Presentations and Authors

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General Papers

Title Page and Editorial Note PDF
Geoff Stahl
Constructing a rough account of British concert promotion history doi: 10.5429/2225-0301.2009.01
Matt Brennan
Songs of the living dead: The politics of posthumous performance doi: 10.5429/2225-0301.2009.02
Shelley Brunt
Environment and aesthetic experience: Dark Side of the Moon doi: 10.5429/2225-0301.2009.03
Jorge Cardoso Filho
Live music and music policy doi: 10.5429/2225-0301.2009.04
Martin Cloonan
What is "popular music heritage", what is its purpose and who is it for? The Birmingham Popular Music Archive Project doi: 10.5429/2225-0301.2009.05
Jez Collins
Soul scenes and gender relations in soul songs doi: 10.5429/2225-0301.2009.06
Floris Cooman
Money for what? An exploration in music crowdfunding or P2P finance doi: 10.5429/2225-0301.2009.07
Francesco D'Amato
Between rock and a harmony place doi: 10.5429/2225-0301.2009.08
Christopher Doll
Verse, chorus (refrain), bridge: Analysing formal structures of the Beatles' songs doi: 10.5429/2225-0301.2009.09
Franco Fabbri
Marginal character, multiple artist: Analysing the songs of Itamar Assumpção doi: 10.5429/2225-0301.2009.10
Conrado Falbo
Analysing live music in the UK: Findings one year into a three-year research project doi: 10.5429/2225-0301.2009.11
Simon Frith
The overdub tampering committee and plunderphonics: Popular music and resistance in the postmodern age doi: 10.5429/2225-0301.2009.12
Daniela Furini
"Cul de sax": Construction and consolidation of a musical stereotype doi: 10.5429/2225-0301.2009.13
Simone Garino
Popular music from the perspective of the fans doi: 10.5429/2225-0301.2009.14
Cristina Grossi, Hugo Leonardo Ribeiro, Rone Samuel
The evolution of culture: Is political music still being heard? doi: 10.5429/2225-0301.2009.15
Sally Hawkins
Resisting multiculturalism: Racial and gender politics of indie rock in Asian America doi: 10.5429/2225-0301.2009.16
Wendy Hsu
Mediation and mutineers in the Pacific: Place-making and music at Norfolk Island’s Cyclorama doi: 10.5429/2225-0301.2009.17
Henry Johnson
The return of Svengali: Pop-manager as a star-celebrity in the age of Pop-Idol doi: 10.5429/2225-0301.2009.18
Kari Kallioniemi
Horror rock! Staging the early aesthetics of fear and terror doi: 10.5429/2225-0301.2009.19
Kimi Kärki
A stylistic history of cover version doi: 10.5429/2225-0301.2009.20
Akitsugu Kawamoto
Sacred popular song in America: A case study of Albert E. Brumley's "I'll fly away" doi: 10.5429/2225-0301.2009.21
Kevin Kehrberg
"Dare to be free": The Dixie Chicks' existential conversion doi: 10.5429/2225-0301.2009.22
Jim Le Blanc
The traitor and the stowaway: Persona construction and the quest for cultural anonymity and cultural relevance in the trajectories of Bob Dylan and Leonard Cohen doi: 10.5429/2225-0301.2009.23
Christophe Lebold
Globalisation movement in the Hong Kong music market from the 1980s doi: 10.5429/2225-0301.2009.24
Eve Leung
Poverty, prophets and politics: Marxist discourses in Malawi music, 1994-2008 doi: 10.5429/2225-0301.2009.25
John Lwanda
Computers, culture and music: The history of the recording industry in Malawi doi: 10.5429/2225-0301.2009.26
John Lwanda, Chipo Kanjo
Reviewing history in French hip hop music doi: 10.5429/2225-0301.2009.27
Isabelle Marc Martínez
Authorship and co-authorship in samba: From early times to nowadays doi: 10.5429/2225-0301.2009.28
Cláudia Neiva de Matos
Performing aboriginal places in white towns doi: 10.5429/2225-0301.2009.29
Åse Ottosson
"Music me": Betty Davis' voice doi: 10.5429/2225-0301.2009.30
Grant Olwage
Writing performative identities: Discursive traits of femininity in hip hop journalism doi: 10.5429/2225-0301.2009.31
Barbara Anna Panuzzo
Walls come tumbling down: challenges and chances in writing the history of popular music in East Germany doi: 10.5429/2225-0301.2009.32
Michael Rauhut
New Zealand commercial radio – Coke or L&P? Coke the local brand, or L&P, the local within the Coke empire: The Relationship between America and Hybrid Culture doi: 10.5429/2225-0301.2009.33
Brendan Reilly
Songs, history and cultural identity in the city-state of Harar, Ethiopia doi: 10.5429/2225-0301.2009.34
Ilaria Sartori
The music of exile of Mikis Theodorakis. The eternal voice of freedom… doi: 10.5429/2225-0301.2009.35
Kalliopi Stiga
Saying "Yes" to semiology: Form and syntax in "Close to the edge" doi: 10.5429/2225-0301.2009.36
Sundar Subramanian
Soviet popular style and the representations of Karelianness doi: 10.5429/2225-0301.2009.37
Pekka Suutari
In the name of the genre: Neologisms, ideology, neorealistic aesthetics; the birth of a musical genre, the case of Italian cantautori doi: 10.5429/2225-0301.2009.38
Jacopo Tomatis
King Tut's Wah Wah Hut: Initial research into a "local" live music venue doi: 10.5429/2225-0301.2009.39
Emma Webster
Pop pagans: The sacredness of place in popular music doi: 10.5429/2225-0301.2009.40
Donna Weston
F*** the U.S.A.: The new cosmopolitan class and the protest of place doi: 10.5429/2225-0301.2009.41
Jesse Samba Wheeler
"Kasatchok Superstar": Post-Soviet popular music, the Russendisko and the European Russian-folklore-lineage doi: 10.5429/2225-0301.2009.42
David-Emil Wickström
English folk music as world music doi: 10.5429/2225-0301.2009.43
Trish Winter, Simon Keegan-Phipps

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