|
Representative Bibliography This is intended
as a living document; and so updates are encouraged. Please email the AMS PMSG with additions. See the notes at
the bottom of this page for more information concerning the framing of this
bibliography. I. Categorized Bibliography A. Overviews: Research Guides, Disciplinary
Assessments, and Methodologies Bennett, Andy; Barry Shank; and Jayson
Toynbee, eds. The Popular Music
Studies Reader. New York: Routledge, 2006. Brackett, David. Interpreting Popular Music. Berkeley: University of
California Press, 2000. Brackett, David. The Pop, Rock, and Soul Reader:
Histories and Debates, 2nd ed. New York: Oxford
University Press, 2009. Cox, Christoph and
Daniel Warner. Audio Culture: Readings in Modern Music. New York: Continuum,
2004. Everett, Walter, ed. Expression in Pop-Rock
Music, 2nd ed. New York: Routledge,
2008. Forman, Murray, and Mark Anthony Neal, eds. That's the Joint!: The Hip-Hop
Studies Reader. New York: Routledge, 2004. Frith, Simon, Will Straw, and John Street, eds. The Cambridge Companion to Pop and Rock. New York: Cambridge University Press,
2001. Frith, Simon. Taking Popular Music Seriously.
Burlington: Ashgate, 2007. Gracyk, Theodore. Listening to Popular Music,
or, How I Learned to Stop Worrying and Love Led Zeppelin. Ann Arbor:
University of Michigan Press, 2007. Hesmondhalgh, David and Keith
Negus, eds.
Popular Music Studies. New York: Oxford University Press, 2002. Larkin, Colin. The Encyclopedia of Popular Music,
4th ed. New York: Oxford University Press, 1998. Middleton, Richard. Reading Pop: Approaches to
Textual Analysis in Popular Music. New York: Oxford University Press, 2000.
Moore, Allan F. Rock: The Primary Text, 2nd ed. Burlington: Ashgate, 2001. Moore, Allan F., ed. Critical Essays in
Popular Musicology. Burlington: Ashgate,
2007. Plasketes, George. B-Sides,
Undercurrents and Overtones: Peripheries to Popular in Music, 1960 to the
Present. Burlington: Ashgate, 2009. Sheperd, John, David Horn, Dave Laing, Paul Oliver, Philip Tagg,
Peter Wicke, and Jennifer Wilson. Popular Music Studies: A Select
International Bibliography. London: Mansell
Publishing, 1997. Scott, Derek, ed. The Ashgate Companion to Popular Musicology. Burlington: Ashgate, 2009. Spicer, Mark and John Covach. Sounding Out
Pop: Analytical Essays in Popular Music. Ann Arbor: University of Michigan
Press, 2010. Tagg, Philip, and Bob Clarida.
Ten Little Title Tunes: Towards a Musicology of the Mass Media. Montreal:
Mass Media Music Scholar's Press, 2003. B. Production: Industry,
Media, Sound, Performance Brooks, Tim. Lost Sounds: Blacks and the Birth
of the Recording Industry, 1890-1919. Urbana: University of Illinois Press,
2004. Collins, Karen, ed. From
Pac-Man to Pop Music: Interactive Audio in Games and New Media. Burlington:
Ashgate, 2008. Goodman, Steve. Sonic Warfare: Sound, Affect,
and the Ecology of Fear. Cambridge: MIT Press, 2009. Greene, Paul D., and Thomas Porcello,
eds. Wired
for Sound: Engineering and Technologies in Sonic Cultures. Middletown: Wesleyan University Press,
2005. Hull, Geoffrey, Thomas Hutchison, and Richard Strasser. The Music Business and Recording Industry,
3rd ed. New York: Routledge,
2010. Inglis, Ian, ed. Performance and Popular Music:
History, Place and Time. Burlington: Ashgate, 2006. Inglis, Ian.
Popular Music and Film.
London: Wallflower Press, 2001. Katz, Mark. Capturing Sound: How Technology has
Changed Music. Berkeley: University of California Press, 2004. Klein, Bethany. As Heard on TV: Popular Music in Advertising. Burlington:
Ashgate, 2009. Miller, Paul D. Sound Unbound: Sampling Digital
Music and Culture. Cambridge: MIT Press, 2008. Moorefield, Virgil. 2005. The Producer as
Composer: Shaping the Sounds of Popular Music. Cambridge: MIT Press, 2005. Pecknold, Diane. The Selling
Sound: The Rise of the Country Music Industry. Durham: Duke University
Press, 2007. Ruylmann, William. Breaking
Records: 100 Years of Hits. New York: Routledge,
2004. Schloss, Joseph G. Making Beats: The Art of Sample-Based Hip-Hop. Middletown:
Wesleyan University Press, 2004. Smith, Catherine Parsons. Making Music in Los
Angeles: Transforming the Popular. Berkeley: University of California
Press, 2007. Smith, Jacob. Vocal Tracks: Performance and
Sound Media. Berkeley: University of California Press, 2008. Suisman, David. Selling Sounds: The Commercial
Revolution in American Music. Cambridge: Harvard University Press, 2009. Théberge, Paul. Any Sound You Can Imagine: Making
Music/Consuming Technology. Lebanon:
University Press of New England, 1997. Toft,
Robert. Hits and Misses: Crafting Top 40 Singles, 1963-1971. New York:
Continuum, 2010. Van Leeuwen, Theo. Speech, Music, Sound. New York: St. Martin's Press,
1999. Vernallis, Carol. Experiencing Music Video: Aesthetics
and Cultural Context. New
York: Columbia University Press, 2004. Waksman, Steve. Instruments of Desire: The Electric Guitar and the
Shaping of Musical Experience. Cambridge: Harvard University Press, 1999. Zak, Albin J. III. I
Don't Sound Like Nobody: Remaking Music in 1950s. Ann Arbor: University of
Michigan Press, 2010. Zak, Albin J., III. The
Poetics of Rock: Cutting Tracks, Making Records. Berkeley: University of
California Press, 2001. C. Consumption:
Audiences, Geographies, and Identity Politics Agawu, V. Kofi. Representing African Music: Postcolonial Notes, Queries, Positions. New York: Routledge,
2003. Baranovitch, Nimrod. China's
New Voices: Popular Music, Ethnicity, Gender, and Politics, 1978-1997.
Berkeley: University of California Press, 2003. Barker, Hugh, and Yuval Taylor. Faking It: The Quest for
Authenticity in Popular Music.
New York: Norton, 2007. Bayton, Mavis. Frock Rock: Women Performing
Popular Music. New York: Oxford University Press, 1998. Berger, Harris M. Metal, Rock, and Jazz: Perception and the Phenomenology
of Musical Experience. Middletown: Wesleyan University Press, 1999. Berger, Harris M. and Michael T. Carroll, eds. Global Pop, Local Language. Jackson: University Press of
Mississippi, 2003. Bertrand, Michael T. Race, Rock and Elvis. Urbana: University of Illinois Press,
2000. Biddle, Ian, and Vanessa Knights, eds. Music, National Identity and the Politics of Location.
Burlington: Ashgate, 2007. Billig, Michael. Rock 'n' Roll Jews. Nottingham: Five Leaves, 2000. Bloustien, Gerry, Margaret
Peters and Susan Luckman, eds.
Sonic Synergies: Music, Technology, Community, Identity.
Burlington: Ashgate, 2008. Brinner, Benjamin. Playing across a Divide:
Israeli-Palestinian Musical Encounters. New York: Oxford University Press,
2009. Brown, Steven and Ulrik Volgsten. Music and Manipulation: On the Social Uses and
Social Control of Music. New York: Berghahn
Books, 2006. Burns, Lori, and Melissa Lafrance,
eds. Disruptive
Divas: Feminism, Identity, and Popular Music. New York: Routledge,
2002. Cavicchi, Daniel. Tramps
Like Us: Music & Meaning Among Springsteen Fans. New York: Oxford
University Press, 1998. Cohen, Sara. Decline, Renewal and the City in
Popular Music Culture: Beyond the Beatles. Burlington: Ashgate,
2007. Connell, John and Chris Gibson. Sound Tracks:
Popular Music, Identity and Place. New York: Routledge,
2003. Fairchild, Charles. Pop Idols and Pirates:
Mechanisms of Consumption and the Global Circulation of Popular Music.
Burlington: Ashgate, 2008. Gilbert, Jeremy, and Ewan
Pearson. Discographies: Dance,
Music, Culture and the Politics of Sound. New York: Routledge,
1999. Gracyk, Theodore. I Wanna Be Me: Rock Music and the
Politics of Identity. Philadelphia:
Temple University Press, 2001. Greenwald, Andy. Nothing Feels Good: Punk Rock,
Teenagers, and Emo. New York: St. Martin's Press,
2003. Hawkins, Stan. Settling the Pop Score: Pop Texts
and Identity Politics. Burlington: Ashgate, 2002. Hawkins, Stan. The British Pop Dandy:
Masculinity, Popular Music and Culture. Burlington: Ashgate,
2009. Hayes, Eileen M. Songs in Black and Lavender:
Race, Sexual Politics, and Women's Music. Urbana: University of Illinois
Press, 2010. Hayes, Eileen M., and Linda F. Williams. Black
Women and Music: More than the Blues. Urbana: University of Illinois Press,
2007. Hernandez, Deborah Pacini,
Hector Fernandez L'Hoeste, and Eric Zolov, eds. Rockin'
Las Americas: The Global Politics of Rock in Latin/o America. Pittsburgh: University of Pittsburgh
Press, 2004. Jarman-Ivens, Freya, ed. Oh
Boy! Masculinities and Popular Music. New York: Routledge, 2007. Johansson, Ola, and Thomas L. Bell, eds. Sound, Society and the Geography
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2009. Johnson, Bruce and Martin Cloonan.
Dark Side of the Tune: Popular Music and Violence. Burlington: Ashgate, 2008. Jones, Carys Wyn. The Rock Canon: Canonical Values in the
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2008. Kenney, William Howland. Recorded Music in
American Life: The Phonograph and Popular Memory, 1890-1945. New York:
Oxford University Press, 1999. Krims, Adam. Music and Urban
Geography. New York: Routledge, 2007. Krims, Adam. Rap Music and the Poetics of
Identity. New York: Cambridge University Press, 2000. Kun, Josh. Audiotopia: Music,
Race, and America. Berkeley: University of California Press, 2005. La Chapelle, Peter. Proud
to Be an Okie: Cultural Politics, Country Music, and
Migration in Southern California. Berkeley: University of California Press,
2007. Lebrun, Barbara. Protest Music in France:
Production, Identity and Audiences. Burlington: Ashgate,
2009. Leonard, Marion. Gender in the Music Industry:
Rock, Discourse and Girl Power. Burlington: Ashgate,
2007. Lipsitz, George. Dangerous Crossroads: Popular Music, Postmodernism and
the Focus of Place. New York: Verso,
1997. Mahon, Maureen. Right to Rock: The Black Rock Coalition and the Cultural
Politics of Race. Durham: Duke
University Press, 2004. McClary, Susan. Feminine Endings: Music, Gender, and Sexuality, 2nd ed. Minneapolis:
University of Minnesota Press, 2002. McCusker, Kristine M., and
Diane Pecknold, eds. A Boy Named Sue: Gender and Country
Music. Jackson: University
Press of Mississippi, 2004. Monson, Ingrid. Freedom Sounds: Civil Rights Call out to Jazz and Africa. New York: Oxford University
Press, 2007. Neal, Mark Anthony. Songs in the Key of Black
Life: A rhythm and Blues Nation. New York: Routledge,
2003. Peraino, Judith A. Listening to the Sirens:
Musical Technologies of Queer Identity From Homer to Hedwig. Berkeley:
University of California Press, 2006. Perrone, Charles, and Christopher Dunn. Brazilian Popular Music and
Globalization. Gainesville: University
Press of Florida, 2001. Roberts, John Storm. The Latin Tinge: The Impact of Latin American Music on
the United States. New York: Oxford University Press, 1999. Schloss, Joseph G. Foundation: B-boys, B-girls
and Hip-Hop Culture in New York. New York: Oxford University Press, 2009. Shuker, Roy. Wax Trash and Vinyl Treasures:
Record Collecting as a Social Practice. Burlington: Ashgate,
2010. Stratton, Jon. Jews, Race and Popular Music.
Burlington: Ashgate, 2009. Taylor, Timothy. Global Pop: World Music, World
Markets. New York: Routledge, 1997. Ward, Brian.
Just My Soul Responding: Rhythm and Blues, Black Consciousness, and
Race Relations. Berkeley: University of California Press, 1998. Washburne, Christopher J.,
and Maiken Derno, eds. Bad Music: The Music We Love to Hate. New York: Routledge, 2004. Waxer,
Lise. Situating Salsa: Global Markets and
Local meanings in Latin Popular Music. New York: Routledge,
2002. Weheliye, Alexander G. Phonographies: Grooves in Sonic Afro-Modernity.
Durham: Duke University Press, 2005. Werner, Craig. A Change Is Gonna
Come: Music, Race & the Soul of America. New Yorl:
Penguin Books, 1998. Whiteley, Sheila and
Jennifer Rycena. Queering the Popular Pitch. New
York: Routledge, 2006. Whiteley, Sheila, Andy
Bennett and Stan Hawkins. Music, Space and Place: Popular Music and Cultural
Identity. Burlington: Ashgate, 2004. Whiteley, Sheila, ed. Sexing
the Groove: Popular Music and Gender. New York: Routledge,
1997. Whiteley, Sheila. Women and Popular Music: Sexuality,
Identity, and Subjectivity. New York: Routledge, 2000. Wong, Deborah. Speak It Louder: Asian Americans
Making Music. New York: Routledge, 2004. Yano, Christine R. Tears of Longing: Nostalgia and the Nation in Japanese
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Philip. Performing Glam Rock: Gender and Theatricality in Popular Music. Ann
Arbor: University of Michigan Press, 2006. Awkward, Michael. Soul Covers: Rhythm and Blues Remakes and the Struggle for
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Dance Music. Bloomington: Indiana University Press, 2006. Chang, Jeff. Can't Stop, Won't Stop: A History
of the Hip-Hop Generation. New York: Picador, 2006. Ching, Barbara. Wrong's What I Do Best: Hard
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Knox. Homocore: The Loud and Raucous Rise
of Queer Rock. Los Angeles: Alyson Books, 2005. Clark, Walter Aaron. From Tejano
to Tango: Essays on Latin American Popular Music. New York: Routledge, 2002. Cohen, Ronald D. Folk Music: The Basics. New York: Routledge,
2006. Constantine, Mary-Ann. Fragments and Meaning in
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Spectre of Sound. London: British Film Institute,
2008. Evans, David, ed. Ramblin' on My Mind: New Perspectives on the
Blues. Urbana: University of Illinois Press, 2008. Evans, Joe with Christopher Brooks. Follow Your
Heart: Moving with the Giants of Jazz, Swing, and Rhythm and Blues. Urbana:
University of Illinois Press, 2008. Forman, Murray, and Mark Anthony Neal, eds. That's
the Joint! The
Hip-Hop Studies Reader. New York: Routledge,
2004. Frew, Tim. The New Wave—Pop of the Early
‘80s. New York: Friedman/Fairfax,
1997. Gelbart, Matthew B. The Invention of "Folk Music" and "Art Music": Emerging
Categories from Ossian to Wagner. New York: Cambridge University Press,
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and Fall of the Motown Sound. Urbana: University
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Music and the Hollywood Cartoon. Berkeley: University of California Press,
2005. Holm-Hudson, Kevin, Ed. Progressive Rock
Reconsidered. New York: Routledge, 2002. Holt, Fabian. Genre in Popular
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Electronic Dance Music Culture http://dj.dancecult.net/ Journal
of Popular Music Journal
of Popular Music Studies Journal
of Popular Culture Perfect
Beat: The Pacific Journal of Research into Contemporary Music and Popular
Culture POMPI:
Popular Music Periodicals Index (last published 1988) Popular
Music Popular
Music and Society Popular
Music History Popular
Music Perspectives: International Association for the Study of Popular Music Popular
Musicology Online http://www.popular-musicology-online.com/ RPM: The Review of Popular Music http://www.iaspm.net/rpm/ (last published 2000) Soundscapes Journal on
Media Culture http://www.soundscapes.info Tracking: Popular Music Studies (last published 1992) Trans: Transcultural Music Review http://www.sibetrans.com/trans/ World Beat: An international journal of popular music B. Non-Institution-Specific Organizations IASPM: The International Association for the Study of Popular Music http://www.iaspm.net/ PMSSEM: Popular Music Section of the Society for Ethnomusicology http://pmssem.tamu.edu/ Society for Music Theory Popular Music Interest Group http://popmusic.societymusictheory.org/ III. Notes and Framing Popular music as a field of study has attracted scholarship since Theodore Adorno's critiques of jazz and of Tin Pan Alley songwriting in the 1930s. In the years since, popular music scholarship has increased in volume, widened in scope, and developed a history of its own and a disciplinary self-awareness, all owing heavily to the rise of cultural studies, a broadening of the musicological lens, and the political, technological, and capital power with which popular music itself has over time become increasingly imbued and entwined. With decades of popular music scholarship now accumulated, we can assert that unless annotated and organized in a multiplicity of easily accessible configurations, a comprehensive bibliography of all academic writing on popular music risks being so monumental as to compromise its own usefulness. Thus any bibliography on the topic must be meaningfully delimited. Perhaps the
most comprehensive published popular music bibliography is 1997's Popular Music Studies: A Select International
Bibliography, by John Sheperd, David Horn, Dave Laing, Paul Oliver, Philip Tagg, Peter Wicke, and Jennifer
Wilson, published by Mansell Publishing. Since this publication, most attempts
at compiling bibliographies have either expressly concerned particular
sub-areas of the field, like Robert Cowden's Popular Singers of the Twentieth Century: A Bibliography of
Biographical Materials, published in 1999 by Greenwood Press, or have been
available chiefly online, like Gilbert B. Rodman and Norma Coates's massive,
albeit informal, "Everyday I Write the Book: A Bibliography of (Mostly)
Academic Work on Rock and Pop Music" at
http://www.comm.umn.edu/~grodman/biblio/biblio-front.html. The bibliography presented here, assembled in 2010 as part of a proposal for the establishment of a Popular Music Study Group within the American Musicological Society, limits itself in the following ways: * Because other bodies devoted to the study of popular music exist — notably the IASPM and interest groups within the SMT and SEM, inter alia — the AMS Popular Music Study Group seeks to conduct its study within the flexible boundaries of musicology. This means that while some items in this bibliography concern theoretical analysis or ethnomusicological approaches, they will not comprise the plurality of works included. * Being a document of an AMS study group, this bibliography will include English-language materials of scholarly nature. Pedagogical textbooks and most general-audiences books are therefore not included. * This
bibliography is chiefly concerned with materials published since the
aforementioned Popular Music
Studies: A Select International Bibliography, as that book summarizes and organizes the
field's prior publications with thoroughness. Texts from before 1997 are thus not included in this
document, and as a whole, in seeking to represent popular music studies in
2010, the selection skews somewhat toward more recent literature. * Many journals now exist
whose stated scope is popular musicology, and the vast majority of influential
articles in the field since 1997 have appeared in these journals. As such, this bibliography lists
scholarly journals of popular music, but opts not to list individual
articles. Instead, the vast majority
of its contents are published books.
* Finally and perhaps most importantly, within
the parameters delineated here, this bibliography seeks to be representative,
and not comprehensive. It
therefore provides for each of its thematic sections a collection of good entry
points for study that among them cover a reasonable breadth of content and
methodology. Its purpose is both
to provide an up-to-date portrayal of popular musicology at this time and also
to be of practical use to scholars seeking to familiarize themselves with
general areas in the field. The
works listed in this bibliography all contain bibliographies of their own, and
should a scholar seek highly specialized research within popular music, she or
he may oftentimes find it listed in these resources. The categories into which works are grouped
— Overviews, Production, Consumption, Genres, Histories, and
Biographies — are not classifications rigidly embedded into the
discipline, but instead they hint at the many ways by which to consider music
inasmuch as it is popular, which is to say, pertaining to the people who make
and use it. |