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Asker?i, E. 2013. Reading Pop Production: Sonic Markers and Musical Identity, University of Agder, Kristiansand. 

 

Auslander, P. 2006. Performing Glam Rock: Gender and Theatricality in Popular Music. Ann Arbor, Mich.: The University of Michigan Press.

 

Bannister, M. 2006. White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock, Ashgate popular and folk music series. Aldershot: Ashgate.

 

Bakhtin, M. 1986. 'The Problem of Speech Genres' in Caryl Emerson and Michel Holquist (eds.) Speech Genres and Other Late Essays. Austin: University of Texas Press

 

Bennett, A. 2002. 'Music, Media and Urban Mythscapes: A Study of the 'Canterbury Sound'' Media, Culture & Society no. 24 (1), pp.87-100. 

 

Biddle, I. 2007. '"The Singsong of Undead Labour": Gender Nostalgia and the Vocal Fantasy of Intimacy in the "New" Male Singer/Songwriter.' in Oh Boy!: Masculinities and Popular Music, ed F. Jarman-Ivens, VII, 279 s. New York: Routledge.

 

Bradby, B. 1993. 'Sampling Sexuality: Gender, Technology and the Body in Dance Music' Popular Music no. 12 (2), pp.55-176. 

 

Dibben, N. 1999. 'Representations of Femininity in Popular Music' Popular Music no. 18 (3), pp.331-355. 

 

Fast, S. 2001. In the Houses of the Holy: Led Zeppelin and the Power of Rock Music. Oxford and New York: Oxford University Press.

 

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

 

Hawkins, S. 2002. Settling the Pop Score: Pop Texts and Identity Politics, Ashgate popular and folk music series. Aldershot: Ashgate.

 

Hawkins, S. 2009. The British Pop Dandy: Masculinity, Popular Music and Culture, Ashgate popular and folk music series. Farnham: Ashgate.

 

Lacasse, S. 2000. 'Intertextuality and Hypertextuality in Recorded Popular Music' in Michael Talbot (ed.), The Musical Work: Reality or Invention?, Liverpool: Liverpool University Press, pp. 35-58

 

Lacasse, S. 2010. 'The Phonographic Voice: Paralinguistic Features and Phonographic Staging in Popular Music Singing.' in Recorded Music: Performance, Culture and Technology, ed A. Bayley. Cambridge: Cambridge University Press.

 

Middleton, R. 2006. Voicing the Popular: On the Subjects of Popular Music. New York, N.Y. ; London: Routledge.

 

Moore, A. F. 2002. 'Authenticity as Authentication' Popular Music no. 21 (2), pp.209-223. 

 

Moore, A. F. 2003. 'Introduction.' in Analyzing Popular Music, ed A. F. Moore, IX, 270 s. Cambridge: Cambridge University Press. 

 

Moore, A. F. 2007. 'Introduction.' in Critical Essays in Popular Musicology, ed A. F. Moore, XXII, 608 s. Aldershot: Ashgate. 

 

Richardson, J., and S. Hawkins. 2007. 'Remodelling Britney Spears: Matters of Intoxication and Mediation' in Popular Music and Society. No.20 (5), pp. 605-629.

 

Scott, D. B. 2009. 'Introduction' in The Ashgate Research Companion to Popular Musicology, ed D. B. Scott, XVII, 557 s. Aldershot: Ashgate. 

 

Stras, L. 2010. She's So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s Music. Farnham: Ashgate.

 

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

 

Warwick, J. 2012. '"You Can't Win, Child, but You Can't Get Out of the Game": Michael Jackson's Transition from Child Star to Superstar' Popular Music and Society no. 35 (2):241-259. 

Published Sep. 3, 2014 2:20 PM - Last modified Sep. 16, 2014 11:59 AM