Musikalske normer i populærmusik: Bibliografi: Artikler

Bibliografi: Artikler

Björnberg, Alf

1984	There’s something going on – om eolisk harmonik i nutida rockmusik i Tvärspel – trettioen artiklar om musik. Festskrift till Jan Ling., side 371-385. Musikvetenskabliga institutionen, Göteborg, Göteborg.
1990	Sounding the Mainstream. An analysis of the Songs Performed in the Swedish Eurovision Song Contest Semi-Finals 1959-1983 i Popular Music Research, NORDICOM-Sweden No 1-2, side 121-131. Dept. of Political Science, University of Göteborg, Göteborg.
1997	Om tonal analys av nutida populärmusik i Dansk Årbog for Musikforskning XXIV, 1996, side 69-84. Dansk Selskab for Musikforskning, Engstrøm & Sødring Musikforlag, København.

Bowman, Rob

1995	The Stax sound: a musicological analysis i Popular Music. Volume 14/3., side 285-320. Cambridge University Press, Cambridge.

Brackett, David

1992	James Brown’s ‘Superbad’ and the double-voiced utterance i Popular Music. Volume 11/3., side 309-324. Cambridge University Press, Cambridge.
2000	James Brown’s ‘Superbad’ and the Double-Voiced Utterance i Reading Pop., side 122-140. Oxford University Press, Oxford.

Burns, G.

1987	A typology of ‘hooks’ in popular records i Popular Music. Volume 6/1., side 1-20. Cambridge University Press, Cambridge.

Burns, Lori

2000	Analytic Methodologies for Rock Music. Harmonic and Voice-Leading Strategies in Tori Amos’s ‘Crucify‘ i Expression on Pop-Rock Music. A Collection of Critical and Analytical Essays., side 213-246. Garland Publishing, Inc., New York & London.

Covach, John

1997	We Won’t Get Fooled Again: Rock Music and Musical Analysis i Keeping Score. Music, Disciplinarity, Culture., side 75-89. The University Press of Virginia

Dahlhaus, Carl

1980	Tonality i The New Grove Dictionary of Music & Musicians. Volume 19., side 51-55. Macmillan Publishers Limited, London.

Doerschuk, Robert L.

1992	Country Music i Keyboard, November 1992., side 60-80. Miller Freeman, Inc., San Francisco.

Eerola, Tuomas

1998	The Rise and Fall of the Experimental Style of The Beatles i Beatlestudies 1. Songwriting, Recording, and Style Change., side 33-60. University of Jyväskylä, Department of Music: Research Reports 19, Jyväskylä.

Everett, Walter

2000	Confessions from Blueberry Hell, or, Pitch Can Be a Sticky Substance i Expression on Pop-Rock Music. A Collection of Critical and Analytical Essays., side 269-345. Garland Publishing, Inc., New York & London.

Fitzgerald, Jon

1995	Motown crossover hits 1963-1966 and the creative process i Popular Music. Volume 14/1., side 1-12. Cambridge University Press, Cambridge.

Guzek, Arne

1980	Komplet engelsk diskografi i MM, dec. 1980, side 13-14. Den Selvejende Institution Forlaget MM, København.

Hawkins, Stan

2000	Prince: Harmonic Analysis of ‘Anna Stesia’ i Reading Pop., side 58-70. Oxford University Press, Oxford.

Heinonen, Yrjö

2000	In Search of Lost Order – Archetypal Meanings in ‘Lucy In The Sky With Diamonds’ i Beatlestudies 2. History, Identity, Authenticity., side 207-255. University of Jyväskylä, Department of Music: Research Reports 23, Jyväskylä.

Heinonen, Yrjö & Eerola, Tuomas

2000	The Beatles and Their Times – Thoughts on the ‘Relative Autonomy’ of Stylistic Change i Beatlestudies 2. History, Identity, Authenticity., side 1-42. University of Jyväskylä, Department of Music: Research Reports 23, Jyväskylä.

Johansson, KG

1999	The Harmonic Language of the Beatles. i STM-Online. Volume 2 (1999).. Svenska samfundet för musikforskning

Koskimäki, Juoni

2000	Shortcomings in Sheet Music Publications of ‘Happiness Is A Warm Gun’ i Beatlestudies 2. History, Identity, Authenticity., side 169-205. University of Jyväskylä, Department of Music: Research Reports 23, Jyväskylä.

Koskimäki, Juoni & Heinonen, Yrjö

1998	Variation as the Key Principle of Arrangement in ‘Cry Baby Cry’ i Beatlestudies 1. Songwriting, Recording, and Style Change., side 119-145. University of Jyväskylä, Department of Music: Research Reports 19, Jyväskylä.

Lauesen, Rune

Rockanalyse. .

Marschner, Bo

1997	The Beatles’ musik · En kritisk studie i Cæcilia. Årbog 1995-97, side 113-144. Musikvidenskabeligt Institut, Aarhus Universitet, Århus.

McClary, Susan & Walser, Robert

1990	Start Making Sense! Musicology Wrestles with Rock! i On Record: Rock, Pop, and the Written Word.. Pantheon, New York.

McCreless, Patrick

1997	Rethinking Contemporary Music Theory i Keeping Score. Music, Disciplinarity, Culture., side 13-53. The University Press of Virginia

Middleton, Richard

1993	Popular music analysis and musicology: bridging the gap i Popular Music. Volume 12/2., side 177-190. Cambridge University Press, Cambridge.
1997	Pop goes old theory i Journal of the Royal Musical Association., side 303-320. Oxford University Press, London.
2000	Popular Music Analysis and Musicology: Bridging the Gap i Reading Pop., side 104-121. Oxford University Press, Oxford.

Moore, Allan

1992	Patterns of harmony i Popular Music. Volume 11/1., side 73-106. Cambridge University Press, Cambridge.

Nurmesjärvi, Terhi

1998	The Concept of Form and its Change in the Singles of The Beatles i Beatlestudies 1. Songwriting, Recording, and Style Change., side 61-88. University of Jyväskylä, Department of Music: Research Reports 19, Jyväskylä.
2000	You Need Another Chorus – Problems with Formal Concepts in Popular Music i Beatlestudies 2. History, Identity, Authenticity., side 147-168. University of Jyväskylä, Department of Music: Research Reports 23, Jyväskylä.

Parker, Martin

1991	Reading the charts – making sense with the hit parade i Popular Music. Volume 10/2., side 205-217. Cambridge University Press, Cambridge.

Powers, Harold S.

1980	Mode i The New Grove Dictionary of Music & Musicians. Volume 12., side 376-450. Macmillan Publishers Limited, London.

Tagg, Ph. D.

1979	Fernando i Dansk Musiktidsskrift, 1979/3, side 124-156.

Tagg, Philip

1989	Open letter: ‘Black music’, ‘Afro-American music’ and ‘European Music’. i Popular Music. Volume 8/3., side 285-298. Cambridge University Press, Cambridge.
2000	Analysing Popular Music: Theory, Method, and Practice i Reading Pop., side 71-103. Oxford University Press, Oxford.

Tagg, Philipp

1982	Analysing popular music: theory, method and practise. i http://www.tagg.org., side 1-22.

Tamlyn, Gerry

1998	The Rhytmic Roots of Rock’n’Roll in Rhythm and Blues i Music on Show: Issues of Perfomance, side 330-335. Dept. of Folk Tradition Publ., Tampere, Finland.

Temperly, David

1999	Syncopations in rock: a perceptual perspective i Popular Music. Volume 18/1., side 19-40. Cambridge University Press, Cambridge.

Whiteley, Sheila

1990	Progressive rock and psychedelic coding in the work of Jimi Hendrix i Popular Music. Volume 9/1., side 37-60. Cambridge University Press, Cambridge.

Winkler, Peter

1997	Writing Ghost Notes: The Poetics and Politics of Transcription i Keeping Score. Music, Disciplinarity, Culture., side 169-203. The University Press of Virginia
2000	Randy Newman’s Americana i Reading Pop., side 27-57. Oxford University Press, Oxford.