Note: Master students must read two books from the list below;
Note: Bachelor students must read one book from the list below.
Baade, C. L., & Deaville, J. 2016. Music and the Broadcast Experience: Performance, Production, and Audiences. New York: Oxford University Press.
Cook, N. 1998. Analysing Musical Multimedia. Oxford University Press.
Jenkins, H. 2006. Convergence Culture: Where Old and New Media Collide. New York University Press.
Johnson, B. & Cloonan, M. 2009. Dark Side of the Tune: Popular Music and Violence. Farnham, Surrey: Ashgate. (Available via UB)
Katz, M. 2005. Capturing Sound: How Technology has Changed Music. University of California Press.
Taylor, T. D., Katz, M. Grajeda, T. (eds.) 2012. Music, Sound, and Technology in America: A Documentary of Early Phonograph, Cinema, and Radio. Duke University Press. (Available via UB)
Richardson, J. 2012. An Eye for Music: Popular Music and the Audiovisual. Oxford University Press.
Vernallis, C. 2013. Unruly Media: YouTube, music video, and the new digital cinema. Oxford University Press. (e-Book available online via UB / Oxford Scholarship Online)
Required & Recommended Readings
*This list is subject to some further changes / additions. Weekly required readings will be announced in the preceding lecture, and PDF uploaded on Fronter.
Auslander, P. 1999. “Tryin’ to Make it Real,” Liveness: Performance in a Mediatized Culture. London; New York: Routledge.
Baade, C. 2015. Radio. In The Routledge Reader in the Sociology of Music. Eds. Shepherd, J. and K. Devine. New York: Routledge: 309-317.
Barrios, R. 2015. Dangerous Rhythm: Why Movie Musicals Matter. New York: Oxford University Press.
Benjamin, W. 2008 (1936). The Work of Art in the Age of Mechanical Reproduction. Penguin Books: 1-50.
Born, G. 2005. On musical mediation: Ontology, technology and creativity. Twentieth-Century Music 2(1): 7–36.
Br?vig-Hanssen R. & Danielsen A. 2016. Digital Signatures: The Impact of Digitization on Popular Music Sound. Cambridge, Mass: MIT Press. (Excerpt TBC)
Cusick, S.G. 2008. Musicology, Torture, Repair, Radical Musicology, 3.
Denora, Tia. 2000. Music as a Device of Social Ordering. Music and Everyday Life. New York: Cambridge University Press, pp. 109-150.
Edmond, M. 2012. Here We Go Again: Music Videos after YouTube, Television New Media, XX: 1-16.
Danielsen, A. & Maas?, A. 2009. Mediating Music: materiality and silence in Madonna's 'Don't Tell Me'. Popular Music. 28(2): 127- 142.
Dibben, N. 2013. Visualising the App Album with Bj?rk’s Biophilia. Digital Aesthetics Across Platform and Genre. In Vernallis, C., A. Herzog, & J. Richardson (Eds.) The Oxford Handbook of Sound and Image in Digital Media. Oxford UP.
García Qui?ones, M., Kassabian, A. & Boschi, E. 2013. Ubiquitous musics: the everyday sounds that we don't always notice. Farnham: Ashgate. (Chapter TBC)
Goodwin, A. 1992. Dancing in the Distraction Factory: Music Television and Popular Culture. Minneapolis, MN: University of Minnesota Press
Gopinath, S. “Ringtones, or the Auditory Logic of Globalization”. First Monday.
Gorbman, C. 1987. Why Music? From Silents To Sound. In Unheard Melodies: Narrative Film Music Indiana: Indiana University Press, 31-52.
Hawkins, S. & Richardson, J. 2007. Remodelling Britney Spears: Matters of Intoxication and Mediation. Popular Music and Society, 30 (5), 605-629.
Holt, F. 2011. Is music becoming more visual? Online video content in the music industry, Visual Studies, 26(1): 50-61.
Kjus, Y. & Danielsen A. 2016. Live Mediation. Performing Concerts Using Studio Technology. Popular Music 35(3): 320-37.
Laing, D. 1991. A Voice Without a Face: Popular Music and the Phonograph in the 1890s. Popular Music, 10 (1). Cambridge UP: 1–9.
Maler, A. 2013. Songs for hands: Analyzing interactions of sign language and music. Society for Music Theory, 19 (1): 1-15.
Mangaoang, ?. (forthcoming) ‘I See Music’: Beyoncé, YouTube, and the Question of Signed-Songs. In Beyoncé Knowles. Iddon, M., and Marshall, M. (eds.) Bloomington: Indiana University Press.
McLuhan, M. 1964. The Medium is the Message. In Understanding Media: The Extensions of Man.
Miller, K. 2012 ‘How Musical is Guitar Hero?’ in Playing Along: Digital Games, YouTube and Virtual Performance. Oxford UP.
Morris, C. 2012. ‘Too Much Music’: The Media of Opera. The Cambridge Companion to Opera Studies. Cambridge: Cambridge UP.
Prior, N. 2010. The rise of the new amateurs: Popular music, digital technology, and the fate of cultural production. In Hall, J.R., Grindstaff, L. and Lo, M. (Eds.). Handbook of Cultural Sociology, Routledge.
Rogers, H. 2013. Sounding the Gallery: video and the rise of art-music. Oxford UP. (Chapter TBC)
Sheil, ?. & Vear, C. (eds.) 2012. ‘Digital Opera: New Means and New Meanings.’ International Journal of Performance Arts & Digital Media, 8(1). (Excerpt TBC)
Stanyek, J. & Piekut, B. 2010. ‘Deadness: Technlogies of the Intermundane.’ The Drama Review 54(1): 14-38.
Sterne, J. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Duke University Press.
Sterne, J. 2012. Is Music a Thing? MP3: The Meaning of a Format. Durham: Duke UP.
Straw, W. 2012. Music and Material Culture, In The Cultural Study of Music: A Critical Introduction (2nd Edition), Eds. Clayton, M., Herbert, T., and Middleton, R. 227-236.
Wikstrom, P. 2009. Introduction: Music in the Cloud. The Music Industry: Music in the Cloud. Malden, MA: Polity, 1-11.???