Online texts by other authors
Links updated and dead links removed 2013-01-03

Last update 2017-08-04

Broken Link = broken link not found elsewhere on line

 

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Broken Link 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 Rodriguez, O. 1991. Center for the Research and Devlopment of Cuban Music (CIDMUC)

Broken Link Anderson, Gillian & Sadoff, Ron. 2003. Music and Moving Image Bibliography

Andersson, Benny. 2010. Rock and Roll Hall of Fame induction speech.

Anon. Muzak

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Broken Link Barsalou, Lawrence W (2008; Department of Psychology, Emory University, Atlanta) ‘Grounded Cognition’.
Annual Review of Psychology,
2008.59:617-645.

Broken Link 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) [dummy HTML]

Broken Link— (1992). Music video [was 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!

Bouchard, Vincent (2010) Le personnage vocal. Une exploration pluridisciplinaire du chant dans la musique populaire (texte provisoire). Provisional Masters thesis —extremely interesting text— on vocal persona (143 pp., PDF 2500 kb).

British Academy Report: Copyright and Research in the Humanities and Social Sciences (22 pp., September 2006).

Broken Link Brocken, M. 1998. The British Folk Revival (was PhD thesis, IPM, now available as commercial book)

Burns, Gary (1987). Typology of 'hooks' in popular records [PDF].

Byrne, David & Levitin, Daniel. 2007. The singer/songwriter and the neuroscientist meet up to discuss music. Seed magazine, April 2007/

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Catedra de Artes, ns 3 y 4, (Revista de la Facultad de Artes de la Universidad Catlica de Chile). Numeros dedicados a los estudios de música popular, con varias colaboraciones de miembros IASPM-AL • Juan Pablo Gonzlez: 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 • Mara de la Luz Hurtado: Productividad de la mirada como performance • Egberto Bermúdez: Del humor y del amor: Música de parranda y msica de despecho en Colombia (I)

Broken Link Chandler, D. Semiotics for Beginners (essential basic reading)

Cheng, William (2017) Just Vibrations: the purpose of sounding good.

Chester, A. 1970. For a rock aesthetic and Second thoughts about a rock aesthetic

Cisneros, Bernat Jiménez de (2015) Ritmo y compás (Estructura métrica y articulación rítmico-armónica de los géneros flamencos acompasados)

Broken Link Cloonan, Martin. 2011. Live Music as Ideology. Paper delivered at IASPM conference, Grahamstown (South Africa), June/July 2011; not yet published/publishable (2011-10-25).

Broken Link Cloonan, Martin & Hulstedt, Lauren (2012). Taking Notes: A mapping of HE Popular Music and an investigation into the teaching of theory and analysis (a report for the HEA/Higher Education Academy (UK)).

Collins, John. 2011. The Introduction of Popular Music Courses to Ghanaian Universities. Keynote address at the 17th IASPM Biennial Conference, 27 June- 1 July 2011, Grahamstown, South Africa. PDF 246k [dummy HTML]

Collins, K E. 2002. The Future is Happening Already: Industrial Music, Dystopia and the Aesthetic of the Machine (PhD Thesis, IPM, Liverpool).  Please check with Karen Collins before you download this. This excellent thesis is also available for peanuts as a scaled-down e-book: A Bang, a Whimper and a Beat (Kindle). 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.

Copyright and Research in the Humanities and Social Sciences (British Academy) (22 pp., September 2006).

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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 [dummy HTML].

Broken Link 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.

Dvořák, Antonín (1895) ‘Music in America’ (with the cooperation of Edwin Emerson, Jr.); Harper's New Monthly Magazine (February 1894: 429-424). Includes: [1] critique of zero state support for arts in US; [2] ideas about US musical identity; [3] Dvořák’s view of his job as a teacher. What a good bloke!

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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).

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Fabbri Franco. Texts online in Italian and English, including
A Theory Of Musical Genres: Two Applications (1981)
Skill: The Positive Case (or: In Praise Of Learning) (1987)
Copyright: The Dark Side Of Music Business (1989)
Browsing Music Spaces: Categories And The Musical Mind (1999)
Procol Harum, come sopravvivere alla storia. Cos il rock trovò Bach e perse l'innocenza (2002)
Taboo Listening (2003)
Broken Link • Musical life in Tilos (2004)
Ricostruire una storia della popular music e dei suoi generi: problemi epistemologici e valutazione delle fonti (2004)
Five Easy Pieces: Forty Years of Music and Politics in Italy, from B(ella ciao) to B(erlusconi) (2006)
Musica, cultura e mercato: “ascoltare in avanti” (2007)
Segni e significati in musica: il caso-Eco (2012)
(music on the Commodore 64: interview in Italian) (2013)

 

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Grenier, L. 2000. Hommage Gaston Rochon [14k]

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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.

Broken Link 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

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IASPM list subscribers 2007. Online Pop Theory Discussion.

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Joffé, R. Interviewed about The Mission in 1987-9.

Broken Link Johansson, K G. 1999. The Harmonic Language of the Beatles

Johnson, A J Bruce. 2009. Cultural Theory – Who Needs It? [PDF]. International Conference of the Popular Culture Association and American Culture Association (PCACA), 27-31 July 2009, Turku Finland. [HTML]

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Kosmicki, Guillaume. 2001. Le sens musical en free-party aujourd’hui.

Broken Link Kaye, Peter D. Cognition/perception of underscore — bibliography Broken LinkFilm Music Analysis: cognitive model

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 idologie et utopie (Département de Musique et Sciences de la musique (Aix-Marseille I)).

Kromhout, M.J. (2008) The Mechanics of Destruction: an analysis of authorship and engagement in the work of Matthew Herbert. Masters thesis in Cultural Analysis, Universiteit van Amsterdam (80 pp. PDF). Keywords: autonomy, heterogeneity, subversion, engagement, authorship, rave, techno, electronica, band, technology, subversion, individualism, consumerism, avant-garde, commodification, Adorno, jazz, Dr Rockit, Wishmountain,

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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 propici nuevos campos de investigación y la reorientación crtica 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].

Broken Link Leonard, S. 2001. Scores of Glory, Fantasy and Plumbing: The Concise History and Principal Genres of Video Game Music. See also Karen Collins.

Broken LinkLevy, Claire. 2009. Folk in Opposition? Wedding Bands and the New Developments in Bulgarian Popular Music. Music & Politics 3/1 (Winter 2009), ISSN 1938-7687

Lilja, Esa. 2015. Short bio, full CV and list of publications.

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]

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MacDorman, Karl F; with Stuart Ough and Chin-Chang Ho (2007; School of Informatics, Indiana University, USA). Automatic Emotion Prediction of Song Excerpts: Construction, Algorithm Design, and Empirical Comparison. Journal of New Music Research, 2007, Vol. 36, No. 4, pp. 283–301

Maimets, Kaire, 2016. Full CV and list of publications.

— 2015. Selective chronological list of feature films featuring Arvo Pärt’s Spiegel im Spiegel (1978)

— 2016. Boolerost “Koiduni” (From Bolero to Koit).

Mann, William. ‘What Songs The Beatles Sang’. The Times, 1963-12-23.

Mattelart, Armand & Neveu, Erik. ‘Cultural Studies' Stories. La domestication d'une pense sauvage?’ 1996, Paris: Rseaux no. 80 (48 pp., PDF).

Broken Link Mazzola, G. Semiotic Aspects of Musicology

McClary, Susan (2017). Foreword to Just Vibrations: the purpose of sounding good (Cheng, 2017) [read for free on line].

Merton, P. 1970. Comment [on Chester’s rock aesthetic]

Morricone, E. 2004. Interview mit Michael Tschernek in Die Tageszeitung.

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Nardi, Carlo (2004) Playing by eye: music software and visuality [PDF 809k] | [html dummy]

Broken Link Nattiez, J-J. 2005. Le timbre, est-il un paramtre secondaire?

Negus, Keith. 1996. 'Globalization and the Music of the Public Spheres'; in Globalization, Communication and Transnational Civil Society (ed. S Braman & A Sreberny-Mohammadi, pp. 179-195). Cresskill (NJ): Hampton Press [img. scan PDF, 1352k]

Nestiev, Israel (Golovinsky, G). Popular Music in the USSR — Problems and opinions (1981)

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Risto Pekka Pennanen (2008) LOST IN SCALES: BALKAN FOLK MUSIC RESEARCH AND THE OTTOMAN LEGACY

Petridis, Alex. 2002. The Soundtrack of our Lives (Guardian, 9 August 2002).

Broken Link Playford, Daniel Scott 2006. The influence music has on TV advertsing (mini dissertation University of Hertfordshire).

“Popbitch”. Oh Say Can You Sing —about memorable diva renditions, with transcriptions, of the US national anthem at the Super Bowl (US ‘football’) since 1990.

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Ross, Alex (2003) Ghost Sonata — What happened to German music? New Yorker 2003-03-24 (about Adorno as a romantic of German modernism, etc.)

Rothenbuhler, E. W. 1987. Commercial Radio and Popular Music: Processes of Selection and Factors of Influence [pdf 44k]

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Savage, J. 1993. Machine Soul: A History of Techno (from Village Voice Summer 1993)

Schoenherr, Steve: Motion Picture Sound ― Part 1 ― Part 2 ― Part 3 ― all highly recommended

Broken Link Sévigny, J-P. 2003. Modification of the Copyright Law. CAML Review/Revue de l’ACBM (Canada), 31/1.

Broken Link 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 (Volume! 3:2, 2004)

Broken Link Singer, S. Velocity of Celebration: Jazz and Semiotics

The Singing Englishman, part 3  

Broken Link 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)

Broken Link Sundgren, Patrick. 1998. Populärmusikens tecken och myter — en analys av fotbolllåten "Upp, häcken, upp" (interesting analysis, in Swedish, of a football fan song).

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Tamlyn, Garry. 1998. The Big Beat — Origins and Development of Snare Backbeat and other Accompanimental Rhythms in Rock’n’Roll. PhD thesis, Institute of Popular Music, University of Liverpool. Highly recommended!

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; Dlano, Manuel 2007. Entrevista Joan Turner, viuda del cantautor chilena Vctor Jara “Ya no lloro”. El País (Madrid), 2007-06-10

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Ulhôa, Marta: complete online texts

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Vaughan Williams, Ralph (1934). National Music. OUP; 50 pp., various formats incl. PDF (A5).

Vega, Carlos (1966). Mesomúsica: un ensayo sobre la música de todos (ed. Aharonián, 2007) [dummy HTML].

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.

Vickers, Earl (2010). The Loudness War: Background, Speculation and Recommendations. AES 129th Convention, San Francisco, CA, USA, 2010-11-04/07 (27 pp.)

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Wicke, P. 1985. Sentimentality and high pathos: popular music in fascist Germany [html 35k]

Wicke, P. 2011/12 Authentizität als Mythos: zur Konstruktion von Authentizität in der Geschichte Blues [PDF 55k]

Wicke, P. 2011/12 Zwischen Aufführungspraxis und Aufnahmepraxis: Musikproduktion als Interpretation [PDF 62k ]

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 Autnoma Metropolitana, Unidad Xochimilco, Mxico.

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]

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Young, M D. Projecting Tolkien's Musical Worlds: A Study of Musical Affect in Howard Shore's Soundtrack to Lord of the Rings .

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Broken Link Ziemann, G (2002). RIAA’s Statistics Don’t Add Up to Piracy.

P Tagg's home page