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Butterfield M.W. 2006. The Power of Anacrusis: Engendered Feeling in Groove-Based Musics. Music Theory Online 12/4. http://mto.societymusictheory.org/issues/mto.06.12.4/mto.06.12.4.butterfield.html

Br?vig-Hanssen R. 2013. Music in Bits and Bits of Music. Doktoravhandling, Institutt for musikkvitenskap, Univ. i Oslo. 

Clarke E.F. 1999. Rhythm and Timing in Music. In The Psychology of Music, ed. D. Deutsch, 473–500. New York: Academic Press.

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

Danielsen A. (ed.) 2010. Musical Rhythm in the Age of Digital Reproduction. (Farnham, Surrey: Ashgate)

Danielsen A. 2012. The Sound of Crossover: Micro-rhythm and Sonic Pleasure in Michael Jackson's “Don't Stop 'Til You Get Enough”. Popular Music and Society 35/2: 151-168.

Danielsen A. 2014. Metrical ambiguity or microrhythmic flexibility? Analysing groove in ‘Nasty Girl’ by Destiny’s Child. In Song Interpretation in 21st-Century Pop Music, ed. R. Appen, A. Doehring, D. Helms and A. F. Moore (forthcoming on Ashgate). 

Iyer V. 2002. Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music. Music Perception 19/3: 387–414.

Keil C. 1995. The Theory of Participatory Discrepancies: A Progress Report. Ethnomusicology 39/1: 1–20.

Kvifte T. 2007. Categories and Timing. Ethnomusicology 51/1: 64-84.

Published June 4, 2013 7:42 PM - Last modified Aug. 22, 2013 1:20 PM