Online texts
by other authors
Links
updated 2009-07-17; dead links removed 2006-09-03
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Actas del VII Congreso
Latinoamericano IASPM-AL, La Habana 2006
— numerous
articles in Spanish or Portuguese dealing with a wide range of topics
(e.g. rock in Peru). Adorno, Theodor W. 1941. On Popular Music Alén Rodriquez, O. 1991. Center for the Research and Devlopment of Cuban Music Anderson, Gillian & Sadoff, Ron. 2003. Music and Image Bibliography Anon. Muzak Bello, Juan (ed.) 2005. Semantic descriptors bottom-up computation module. ‘SIMAC’s Work Package 2 (WP2) is mostly concerned with the bottom-up estimation of semantic descriptors and the generation of metadata for semantic analysis [of music]. Within this context, deliverable D2.1.1 comprises the low-level signal processing tools that support the calculation of descriptors (which is the aim of D2.1.2). In this document we explain in detail the scope of deliverable D2.1.2 and provide documentation for a partial set of the tools being developed under this deliverable.’ Björnberg, Alf. On aeolian harmony in contemporary popular music (original English version, 1984) [html 28k] — (1992). Music video and the semiotics of popular music [html 37k] Boëthius (c470-c524). Short biography and extract from the Consolation Bottin, Guglielmo. 2001. Music in Film: effects of underscoring on semantic appraisal and interpretation of film scenes. Doctoral thesis (index to online chapters), Dept. Psychology, University of Padua (Italy). Yes, music does make a difference! Brocken, M. 1998. The British Folk Revival (PhD thesis, IPM) Burns, G. 1987. Typology of 'hooks' in popular records [html 107k, pdf 84k] Byrne, David & Levitin, Daniel. 2007. The singer/songwriter and the neuroscientist meet up to discuss music. Seed magazine, April 2007/
Cátedra de Artes, n°s 3 y 4, (Revista de la Facultad de Artes de la Universidad Católica de Chile). Numeros dedicados a los estudios de música popular, con varias colaboraciones de miembros IASPM-AL • Juan Pablo González: Rock, memoria del cuerpo (La construcción patrimonial del rock en Chile) • Emmanuelle Rimbot: Autorrepresentación y manifiestos en la Nueva Canción y Canto Nuevo • Agustín Ruiz Zamora: Margot Loyola y Violeta Parra: Convergencias y divergencias en el paradigma interpretativo de la Nueva Canción chilena • María de la Luz Hurtado: Productividad de la mirada como performance • Egberto Bermúdez: Del humor y del amor: Música de parranda y música de despecho en Colombia (I) Chandler, D. Semiotics for Beginners (essential basic reading) Chester, A. 1970. For a rock aesthetic and Second thoughts about a rock aesthetic Collins, K E. 2002. The Future is Happening Already: Industrial Music, Dystopia and the Aesthetic of the Machine (PhD Thesis, IPM, Liverpool). For other work by Collins, especially on games audio, see Karen Collins' own research page. Collins, K E. 2006. Flat Twos & the Musical Aesthetic of the Atari VCS.
Dadisman, G. 2004. Some Observations on Dispositio and Elocutio in Bach’s Wir eilen mit schwachen, doch emsigen Schritten from BWV 78 (pretty good except for the “Patriot”-Act-type billowing US flag; Benjamin Franklin would not agree!) Daley, Mike. Vocal performance and speech intonation: Bob Dylan's "Like A Rolling Stone". Daly, Patrick. Average White Band: Pick Up The Pieces (analysis). Davis, Bob. 2004. Hear the beat come down? Stan Hawkins, Metre, Beat and House music as Rhetoric [211k + 2Meg]. — 2005 ‘Who Got Da Funk? An etymophony of funk from the 1950s to 1979. PhD diss. in musicology, Montréal. DJ Martian’s home page. Countless links to Electronic & Dance Music: drum n bass/ jungle, electro, breakbeat/ nu skool breaks, industrial/ electro-industrial/ ebm, synth pop/ electroclash, techno/tech house/deep house/progressive house, psychedelic trance, IDM/ experimental electronics/ ambient/ glitch sounds/ folktronica/ downbeat, jazztronica/ electro-jazz, leftfield/ instrumental/ electronified hip-hop/trip-hop. Rock Music: art-rock/ avant-prog/ avant rock, electro-rock/ epic alt-rock, experimental rock, jazz-rock, kraut rock/ math rock/ post-hardcore/ post-rock/ space-rock, darkwave/ gothic/ ethereal, dark metal, hardcore/ metalcore/ noisecore, post punk and shoegazer/dream pop sounds. Other Orbits: Kozmigroov, avant / free jazz, dub, modern composition, improvised music and many other hybrids and musical mutations. Dvorák, A. 1895. ‘American Music’. Includes: [1] critique of zero state support for arts in US; [2] ideas about US musical identity; [3] Dvorák’s view of his job as a teacher. What a good bloke!
Eisler, H. 1943-1948. Writings in English (index to 15 online documents) Elicka, Martina. The Theme of Loneliness in Mainstream Pop and Rock Songs (important extracts).
Fabbri
Franco. Texts
online in Italian and English, including Grenier, L. 2000. Hommage à Gaston Rochon [14k]
Halfyard, Janet K. 2003. An invitation to imagine: theme tunes and the construction of identity in contemporary US television series (Buffy the Vampire Slayer and Angel, gender and music). Hamm, C. 1981. Some thoughts on the Meausurement of Popularity in Music [54k] Harker, D. 1996. Gotta Serve Somebody: Theodor Adorno, popular music studies and commitment. Draft Text [120 pp, 269k, PDF] Harker, D. 1998. It's a Jungle Sometimes: The Music Industry, the Crisis and the State [124k] Hawkins, S. 2003. Feel the beat come down: house music as rhetoric [130 + 210k] Heuger, M. 1998. Don’t call my music POPULARMUSIK: Anmerkungen zu einem akademischen Phantom. Hunt, G. 2005. Gary Hunt's 2005 Mega Sound Link List. incl Soundscape and sound art;, Film sound design; Radio, sculpture and interactive sound; Image and sound interactivity (software/ideas)l; Sampling / appropriation / copyright; Africa and sound; Cultural theory and histories; Electronic music - histories; OSX audio software; Reaktor; Hosts: free audio editors and sequencers; Free plug-ins: Pluggo, VST, RTAS, audio units; Free soundfonts; Free impulse responses; Free experimental sound software; Synthesis and computer music; Sound software coding and devlopment; Instructional music stuff; Audio production techniques; Inter-application audio; Audio networking; MIDI files; Tricks; Music industry; Sound FX sites; Specialist sound source sites; Music samples. Huron, D. 2000. Music Cognition Handbook: A Glossary of Concepts
IASPM list subscribers 2007. Online Pop Theory Discussion. Joffé, R. Interviewed about The Mission in 1987-9. Johansson, K G. 1999. The Harmonic Language of the Beatles Kosmicki, Guillaume. 2001. Le sens musical en free-party aujourd’hui. Kaye, Peter D. Cognition/perception of underscore — bibliography Knights, Vanessa. ‘Bay City Rollers. Now that’s music’: Coolness, Crassness and Characterisation on Buffy the Vampire Slayer. Video-conference plenary at Sonic Synergies:Creative Cultures Conference July 17-20 2003 University of South Australia, The Hawke Research Institute and IASPM Australia/New Zealand. Komicki, Guillaume. Le sens musical en free-party aujourd'hui : entre idéologie et utopie (Département de Musique et Sciences de la musique (Aix-Marseille I)).
Lacasse, S. 2000. ‘Listen to My Voice’ — The Evocative Power of Vocal Staging in Recorded Rock Music and Other Forms of Vocal Expression. PhD Thesis, IPM [303 pp., PDF] Laluz, Alexander (2004). Las formas de producción de sentido en la música popular (= Ways of producing meaning in popular music’). Article subtitled ‘De “Kojak” a Montevideo’ and ‘El trabajo pionero de Philip Tagg propició nuevos campos de investigación y la reorientación crítica de concepciones condicionadas por la formación musical tradicional’ by Alexander Laluz in Brecha (Montevideo, 30 July 2004, p. 26) [PDF 145k, formatted for newspaper pages]. Leonard, S. 2001. Scores of Glory, Fantasy and Plumbing: The Concise History and Principal Genres of Video Game Music. See also Karen Collins. Ling, J. 2003. Is ‘world music’ the ‘classic music’ of our time? (Popular Music, 22/1: 135-240) Lloyd, D. 2000. Mercury Models — Distortion of Language and Identity in New Heavy Metal [html 22k]
Mann, William. ‘What Songs The Beatles Sang’. The Times, 1963-12-23. Mattelart, Armand & Neveu, Erik. ‘Cultural Studies' Stories. La domestication d'une pensée sauvage?’ 1996, Paris: Réseaux no. 80 (48 pp., PDF). Mazzola, G. Semiotic Aspects of Musicology Merton, P. 1970. Comment [on Chester’s rock aesthetic] Morricone, E. 2004. Interview mit Michael Tschernek in Die Tageszeitung. Nardi, Carlo (2004) Playing by eye: music software and visuality [PDF 809k] | [html dummy] Nattiez, J-J. 2005. Le timbre, est-il un paramètre secondaire? Nestiev, Israel (Golovinsky, G). Popular Music in the USSR — Problems and opinions (1981)
Petridis, Alex. 2002. The Soundtrack of our Lives (Guardian, 9 August 2002). Playford, Daniel Scott 2006. The influence music has on TV advertsing (mini dissertation University of Hertfordshire). Rothenbuhler, E. W. 1987. Commercial Radio and Popular Music: Processes of Selection and Factors of Influence [pdf 44k]
Savage, J. 1993. Machine Soul: A History of Techno (from Village Voice Summer 1993) Schoenherr, S. 2004. Recording Technology History (excellent) Sévigny, J-P. 2003. Modification of the Copyright Law. CAML Review/Revue de l’ACBM (Canada), 31/1. Sibilla, Gianni. Empty without me – Intermediality, intertextuality and non-musical factors in the evaluation of pop music: the (not so) strange case of MTV and Eminem (244k PDF) Singer, S. Velocity of Celebration: Jazz and Semiotics Stilwell, R. 1997.‘ I just put a drone under him...’ Collage and Subversion in the Score of “Die Hard” (Music & Letters, Oxford, November 1997). — 2002. Music in Films: a critical review of literature, 1980-1996. Journal of Film Music, 1/1: 19-62 — 2003. The Musical Number and the Sitcom (good read) Sundgren, Patrick. 1998. Populärmusikens tecken och myter — en analys av fotbolllåten "Upp, häcken, upp" (interesting analysis, in Swedish, of a football fan song).
Tamm, E. 1977. Brian Eno: his music and the vertical colour of sound. Thompson, Nick. 2009. Drumkit Notation Key. Incl. cymbal, ride, hihat, snare, toms, kick, rolls, hits, rims, sticks, etc. plus sample patterns from Aerosmith, James Brown, Bobby Darin, Beatles, Gloria Gaynor, etc. Version française «Notation pour la batterie». Turner, Joan; Délano, Manuel 2007. Entrevista Joan Turner, viuda del cantautor chilena Víctor Jara “Ya no lloro”. El Païs (Madrid), 2007-06-10 Vega, Carlos (1966). Mesomúsica: un ensayo sobre la música de todos (ed. Aharonián, 2007) . Vega, Carlos (1966). ‘Mesomusic: an essay on the music
of the masses’ (transl. Gilbert Chase & John
Chappell). Ethnomusicology, Vol. 10, No. 1, Latin
American Issue (Jan., 1966), pp. 1-17.
Wicke, P. 1985. Sentimentality and high pathos: popular music in fascist Germany [html 35k] Williams, R. 1976. Definitions of 'Popular' Wise, T. 2007. Yodel Species: A Typology of Falsetto Effects in Popular Music Vocal Styles. Radical Musicology, vol. 2 Woodside Woods, J J. 2005. El impacto del sampleo en la memoria colectiva. Hacia una semiótica del sampleo? Trabajo terminal (licenciado) de la carrera de Comunicación Social, Universidad Autónoma Metropolitana, Unidad Xochimilco, México. Wyse, P. 2001. What's a nice tune like you doing in a place like this? The joys of the music library [9k HTML] — 2004. Will the creator of modern music please stand up? It was Ike Turner who invented R&R! [Guardian] Young, M D. Projecting Tolkien's Musical Worlds: A Study of Musical Affect in Howard Shore's Soundtrack to Lord of the Rings - abstract of MMus thesis (en « français »). Also published as book (92 pp.).
Ziemann, G. 2002. RIAA’s Statistics Don’t Add Up to Piracy. |
