POPULAR-MUSIC BIBLIOGRAPHY.doc

Society for Music TheoryPopular Music Interest GroupBASIC BIBLIOGRAPHYGENERALpop-rock theory and analysis“popular music” and the canonundergraduate pop-music textbooksjazz theory textbooksANALYTICAL APPROACHESformpitch structuresrhythmic structuressound and technologytimbre and texturemeaning and textvocal expressiongender and sexualityrace, ethnicity and identity politicsSTYLES AND GENRESblues and R&Bblues-rockclassical influencescountrycover versionsdance musicfilm, TV and videofolk (Anglo-American)funkglobal popheavy metaljazznew wavepopular songprogressive rockpunkrap and hip-hopSPECIFIC ARTISTS AND GROUPSBeach BoysBeatlesDylan, BobGenesisGrateful DeadHendrix, JimiLed ZeppelinMcLachlan, SarahMitchell, JoniPet Shop BoysPink FloydPresley, ElvisRadioheadRushSimon, PaulU2Wonder, StevieYesZappa, FrankGENERALpop-rock theory and analysisBennett, Andy; Barry Shank; and Jayson Toynbee, eds. The Popular Music Studies Reader. Routledge, 2006.Brackett, David. Interpreting Popular Music. University of California Press, 2000.Brackett, David, ed. The Pop, Rock, and Soul Reader, 2nd ed. Oxford University Press, 2008.Covach, John. “Popular Music, Unpopular Musicology.” Rethinking Music, ed. Nicholas Cook and Mark Everist, 452-470. Oxford University Press, 1999.Covach, John. “We Can Work It Out: Musical Analysis and Rock Music.” Popular Music: Style and Identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 69-71. Centre for Research on Canadian Cultural Industries and Institutions, 1995.Covach, John. “We Wont Get Fooled Again: Rock Music and Musical Analysis.” In Theory Only 13 (1997): 119-141. Repr. Keeping Score: Music, Disciplinarity and Culture, ed. Schwarz, Kassabian, and Siegel, 75-89. University of Virginia Press, 1997.Covach, John, and Graeme M. Boone, eds. Understanding Rock: Essays in Musical Analysis. Oxford University Press, 1997.Covach, John, and Mark Spicer, eds. Sounding Out Rock: Further Essays in Musical Analysis. Forthcoming, University of Michigan Press.Covach, John, and Walter Everett, eds. Traditions, Institutions, and American Popular Music. Contemporary Music Review 19/1 (2000).Cutler, Chris. File under Popular: Theoretical and Critical Writings on Music. Autonomedia, 1992.Everett, Walter. The Foundations of Rock: From “Blue Suede Shoes” to “Suite: Judy Blue Eyes.” Oxford University Press, 2008.Everett, Walter, ed. Expression in Pop-Rock Music, 2nd ed. Routledge, 2008. Everett, Walter. “Pitch Down the Middle.” Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 111-174. Routledge, 2008.Fink, Robert. “Elvis Everywhere: Musicology and Popular Music Studies at the Twilight of the Canon. American Music 16/2 (1998): 135-179.Frith, Simon, Will Straw, and John Street, eds. The Cambridge Companion to Pop and Rock. Cambridge University Press, 2001.Gordon, Christopher P. Form and Content in Commercial Music. Ardsley House, 1992.Gracyk, Theodore. Listening to Popular Music; Or, How I Learned to Stop Worrying and Love Led Zeppelin. University of Michigan Press, 2007.Gracyk, Theodore. Rhythm and Noise: An Aesthetics of Rock. Duke University Press, 1996.Hamm, Charles. Putting Popular Music in its Place. Cambridge University Press, 1995.Hatch, David, and Stephen Millward. From Blues to Rock: An Analytical History of Pop Music.St. Martins Press, 1987.Hesmondhalgh, David and Keith Negus, eds. Popular Music Studies. Oxford University Press, 2002.Horn, David. “Some Thoughts on the Work in Popular Music.” The Musical Work: Reality or Invention? ed. Michael Talbot, 14-34. Liverpool University Press, 2000.Jones, Steve. Tracking: Popular Music Studies. http:/www.icce.rug.nl/soundscapes/DATABASES/TRA/Tracking.shtmlKaminsky, Peter M. “Revenge of the Boomers: Notes on the Analysis of Rock Music.” Music Theory Online 6/3 (2000). /issues/mto.00.6.3/mto.00.6.3.kaminsky.htmlKrims, Adam. Music and Urban Geography. Routledge, 2007.Krims, Adam. “What Does It Mean to Analyse Popular Music?” Music Analysis 22/12 (2003): 181-209.Marvin, Elizabeth West, and Richard Hermann, eds. Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies. University of Rochester Press, 1995.Middleton, Richard. “Popular Music Analysis and Musicology: Bridging the Gap.” Popular Music 12/2 (1993): 177-190.Middleton, Richard. Studying Popular Music. Open University Press, 1990.Moore, Allan F. Rock: The Primary Text, 2nd ed. Ashgate, 2001.Moore, Allan F., ed. Analyzing Popular Music. Cambridge University Press, 2003.Moore, Allan F., ed. Critical Essays in Popular Musicology. Ashgate, 2007.Negus, Keith. Popular Music in Theory: An Introduction. Polity Press, 1996.Scott, Derek B., ed. The Ashgate Research Companion to Popular Musicology. Ashgate, 2009.Shuker, Roy. Understanding Popular Music. Routledge, 1994.Sorce, Richard. Music Theory for the Music Professional: A Comparison of Common-Practice and Popular Genres. Ardsley House, 1995.Spicer, Mark. “(Ac)cumulative Form in Pop-Rock Music.” 20th-Century Music 1/1 (2004): 29-64.Stephenson, Ken. What to Listen For in Rock: A Stylistic Analysis. Yale University Press, 2003.Tagg, Philip. “Analysing Popular Music: Theory, Method, Practice.” Popular Music 2 (1982): 37-69. Repr. Reading Pop, ed. Richard Middleton, 71-103. Oxford University Press, 2000.Van der Merwe, Peter. Origins of the Popular Style: the Antecedents of 20th-Century Popular Music. Clarendon Press, 1989.Whiteley, Sheila. The Space Between the Notes: Rock and the Counter-Culture. Routledge, 1992.“popular music” and the canonAdorno, Theodor. “On Popular Music.” On Record: Rock, Pop, and The Written Word, ed. Simon Frith and Andrew Goodwin, 301-314. Pantheon Books, 1990.Cutler, Chris. “What is Popular Music?” Popular Music Perspectives 2 (1985): 3-12. Repr. Cutler, File under Popular: Theoretical and Critical Writings on Music. Autonomedia, 1992.Gracyk, Theodore. Listening to Popular Music: Or, How I Learned to Stop Worrying and Love Led Zeppelin. University of Michigan Press, 2007.Griffiths, Dai. “The High Analysis of Low Music.” Music Analysis 18 (1999): 389-435. Repr. Critical Essays in Popular Musicology, ed. Allan F. Moore, 63-110.Horn, David, ed. Popular Music Perspectives 2 (2nd International Conference on Popular Music Studies). Gteborg & Exeter, 1985.Horn, David, and Philip Tagg, eds. Popular Music Perspectives 1 (1st International Conference on Popular Music Studies). Gteborg & Exeter, 1982.International Advisory Editors of Popular Music. “Can We Get Rid of the Popular in Popular Music? A Virtual Symposium.” Popular Music 24 (2005): 133-145. Repr. Critical Essays in Popular Musicology, ed. Allan F. Moore, 35-48.Middleton, Richard. “Locating the People: Music and the Popular.” The Cultural Study of Music, ed. Martin Clayton, Trevor Herbert, and Richard Middleton, 251-262. Routledge, 2003.Regev, Motti. “The Pop-Rockization of Popular Music.” Popular Music Studies, ed. David Hesmondhalgh and Keith Negus, 251-264. Arnold, 2002.Wyn Jones, Carys. The Rock Canon: Canonical Values in the Reception of Rock Albums. Ashgate, 2008.undergraduate pop-music textbooksCampbell, Michael. And the Beat Goes On: An Introduction to Popular Music in America, 1840 to Today, 2nd ed. Wadsworth, 2005.Campbell, Michael, and James Brody. Rock and Roll: An Introduction, 2nd ed. Schirmer, 2007.Charlton, Katherine. Rock Music Styles: A History, 5th ed. McGraw-Hill, 2007.Covach, John. Whats That Sound? An Introduction to Rock and its History. Norton, 2006.Friedlander, Paul. Rock and Roll: A Social History. Westview Press, 1996.Garofalo, Reebee. Rockin Out: Popular Music in the USA, 4th ed. Prentice Hall, 2007.Kastin, David. I Hear America Singing: An Introduction to Popular Music. Prentice Hall, 2002.Starr, Larry, and Christopher Waterman. American Popular Music: from Minstrelsy to Mp3, 2nd ed. Oxford University Press, 2006.Stuessy, Joe. Rock and Roll: Its History and Stylistic Development, 5th ed. Prentice Hall, 2005.Szatmary, David P. Rockin in Time: A Social History of Rock and Roll, 5th ed. Prentice Hall, 2003.jazz theory textbooksBaker, David. Jazz Improvisation, 2nd ed. Alfred, 1988.Baker, David. Advanced Improvisation. Rev. ed., 2 vols. Alfred, 1990.Benward, Bruce, and Joan Wildman. Jazz Improvisation in Theory and Practice. William C. Brown, 1984.Boling, Mark. The Jazz Theory Workbook. Advance Music, 1993.Elsen, Frans. Jazz Harmony At the Piano: Practical Harmony Method for the Jazz Musician. The Royal Conservatory, 2001.Haerle, Dan. The Jazz Language. Alfred, 1982.Jaffe, Andy. Jazz Harmony, 2nd ed. Advance Music, 1996.Larson, Steve. Analyzing Jazz: A Schenkerian Approach. 2 vols. Pendragon Press, 2009.Lawn, Richard J. and Hellmer, Jeffrey L. Jazz Theory and Practice. Alfred, 1996.Levine, Mark. The Jazz Theory Book. Sher Music, 1995.Liebman, Dave. A Chromatic Approach to Jazz Harmony and Melody. Advance Music, 1991.Ligon, Bert. Jazz Theory Resources: Tonal, Harmonic, Melodic and Rhythmic Organization of Jazz. Hal Leonard, 2001.Mehegan, John. Jazz Improvisation. Vol. 1: Tonal and Rhythmic Principles; Vol. 2: Jazz Rhythm and the Improvised Line; Vol. 3: Swing and Early Progressive Piano Styles; Vol. 4: Contemporary Piano Styles . Watson-Guptill, 1959, 1962, 1964, 1965.Rawlins, Robert, and Nor Eddine Bahha. Jazzology: The Encyclopedia of Jazz Theory for All Musicians. Hal Leonard, 2005.Reeves, Scott. Creative Jazz Improvisation, 3rd ed. Prentice Hall, 2000.Russell, George. The Lydian Chromatic Concept of Tonal Organization for Improvisation. 4th ed., Concept, 2001.Schenkel, Steve. The Tools of Jazz. Prentice-Hall, 1983.Spitzer, Peter. The Jazz Theory Handbook. Mel Bay, 2001.ANALYTICAL APPROACHESformCovach, John. “Form in Rock Music: A Primer.” Engaging Music, ed. Deborah Stein. Oxford University Press, 2004.Covach, John. “From Craft to Art: Formal Structure in the Music of the Beatles.” Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four, ed. Kenneth Womack and Todd F. Davis, 37-54. State University of New York Press, 2006.McClary, Susan. Conventional Wisdom: The Content of Musical Form. University of California Press, 2001.Nurmesjarvi, Terhi. “You Need Another Chorus: Problems with Formal Concepts in Popular Music.” Beatlestudies 2: History, Identity, Authenticity, ed. Yrjo Heinonen, Terhi Nurmesjarvi, Jouni Koskimaki, Seppo Niemi, and Francis Kiernan, 147-168. University of Jyvaskyla, 2000.Spicer, Mark. “(Ac)cumulative Form in Pop-Rock Music.” Twentieth-Century Music 1/1 (2004): 29-54.Spicer, Mark. “Large-Scale Strategy and Compositional Design in the Early Music of Genesis.” Expression in Pop-Rock Music, 2nd ed., ed. Walter Everett, 313-344.Zak, Albin. “Rock and Roll Rhapsody: Pop Epics of the 1970s.” Expression in Pop-Rock Music, 2nd ed., ed. Walter Everett, 345-360.pitch structuresBjenberg, Alf. “On Aeolian Harmony in Contemporary Popular Music.” In Critical Essays in Popular Musicology, ed. Allan F. Moore, 275-282. Ashgate, 2007.Bobbitt, Richard. Harmonic Technique in the Rock Idiom: The Theory and Practice of Rock Harmony. Wadsworth Publishing Co., 1976.Bronson, Bertrand. “Folksong and the Modes.” Musical Quarterly 32/1 (1946): 3749.Burns, Gary. “A Typology of Hooks in Popular Records.” Popular Music 6 (1987): 1-20.Burns, Lori. “Analytic Methodologies for Rock Music: Harmonic and Voice-Leading Strategies in Tori Amoss Crucify.” Expression in Pop-Rock Music: Critical and Analytical Essays, 2nd ed., ed. Walter Everett, 63-92. Routledge, 2008.Carter, Paul Scott. “Retrogressive Harmonic Motion as Structural and Stylistic Characteristic of Pop-Rock Music.” Ph.D. dissertation, University of Cincinnati CollegeConservatory of Music, 2005. /etd/view.cgi?acc_num=ucin1116202928Capuzzo, Guy. “Neo-Riemannian Theory and the Analysis of Pop-Rock Music.” Music Theory Spectrum 26/2 (2004): 177-199.Capuzzo, Guy. “Sectional Tonality and Sectional Centricity in Rock Music.” Forthcoming, Music Theory Spectrum 31/1 (2009).Doll, Christopher. “Listening to Rock Harmony.” Ph.D. dissertation, Columbia University, 2007.Everett, Walter. “Making Sense of Rocks Tonal Systems.” Music Theory Online 10/4 (2004). Repr. Critical Essays in Popular Musicology, ed. Allan F. Moore, 301-335. Ashgate, 2007. /issues/mto.04.10.4/mto.04.10.4.w_everett.htmlEverett, Walter. “A Royal Scam: The Abstruse and Ironic Bop-Rock Harmony of Steely Dan.” Music Theory Spectrum 26 (2004): 201-235.Forte, Allen. “Harmonic Relations: American Popular Harmonies (1925-1950) and their European Kin.” Traditions, Institutions, and American Popular Music. Contemporary Music Review 19/1 (2000): 5-36.Kramarz, Volkmar. Harmonie-Analyse der Rockmusic. Von Folk und Blues zu Rock und New Wave. Schott, 1983.London, Justin. “One Step Up: A Lesson from Pop Music.” Journal of Music Theory Pedagogy 4/1 (1990): 111-114.MacDonald, Chris. “Exploring Modal Subversions in Alternative Music.” Popular Music 19/3 (2000): 355-363.Moore, Allan. “Patterns of Harmony.” Popular Music 11 (1992): 73-106.Moore, Allan. “The So-Called Flat 7th in Rock,” Popular Music 14 (1995): 185-201.Morss, Benjamin M. “Pitch-Skipping in Rock Music.” Ph.D. dissertation, University of California at Davis, 2000.Ricci, Adam. “A Hard Habit to Break: The Integration of Harmonic Cycles and Voice-Leading Structure in Two Songs by Chicago.” Indiana Theory Review 21 (2000): 129-146.Salzman, Eric, and Michael Sahl. Making Changes: A Practical Guide to Vernacular Harmony. Schirmer, 1977. Temperley, Davy. “The Melodic-Harmonic Divorce in Rock.” Popular Music 26/2 (2007): 323-342.Weisethaunet, Hans. “Is There Such a Thing as a Blue Note?” Popular Music 20 (2001): 99-116.Winkler, Peter K. “Toward a Theory of Popular Harmony.” In Theory Only 4/2 (1978), 3-26. Repr. Critical Essays in Popular Musicology, ed. Allan F. Moore, 251-274. Ashgate, 2007.rhythmic structuresBaur, Steven. “Ringo Round Revolver: Rhythm, Timbre, and Tempo in Rock Drumming.” Every Sound There Is: The Beatles Revolver and the Transformation of Rock and Roll, ed. Russell Reising, 171-182. Ashgate, 2002.Benadon, Fernando. “Slicing the Beat: Jazz Eighth-Notes as Expressive Microrhythm.” Ethnomusicology 50/1 (2006): 7398.Brackett, John. “Examining Rhythmic and Metric Practices in Led Zeppelins Musical Style. Popular Music 27/1 (2008): 53-76.Brownell, John. “The Changing Same: Asymmetry and Rhythmic Structure in Repetitive Idioms.” Ph.D. dissertation, York University, 2003.Butterfield, Matthew W. “The Power of Anacrusis: Engendered Feeling in Groove-Based Musics.” Music Theory Online 12/4 (2006). /issues/mto.06.12.4/mto.06.12.4.butterfield.htmlCommentary by Fernando Benadon, 13/1 (2007). /issues/mto.07.13.1/mto.07.13.1.benadon.htmlResponse by Butterfield, 13/3 (2007). /issues/mto.07.13.3/mto.07.13.3.butterfield.htmlButler, Mark J. “Turning the Beat Around: Reinterpretation, Metrical Dissonance, and Asymmetry in Electronic Dance Music.” Music Theory Online 7.6 (2001). /issues/mto.01.7.6/mto.01.7.6.butler.htmlCollier, Geoffrey L., and James Lincoln Collier. “Microrhythms in Jazz: A Review of Papers.” Annual Review of Jazz Studies 8 (1996): 117139.Friberg, Anders, and Andreas Sundstrm. “Swing Ratios and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern.” Music Perception 19/3 (2002): 333-349.Keil, Charles. “The Theory of Participatory Discrepancies: A Progress Report.” Ethnomusicology 39/1 (1995): 119. Keil, Charles, and Steven Feld. Music Grooves: Essays and Dialogues. University of Chicago Press, 1994.McClary, Susan. “Rap, Minimalism and Structures of Time in Late Twentieth-Century Culture.” Audio Culture: Readings in Modern Music, ed. Christoph Cox and Daniel Warner, 289-298. Continuum, 1994.Neal, Jocelyn R. “The Metric Makings of a Country Hit.” Reading Country Music: Steel Guitars, Opry Stars, and Honky-Tonk Bars, ed. Cecelia Tichi, 322-337. Duke University Press, 1998.Nelson, Angela M. S., ed. “This is How We Flow”: Rhythm in Black Cultures. University of South Carolina Press, 1999.Prgler, Joseph A. “Searching for Swing: Participatory Discrepancies in the Jazz Rhythm Section.” Ethnomusicology 39/1 (1995): 2154.Stewart, Alexander. “Funky Drummer: New Orleans, James Brown, and the Rhythmic Transformation of American Popular Music.” Popular Music 19/3 (2000): 293-318.Stewart, Michael. “The Feel Factor: Music with Soul.” Electronic Musician, October 1987, 5765.Temperley, David. “Syncopation in Rock: A Perceptual Perspective.” Popular Music 18/1 (1999): 19-40.Yako, Masato. “Classification of Rhythm Patterns.” Popular Music: Intercultural Interpretations (IASPM 9th International Conference), ed. Mitsui Toru, 398-411. Kanazawa University, 1998.sound and technologyAltman, Rick. “The Material Heterogeneity of Recorded Sound.” The Popular Music Studies Reader, ed. Andy Bennett, Barry Shank, and Jayson Toynbee, 269-275. Routledge, 2006.Bloustien, Gerry, Margaret Peters, and Susan Luckman, eds. Sonic Synergies: Music, Technology, Community, Identity. Ashgate, 2008.Cogan, Robert. So