social Class Gap for Educational Achievement: A Review of the Literature. Action and Research Centre, 2010.
Peterson, Richard. ‘Understanding Audience Segmentation: From Elite and Mass to Omnivore and Univore’. Poetics 21/4 (1992), 243–58.
Peterson, Richard. ‘Taste as Distinction’, in The Routledge Reader on the Sociology of Music, ed. Shepherd, John and Devine, Kyle. New York: Routledge, 2015. 153–60.
Prieur, Annick and Savage, Mike. ‘Updating Cultural Capital Theory: A Discussion based on Studies in Denmark and in Britain’. Poetics 39 (2011), 566–80.
Quality Assurance Agency for Higher Education. Music. QAA: Mansfield, 2008.
Rabinow, Paul. Marking Time: On the Anthropology of the Contemporary. Princeton: Princeton University Press, 2008.
Reeves, Michelle. Measuring the Social and Economic Impact of the Arts. London: ACE, 2002.
Rimmer, Mark. ‘Beyond Omnivores and Univores: The Promise of a Concept of Musical Habitus’. Cultural Sociology 6/3 (2012), 299–318.
Riska, Elianne. Medical Careers and Feminist Agendas. New York: Walter de Gruyter, 2001.
Ritzer, George and Jurgenson, Nathan. ‘Production, Consumption, Prosumption: The Nature of Capitalism in the Age of the Digital “Prosumer”’. Journal of Consumer Culture 10/1 (2010), 13–36.
Rodgers, Tara. Pink Noises: Women on Electronic Music and Sound. Durham, NC: Duke University Press, 2010.
Rodgers, Tara. ‘Synthesizing Sound: Metaphor in Audio-Technical Discourse and Synthesis History’. PhD diss., McGill University, 2010.
Rothenberg, Paula, ed. White Privilege: Essential Readings on the Other Side of Racism. New York: Worth, 2011.
Sargent, Carey. ‘Playing, Shopping, and Working as Rock Musicians: Masculinities in “De-Skilled” and “Re-Skilled” Organizations’. Gender and Society 23/5 (2009), 665–87.
Savage, Mike. ‘The Musical Field’. Cultural Trends 15/2–3 (2006), 159–74.
Savage, Mike and Gayo, Modesto. ‘Unravelling the Omnivore: A Field Analysis of Contemporary Musical Taste in the United Kingdom’. Poetics 39 (2011), 337–57.
Seaver, Nick. ‘Algorithmic Recommendations and Synaptic Functions’. Limn 2 (2012), online.
Scharff, Christina. Equality and Diversity in the Classical Music Profession. ESRC, 2015.
Schuessler, Karl. ‘Social Background and Musical Taste’. American Sociological Review 13/3 (1948), 330–5.
Shepherd, John. ‘Music and Male Hegemony’, in Music and Society: The Politics of Composition, Performance and Reception, ed. Leppert, Richard and McClary, Susan. Cambridge: Cambridge University Press, 1987. 151–72.
Solie, Ruth. Musicology and Difference: Gender and Sexuality in Music Scholarship. Berkeley: University of California Press, 1995.
Sterne, Jonathan. The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC: Duke University Press, 2003.
Sterne, Jonathan. ‘Bourdieu, Technique and Technology’. Cultural Studies 17/3–4 (2003), 367–89.
Stepulevage, Linda. ‘Gender/Technology Relations: Complication the Gender Binary’. Gender and Education 13/3 (2001), 325–38.
Stewart, Simon. A Sociology of Culture, Taste and Value. Basingstoke: Palgrave, 2014.
Straw, Will. ‘The Consecration of Musical Incoherence’. Kinephanos 2/1 (2011), 89–94.
Tagg, Philip. ‘The Göteborg Connection: Lessons in the History and Politics of Popular Music Education and Research’. Popular Music 17/2 (1998), 219–42.
Taylor, Timothy. 2011. ‘The Seductions of Technology’. Journal of Music, Technology and Education 4 (2–3), 227–32.
Théberge, Paul. Any Sound You Can Imagine: Making Music/Consuming Technology. Hanover: Wesleyan University Press, 1997.
Théberge, Paul. ‘Digitalization’, in The Routledge Reader on the Sociology of Music, ed. Shepherd, John and Devine, Kyle. New York: Routledge, 2015. 329–38.
Thompson, Marie. ‘Feminizing Noise’. Paper presented at the NIME (New Instruments for Musical Expression) conference, Goldsmiths' College, University of London (July 2014).
UCAS. How Have Applications for Full-Time Undergraduate Higher Education in the UK Changed in 2012. UCAS Analysis and Research, 2012.
Valiquet, Patrick. ‘“The Digital is Everywhere”: Negotiating the Aesthetic of Digital Mediation in Montréal's Electroacoustic and Sound Art Scenes’. DPhil diss., University of Oxford, 2014.
Wajcman, Judy. Feminism Confronts Technology. Cambridge: Polity, 1991.
Wajcman, Judy. ‘Feminist Theories of Technology’. Cambridge Journal of Economics 34/1 (2010), 143–52.
Wakeling, Paul and Savage, Mike. ‘Entry to Elite Positions and the Stratification of Higher Education in Britain’. Sociological Review (forthcoming 2015).
Warde, Alan, Wright, David and Gayo-Cal, Modesto. ‘Understanding Cultural Omnivorousness: Or, the Myth of the Cultural Omnivore’. Cultural Sociology 1/2 (2007), 143–64.
Ware, Vron and Back, Les. Out of Whiteness: Colour, Politics and Culture. Chicago: University of Chicago Press, 2002.
Whitely, Sheila, ed. Sexing the Groove: Popular Music and Gender. London: Routledge, 1997.
Wilf, Eitan. ‘Toward an Anthropology of Computer-Mediated, Algorithmic Forms of Sociality’. Current Anthropology 54/6 (2013), 716–39.
Williams, Alastair. Constructing Musicology. Aldershot: Ashgate, 2001.
Winterson, Julia and Russ, Michael. ‘Understanding the Transition from School to University in Music and Music Technology’. Arts and Humanities in Higher Education 8/3 (2009), 339–54.