views: 527
Readers community rating: votes 0
1. Adorno T. (1999) Izbrannoe: sotsiologiya muzyki [Selected Works: Sociology of Music]. Sankt-Petersburg: Univ. book.
2. Beaud P. (1982) Et si lon reparlait dAdorno? Popular Music Perspectives. Papers from the First International Conference on Popular Music Research. Amsterdam. June 1981. The International Association for the Study of Popular Music. GoteborgExeter: Goteborg Univ., pp. 8292.
3. Blacking J. (1973) How Musical is Man? Seattle: Univ. of Washington Press.
4. Bowden B. (1982) Performed Literature: Words and Music by Bob Dylan. Bloomington: Indiana Univ. Press.
5. Braun M. (1964) Love Me Do! The Beatles Progress. London: Penguin.
6. Cloonan M. (2005) What is Popular Music Studies? Some observations. British Journal of Music Education, vol. 22, no. 1, pp. 7793.
7. Covach J. (1999) Popular Music, Unpopular Musicology. Rethinking Music. Oxford: Oxford Univ. Press, pp. 452470.
8. Covach J. (1997) We Wont Get Fooled Again: Rock Music and Musical Analysis. Keeping Score: Music, Disciplinarily, Culture. London: Charlottesville: Univ. Press of Virginia, pp. 7590.
9. Cutler C. (1985) What is Popular Music? Popular Music Perspectives 2. Papers from the Second International Conference on Popular Music Studies. Reggio Emilia. September 1924, 1983. GoteborgExeterOttawaReggio Emilia: A. Weaton & Co. Ltd. Exeter, pp. 312.
10. Fabbri F. (1982a) A Theory of Music Genres: Two Applications. Popular Music Perspectives. Papers from the First International Conference on Popular Music Research. Amsterdam. June 1981. The International Association for the Study of Popular Music. GoteborgExeter: Goteborg Univ., pp. 5281.
11. Fabbri F. (1982b) What Kind of Music? Popular Music, no. 2, pp. 131144.
12. Friedman R. (1968) The Beatles: Words without Music. New York: Grosset & Dunlap.
13. Frith S. (1978) The Sociology of Rock (Communication and Society). London: Constable.
14. Frith S. (1982) The Sociology of Rock Notes from Britain. Popular Music Perspectives. Papers from the First International Conference on Popular Music Research. Amsterdam. June 1981. The International Association for the Study of Popular Music. GoteborgExeter: Goteborg Univ., pp. 142154.
15. Frith S. (1989) Why Do Songs Have Words. Contemporary Music Review, vol. 5, pp. 7796.
16. Frith S. (2007) Taking Popular Music Seriously: Selected Essays. Aldershot: Ashgate.
17. Griffiths D. (1999) The High Analysis of Low Culture. Music Analysis, vol. 18, no. 3, pp. 389434.
18. Hall S. (1980) Encoding/Decoding. Culture, Media, Language: Working Papers in Cultural Studies, 19721979. London: Hutchinson, pp. 128138.
19. Hebdige D. (1979) Subculture: Meaning of Style. Florence (KY): Routledge.
20. Hesmondhalgh D. (1996) Flexibility, Post-fordism and the Music Industries. Media, Culture & Society, no. 18, vol. 3, pp. 469488.
21. Horn D. (2008) The Origins and Development of the Institute of Popular Music: àn Interview. Popular Music History, vol. 3, no. 1, pp. 938.
22. Johnson R. (19861987) What Is Cultural Studies Anyway? Social Text, no. 16. Winter, pp. 3880.
23. Jones L. (1963) Blues People, New York: William Morrow/Apollo Editions.
24. Keil Ch. (1987) Participatory Discrepancies and the Power of Music. Cultural Anthropology, vol. 2, no. 3, pp. 275283.
25. Keil Ch. (1966) Urban Blues. Chicago: Univ. of Chicago Press.
26. Krims A. (2003) Marxist Music Analysis without Adorno: Popular Music and Urban Geography. Analyzing Popular Music. Cambridge: Cambridge Univ. Press, pp. 131157.
27. Laing D. (2008) Introduction to the Special Issue: 20 Years of the Institute of Popular Music. Popular Music History, vol. 3, no. 1, pp. 58.
28. Mann W. What Songs the Beatles Sang. The Times. December 27, 1963. Friday (http://www.beatlesbible.com/1963/12/27/the-times-what-songs-the-beatles-sang-by-william-mann/).
29. Manuel P. (1993) Cassette Culture. Chicago: Univ. of Chicago Press.
30. Martin P.J. (1997) Sounds and Society: Themes in the Sociology of Music. Manchester: Manchester Univ. Press.
31. McClary S., Walser R. (1988) Start Making Sensel Musicology Wrestles with Rock. On Record: Rock, Pop and the Written Word. New York: Pantheon, pp. 277292.
32. Mellers W. (1964) Music in a New Found Land. London: Barrie and Rockliff.
33. Middleton R. (1972) Pop Music and the Blues. London: Gollancz.
34. Middleton R. (1990) Studying Popular Music. Milton Keynes: Open Univ. Press.
35. Moore A.F. (2003) Analyzing Popular Music. Cambridge: Cambridge Univ. Press.
36. Moore A.F. (1993) Rock, the Primary Text: Developing a Musicology of Rock. Buckingham: Open Univ. Press.
37. Popular Music Studies (2002) / D. Hesmondhalgh, K. Negus (eds.). London: Bloomsbury Academic.
38. Small C. (1998) Musicking: the Meanings of Performing and Listening. Hanover (CT): Univ. Press of New England.
39. Stokes M. (1992) The Arabesk Debate. Oxford: Clarendon Press.
40. Tagg Ph. (1982) Analysing Popular Music: Theory, Method and Practice. Popular Music, vol. 2, pp. 3767.
41. Tagg Ph. (1979) Kojak: 50 Seconds of Television Music. Goteborg: Musikvetenskapliga Institutionen.
42. Warner T. (2009) Approaches to Analyzing Recordings of Popular Music. The Ashgate Research Companion to Popular Musicology. Aldershot: Ashgate, pp. 131147.
43. Whose Music? A Sociology of Musical Languages (1977). London: Transaction Publishers.
44. Wicke P. (1990) Rock Music: Culture, Aesthetics and Sociology. Cambridge: Cambridge Univ. Press.
45. Williamson J., Cloonan M. (2007) Rethinking the Music Industry. Popular Music, vol. 26, no. 2, pp. 305322.