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Bowman, Rob, 2003. “The Determining Role of Performance in the Articulation of Meaning: The Case of ‘Try a Little Tenderness,’” i Analyzing Popular Music, red. Allan F. Moore (Cambridge: Cambridge University Press), s. 103-30. Boka er elektronisk tilgjengelig.

Brackett, D. (2000). Interpreting Popular Music (2 ed.). Berkeley: University of California Press.

Bradby, B. (1993). Sampling Sexuality: Gender, Technology and the Body in Dance Music. Popular Music, 12(2), 155-176. (Tilgjengelig i Fronter)

B?hler, K. K. (2013a). Grooves, Pleasures in Salsa Cubana: The Musicality of Cuban Politics - and the Politics of Salsa Cubana. (PhD), University of Oslo.  

B?hler, K. K. (2013b). Rytmenes politikk: Salsa Cubana og kubansk nasjonalisme. Arr - Idehistorisk tidsskrift, 1(2), 99-109. (Tilgjengelig i Fronter)

Danielsen, A. (2006). Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Middletown, Conn.: Wesleyan University Press.

Danielsen, A. (2012). The Sound of Crossover: Microrhythm and Sonic Pleasure in Michael Jackson’s ‘Don’t Stop Till You Get Enough’. Popular Music and Society 35/2, 151-168

Fast, Susan, 2001. In the Houses of the Holy, kap. 5 (s. 159–201). 

Fast, S., & Pegley, K. (2006). Music and Canadian Nationhood Post 9/11: An Analysis of Music Without Borders: Live. Journal of Popular Music Studies, 18(1), 18-39. (Tilgjengelig i Fronter)

Frith, S. (1986). Art versus Technology: The Strange Case of Popular Music. Media, Culture & Society, 8(3), 263-279. (Tilgjengelig i Fronter)

Frith, S. (1996). Performing Rites: On the Value of Popular Music. Oxford: Oxford University Press.

Gunkel, David, 2012. “What Does it Matter Who is Speaking? Authorship, Authority and the Mashup.” Popular Music and Society, 35/1, s. 71–91. Tidsskriftet er elektronisk tilgjengelig.

Hawkins, S. (2002). Settling the Pop Score: Pop Texts and Identity Politics. Aldershot: Ashgate.

Hawkins, S., & Richardson, J. (2011). Remodeling Britney Spears: Matters of Intoxication and Mediation. In S. Hawkins (Ed.), Pop Music and Easy Listening. Farnham: Ashgate.

Mayhew, E. (2004). Positioning the Producer: Gender Divisions in Creative Labour and Value. In S. Whiteley, A. Bennett & S. Hawkins (Eds.), Music, Space and Place: Popular Music and Cultural Identity (pp. 191-200). Aldershot: Ashgate.

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McClary, S., & Walser, R. (1990). Start Making Sense! Musicology Wrestles with Rock. In S. Frith & A. Goodwin (Eds.), On Record: Rock, Pop, and the Written Word (pp. 277-292). London: Routledge.

McLeod, Kembrew, 2005. Freedom of Expression (R): Overzealous Copyright Bozos and Other Enemies of Creativity (New York: Doubleday). Kap 1 (s. 13–61). (Tilgjengelig i Fronter) 

Middleton, R. (1990). Studying Popular Music. Milton Keynes: Open University Press.

Middleton, R. (2000). Reading Pop: Approaches to Textual Analysis in Popular Music. Oxford: Oxford University Press.

Moore, A. F. (2001). Rock: The Primary Text: Developing a Musicology of Rock (2nd ed.). Aldershot: Ashgate.

Moore, A. F. (2003). Introduction. In A. F. Moore (Ed.), Analyzing Popular Music (pp. 1-15). Cambridge: Cambridge University Press. (Tilgjengelig i Fronter)

Scott, D. B. (2009). Introduction. In D. B. Scott (Ed.), The Ashgate Research Companion to Popular Musicology (pp. 1-21). Aldershot: Ashgate. (Tilgjengelig i Fronter)

Tagg, P. (1982). Analysing Popular Music: Theory, Method and Practice. Popular Music, 2, 37-67. (Tilgjengelig i Fronter)

Toynbee, J. (2000). Making Popular Music: Musicians, Creativity and Insitutions. London: Arnold.

Vernallis, C. (2004). Experiencing Music Video: Aesthetics and Cultural Context. New York: Columbia University Press.

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Wikstr?m, P. (2012). A Typology of Music Distribution Models. International Journal of Music Business Research 1/1, (pp. 7-19) (Tilgjengelig i Fronter)

Published Jan. 3, 2014 12:19 PM - Last modified Jan. 6, 2014 1:28 PM