Adorno, T.W. (1978) ‘On the Fetish-Character in Music and the Regression of Listening’, in The Essential Frankfurt School Reader. Oxford: Blackwell.
Adorno, T.W. (2002) ‘The Radio Symphony (1941)’, in Essays on Music: Theodor W. Adorno. Berkeley, Calif: University of California Press.
Adorno, T.W. and Levin, T.Y. (1990) ‘Opera and the Long-Playing Record’, October, 55. Available at: https://doi.org/10.2307/778937.
Anderson, T. (2014) ‘Introduction’, in Popular Music in a Digital Music Economy: Problems and Practices for an Emerging Service Industry. New York: Routledge.
anderson, T. (2014) ‘Introduction’, in Popular Music in a Digital Music Economy: Problems and Practices for an Emerging Service Industry. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=1582731.
Arditi, D. (2017) ‘Digital Subscriptions: The Unending Consumption of Music in the Digital Era’, Popular Music and Society, 41(3), pp. 1–17. Available at: https://doi.org/10.1080/03007766.2016.1264101.
Ashby, A. (2010a) ‘Beethoven and the iPod Nation’, in Absolute Music, Mechanical Reproduction. Berkeley, Calif: University of California Press.
Ashby, A. (2010b) ‘Beethoven and the iPod Nation’, in Absolute Music, Mechanical Reproduction. Berkeley, Calif: University of California Press. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=566757.
Ashby, A. (2010c) ‘Schnabel’s Rationalism, Gould’s Pragmatism’, in Absolute Music, Mechanical Reproduction. Berkeley, Calif: University of California Press.
Ashby, A. (2010d) ‘Schnabel’s Rationalism, Gould’s Pragmatism’, in Absolute Music, Mechanical Reproduction. Berkeley, Calif: University of California Press. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=566757.
Auslander, P. (2008a) Liveness: Performance in a Mediatized Culture. 2nd ed. London: Routledge.
Auslander, P. (2008b) Liveness: Performance in a Mediatized Culture. London: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.myilibrary.com?id=110219.
Auslander, P. (2012) ‘Digital Liveness: A Historico-Philosophical Perspective’, PAJ: A Journal of Performance and Art, 34(3). Available at: https://www.jstor.org/stable/26206427?seq=1#metadata_info_tab_contents.
Auslander, P. and Inglis, I. (2016a) ‘”Nothing Is Real”: The Beatles as Virtual Performers’, in S. Whiteley and S. Rambarran (eds) The Oxford Handbook of Music and Virtuality. New York: Oxford University Press.
Auslander, P. and Inglis, I. (2016b) ‘"Nothing Is Real”: The Beatles as Virtual Performers’, in The Oxford Handbook of Music and Virtuality. Oxford University Press. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4083462.
Aziz, M.A. (2010) ‘Arabic Music Videos and their Implications for Arab Music and Media’, in Music and Media in the Arab World. Cairo: American University in Cairo Press.
Baade, C. and Aitken, P. (2008) ‘Still "In the Mood”: The Nostalgia Aesthetic in a Digital World.’, Journal of Popular Music Studies, 20(4), pp. 353–377. Available at: http://0-search.ebscohost.com.catalogue.libraries.london.ac.uk/login.aspx?direct=true&db=a9h&AN=35994556&site=ehost-live.
Baily, J. (2011a) ‘Music, Migration and War: The BBC’s Interactive Music Broadcasting to Afghanistan and the Afghan Diaspora’, in J. Toynbee and B. Dueck (eds) Migrating music. London: Routledge, pp. 180–194.
Baily, J. (2011b) ‘Music, Migration and War: The BBC’s Interactive Music Broadcasting to Afghanistan and the Afghan Diaspora’, in Migrating Music. London: Routledge, pp. 180–194. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=683938.
Baker, M. (2013a) ‘The Aesthetics of Livecasting’, in Live to Your Local Cinema 2013: The Remarkable Rise of Livecasting. 1st ed. 2013. Basingstoke: Palgrave Macmillan.
Baker, M. (2013b) ‘The Aesthetics of Livecasting’, in Live to Your Local Cinema: The Remarkable Rise of Livecasting. Basingstoke: Palgrave Macmillan. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781137288691.
Barrett, J. (2010) ‘Producing Performance’, in Recorded Music: Performance, Culture and Technology. Cambridge: Cambridge University Press.
Baym, N.K. (2011) ‘The Swedish Model: Balancing Markets and Gifts in the Music Industry’, Popular Communication, 9(1), pp. 22–38. Available at: https://doi.org/10.1080/15405702.2011.536680.
Belsky, L. (2010) ‘Everything in Its Right Place: Social Cooperation and Artist Compensation’, Michigan Telecommunications and Technology Law Review, 17(1), pp. 1–66. Available at: http://heinonline.org/HOL/Page?public=false&handle=hein.journals/mttlr17&id=3.
Bench, H. (2013a) ‘"Single Ladies is Gay”: Queer Performances and Mediated Masculinities on YouTube’, in M. Bales and K. Eliot (eds) Dance on Its Own Terms: Histories and Methodologies. Oxford: Oxford University Press.
Bench, H. (2013b) ‘"Single Ladies is Gay”: Queer Performances and Mediated Masculinities on YouTube’, in M. Bales and K. Eliot (eds) Dance on Its Own Terms: Histories and Methodologies. New York: Oxford University Press. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=3055619.
Bennett, A. (2008) ‘Popular Music, Media and the Narrativization of Place’, in Sonic Synergies: Music, Technology, Community, Identity. Aldershot: Ashgate, pp. 69–78.
Bennett, Samantha (2016) ‘The Listener as Remixer: Mix Stems in Online Fan Community and Competition Contexts’, in S. Whiteley and S. Rambarran (eds) The Oxford Handbook of Music and Virtuality. New York: Oxford University Press.
Bennett, Samntha (2016) ‘The Listener as Remixer: Mix Stems in Online Fan Community and Competition Contexts’, in The Oxford Handbook of Music and Virtuality. Oxford University Press. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/readonline/9780199321292.
Bergh, A. and DeNora, T. (2009) ‘From Wind-Up to iPod: Techno-Cultures of Listening’, in E. Clarke, D. Leech-Wilkinson, and J. Rink (eds) The Cambridge Companion to Recorded Music. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521865821.
Berland, J. (1993a) ‘Sound, Image and Social Space: Music Video and Media Reconstruction’, in Sound and Vision: The Music Video Reader. London: Routledge.
Berland, J. (1993b) ‘Sound, Image and Social Space: Music Video and Media Reconstruction’, in Sound and Vision: The Music Video Reader. London: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203993569.
Bijsterveld, K. (2010) ‘Acoustic Cocooning’, The Senses and Society, 5(2), pp. 189–211. Available at: https://doi.org/10.2752/174589210X12668381452809.
Blake, A. (2004) ‘To the Millennium: Music as Twentieth-Century Commodity’, in The Cambridge History of Twentieth-Century Music. Cambridge: Cambridge University Press, pp. 478–505.
Blake, A. (2009) ‘Recording Practices and the Role of the Producer’, in The Cambridge Companion to Recorded Music. Cambridge: Cambridge University Press, pp. 36–54.
Bode, M. (2009) ‘Making Sense of Music in Advertising Research: An Interpretive Model of the Interaction Between Music and Image’, in N. Graakjaer and C. Jantzen (eds) Music in Advertising: Commercial Sounds in Media Communication and Other Settings. Aalborg: Aalborg University Press.
Brøvig-Hanssen, R. (2016a) ‘Justin Bieber Featuring Slipknot: Consumption as Mode of Production’, in S. Whiteley and S. Rambarran (eds) The Oxford Handbook of Music and Virtuality. New York: Oxford University Press.
Brøvig-Hanssen, R. (2016b) ‘Justin Bieber Featuring Slipknot: Consumption as Mode of Production’, in The Oxford Handbook of Music and Virtuality. Oxford University Press. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/readonline/9780199321292.
Brown, S.C. (2011) ‘Artist Autonomy in a Digital Era: The Case of Nine Inch Nails’, Empirical Musicology Review, 6(4), pp. 198–213. Available at: https://doi.org/10.18061/1811/52949.
Bull, M. (2005) ‘Automobility and the Power of Sound’, in Automobilities. London: SAGE.
Bull, M. (2014a) ‘Automobility and the Power of Sound’, in Automobilities. London: SAGE. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=456723.
Bull, M. (2014b) ‘iPod Use, Mediation, and Privatization in the Age of Mechanical Reproduction’, in J. Stanyek (ed.) The Oxford Handbook of Mobile Music Studies: Volume 1. New York: Oxford University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1093/oxfordhb/9780195375725.001.0001.
Bull, M. (2014c) ‘Pod Use, Mediation, and Privatization in the Age of Mechanical Reproduction’, in The Oxford Handbook of Mobile Music Studies. New York: Oxford University Press.
Carah, N. (2010) ‘"Money and TV Destroyed This Thing!” – Mediated Youth, Popular Music and the Brandscape’, in Pop Brands: Branding, Popular Music, and Young People. New York: Peter Lang.
Chanan, M. (1995a) ‘Record Culture’, in Repeated Takes: A Short History of Recording and Its Effects on Music. London: Verso.
Chanan, M. (1995b) ‘Recording Electrified’, in Repeated Takes: A Short History of Recording and Its Effects on Music. London: Verso.
Cochran, K. (2011) ‘Facing the Music: Remixing Copyright Law in the Digital Age’, Kansas Journal of Law & Public Policy [Preprint]. Available at: http://heinonline.org/HOL/Page?public=false&handle=hein.journals/kjpp20&id=318.
Collins, K. (2007) ‘In the Loop: Creativity and Constraint in 8-Bit Video Game Audio’, Twentieth-Century Music, 4(2). Available at: https://doi.org/10.1017/S1478572208000510.
Collins, K. (2009) ‘An Introduction to Procedural Music in Video Games’, Contemporary Music Review, 28(1), pp. 5–15. Available at: https://doi.org/10.1080/07494460802663983.
Composing Electronic Music Accomannying Examples (no date). Available at: http://global.oup.com/us/companion.websites/9780195373240/ch11/.
Cook, N. (1994) ‘Music and Meaning in the Commercials’, Popular Music, 13(1), pp. 27–40. Available at: http://www.jstor.org.ezproxy01.rhul.ac.uk/stable/852898?seq=1#page_scan_tab_contents.
Cook, N. (1997) Analysing Musical Multimedia. Oxford [England]: Clarendon Press.
Cook, N. (2014a) ‘Beyond Music: Mashup, Multimedia Mentality, and Intellectual Property’, in The Oxford Handbook of New Audiovisual Aesthetics. New York, NY: Oxford University Press.
Cook, N. (2014b) ‘Beyond Music: Mashup, Multimedia Mentality, and Intellectual Property’, in The Oxford Handbook of New Audiovisual Aesthetics. New York: Oxford University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.
Cope, D. (1991) Computers and Musical Style. Oxford: Oxford University Press.
Cope, D. (1992) ‘Computer Modeling of Musical Intelligence in EMI’, Computer Music Journal, 16(2). Available at: https://doi.org/10.2307/3680717.
Cope, D. (1993) ‘A Computer Model of Music Composition’, in Machine Models of Music. Cambridge, Mass: MIT Press.
Couldry, N. (2004) ‘Liveness, "Reality,” and the Mediated Habitus from Television to the Mobile Phone’, The Communication Review, 7(4), pp. 353–361. Available at: https://doi.org/10.1080/10714420490886952.
Crutchfield, W. (2009) ‘What is Tradition?’, in Fashions and Legacies of Nineteenth-Century Italian Opera. Cambridge: Cambridge University Press.
Cutler, C. (2004) ‘Plunderphonia’, in Audio Culture: Readings in Modern Music. New York: Continuum. Available at: http://www.loc.gov/catdir/toc/ecip0417/2004009124.html.
Dack, J. (2010) ‘From Sound to Music, From Recording to Theory’, in Recorded Music: Performance, Culture and Technology. Cambridge: Cambridge University Press.
D’Amato, F. (2016a) ‘With a Little Help From My Friends, Family and Fans. DIY, Participatory Culture and Social Capital in Music Crowdfunding’, in S. Whiteley and S. Rambarran (eds) The Oxford Handbook of Music and Virtuality. New York: Oxford University Press.
D’Amato, F. (2016b) ‘With a Little Help From My Friends, Family and Fans. DIY, Participatory Culture and Social Capital in Music Crowdfunding’, in The Oxford Handbook of Music and Virtuality. Oxford University Press. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4083462.
Danielsen, A. and Helseth, I. (2016) ‘Mediated Immediacy: The Relationship Between Auditory and Visual Dimensions of Live Performance in Contemporary Technology-Based Popular Music’, Rock Music Studies, 3(1), pp. 24–40. Available at: https://doi.org/10.1080/19401159.2015.1126986.
David Cope Website (no date). Available at: http://artsites.ucsc.edu/faculty/cope/experiments.htm.
David Huron (1989) ‘Music in Advertising: An Analytic Paradigm’, The Musical Quarterly, 73(4), pp. 557–574. Available at: http://www.jstor.org.ezproxy01.rhul.ac.uk/stable/741819?seq=1#page_scan_tab_contents.
DeNora, T. (2000a) ‘Music as a Device of Social Ordering’, in Music in Everyday Life. Cambridge: Cambridge University Press, pp. 109–150.
DeNora, T. (2000b) ‘Music as a Device of Social Ordering’, in Music in Everyday Life. Cambridge: Cambridge University Press, pp. 109–150. Available at: https://www-cambridge-org.ezproxy01.rhul.ac.uk/core/books/music-in-everyday-life/EE77B0AC56959E4874C2BF5B48A0F7E2.
DeNora, T. (2000c) ‘Music as a Technology of Self’, in Music in Everyday Life. Cambridge: Cambridge University Press, pp. 46–74.
DeNora, T. (2000d) ‘Music as a Technology of Self’, in Music in Everyday Life. Cambridge: Cambridge University Press, pp. 46–74. Available at: http://dx.doi.org/10.1017/CBO9780511489433.
DeNora, T. (2000e) Music in Everyday Life. Cambridge: Cambridge University Press.
DeNora, T. (2000f) Music in Everyday Life. Cambridge: Cambridge University Press. Available at: http://dx.doi.org/10.1017/CBO9780511489433.
Driscoll, K. and Diaz, J. (2009) ‘Endless Loop: A Brief History of Chiptunes’, Transformative Works and Cultures, 2. Available at: http://journal.transformativeworks.org/index.php/twc/article/view/96/94.
Eley, C. (2011) ‘Technostalgia and the Resurgence of Cassette Culture’, in The Politics of Post-9/11 Music: Sound, Trauma, and the Music Industry in the Time of Terror. Farnham: Ashgate. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4425701.
Elouardaoui, O. (2013) ‘Contemporary Arab Music Video Clips: Between Simulating MTV’s Gender Stereotypes and Fostering New Ones’, Imaginations. Available at: http://imaginations.glendon.yorku.ca/?p=4358.
Eno, B. (2009) ‘The Studio as Compositional Tool’, in Audio Culture: Readings in Modern Music. New York: Continuum. Available at: http://www.loc.gov/catdir/toc/ecip0417/2004009124.html.
Essl, K. (2007a) ‘Algorithmic Composition’, in The Cambridge Companion to Electronic Music. Cambridge: Cambridge University Press, pp. 107–125. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521868617.
Essl, K. (2007b) ‘Algorithmic Composition’, in N. Collins and J. d’Escrivan (eds) The Cambridge Companion to Electronic Music. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521868617.
Frith, S. and Zagorski-Thomas, S. (2012) The Art of Record Production: An Introductory Reader for a New Academic Field. Farnham: Ashgate.
Fritsch, M. (2016) ‘‘"It’s A-Me, Mario!” Playing With Video Game Music’, in M. Kamp, T. Summers, and M. Sweeney (eds) Ludomusicology: Approaches to Video Game Music. Sheffield, UK: Equinox Publishing Ltd.
Fritsch, M. and Strötgen, S. (2012) ‘Relatively Live: How to Identify Live Music Performances’, Music and the Moving Image, 5(1). Available at: https://doi.org/10.5406/musimoviimag.5.1.0047.
Galuszka, P. (2015) ‘New Economy of Fandom’, Popular Music and Society, 38(1), pp. 25–43. Available at: https://doi.org/10.1080/03007766.2014.974325.
GDC Vault - Procedural Music in SPORE (no date). Available at: http://www.gdcvault.com/play/323/Procedural-Music-in.
Gegen, J. and Cook, N. (2016) ‘Performing Live in Second Life’, in S. Whiteley and S. Rambarran (eds) The Oxford Handbook of Music and Virtuality. New York: Oxford University Press.
Gibson, C. (2005) ‘Recording Studios: Relational Spaces of Creativity in the City’, Built Environment (1978-), 31(3), pp. 192–207. Available at: https://www.jstor.org/stable/23289439?sid=primo&seq=1#metadata_info_tab_contents.
Goodwin, A. (1993) ‘A Musicology of the Image’, in Dancing in the Distraction Factory: Music Television and Popular Culture. London: Routledge.
Gould, G. (2004) ‘The Prospects of Recording’, in Audio Culture: Readings in Modern Music. New York: Continuum.
Greig, D. (2009) ‘Performing for (And Against) the Microphone’, in E. Clarke, D. Leech-Wilkinson, and J. Rink (eds) The Cambridge Companion to Recorded Music. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521865821.
Haupt, A. (2006) ‘The Technology of Subversion: From Digital Sampling in Hip-Hop to the MP3 Revolution’, in Cybersounds: Essays on Virtual Music Culture. New York: Peter Lang.
Hearsum, P. and Inglis, I. (2013) ‘The Emancipation of Music Video: Youtube and the Cultural Politics of Supply and Demand’, in The Oxford Handbook of New Audiovisual Aesthetics. New York: Oxford University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.
Hesmondhalgh, D. and Meier, L. (2014) ‘Popular Music, Independence and the Concept of the Alternative in Contemporary Capitalism’, in Media Independence: Working With Freedom or Working for Free? New York: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315776392.
Hesmondhalgh, D. and Meier, L.M. (2015) ‘Popular Music, Independence and the Concept of the Alternative in Contemporary Capitalism’, in J. Bennett and N. Strange (eds) Media Independence: Working With Freedom or Working for Free? New York: Routledge.
Hiller, L. and Isaacson, L. (1993) ‘Musical Composition With a High-Speed Digital Computer’, in Machine Models of Music. Cambridge, Mass: MIT Press. Available at: https://ieeexplore-ieee-org.ezproxy01.rhul.ac.uk/book/6267501.
Hogg, B. (2012a) ‘Music Technology, or Technologies of Music?’, in The Cultural Study of Music: A Critical Introduction. 2nd ed. New York: Routledge.
Hogg, B. (2012b) ‘Music Technology, or Technologies of Music?’, in The Cultural Study of Music: A Critical Introduction. New York: Routledge. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=957262.
Horning, S.S. (2012a) ‘The Sounds of Space: Studio as Instrument in the Era of High Fidelity’, in The Art of Record Production: An Introductory Reader for a New Academic Field. Farnham: Ashgate.
Horning, S.S. (2012b) ‘The Sounds of Space: Studio as Instrument in the Era of High Fidelity’, in The Art of Record Production: An Introductory Reader for a New Academic Field. Farnham: Ashgate. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=985368.
Hosokawa, S. (1984) ‘The Walkman Effect’, Popular Music, 4. Available at: https://www.jstor.org/stable/853362?seq=1#metadata_info_tab_contents.
Jones, D., Brown, A. and D’Inverno, M. (2012) ‘The Extended Composer’, in M. d’Inverno (ed.) Computers and Creativity. Berlin, Heidelberg: Springer Berlin Heidelberg. Available at: http://dx.doi.org/10.1007/978-3-642-31727-9.
Kahn, E. (1996) ‘The Carter Family on Border Radio’, American Music, 14(2). Available at: https://doi.org/10.2307/3052353.
Karpovich, A. (2007) ‘Reframing Fan Videos’, in Music, Sound and Multimedia: From the Live to the Virtual. Edinburgh: Edinburgh University Press.
Karpovich, A.I. (2007) ‘Reframing Fan Videos’, in Music, Sound and Multimedia: From the Live to the Virtual. Edinburgh: Edinburgh University Press. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=1962334.
Kassabian, A. (2013) ‘Ubiquitous Listening’, in Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity. Berkeley: University of California Press, pp. 1–19.
Kats, M. (2010a) ‘Causes’, in Capturing Sound: How Technology Has Changed Music. Rev. ed. Berkeley: University of California Press, pp. 10–55.
Kats, M. (2010b) ‘Introduction’, in Capturing Sound: How Technology Has Changed Music. Rev. ed. Berkeley: University of California Press.
Katz, M. (2010a) ‘Aesthetics Out of Exigency: Violin Vibrato and the Phonograph’, in Capturing Sound: How Technology Has Changed Music. Rev. ed. Berkeley: University of California Press.
Katz, M. (2010b) ‘Aesthetics Out of Exigency: Violin Vibrato and the Phonograph’, in Capturing Sound: How Technology Has Changed Music. Berkeley, Calif: University of California Press. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=579794.
Katz, M. (2010c) ‘Capturing Jazz’, in Capturing Sound: How Technology Has Changed Music. Rev. ed. Berkeley: University of California Press.
Katz, M. (2010d) ‘Capturing Jazz’, in Capturing Sound: How Technology Has Changed Music. Berkeley, Calif: University of California Press. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=579794.
Katz, M. (2010e) ‘Causes’, in Capturing Sound: How Technology Has Changed Music. Berkeley, Calif: University of California Press, pp. 10–55. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=579794.
Katz, M. (2010f) ‘Introduction’, in Capturing Sound: How Technology Has Changed Music. Berkeley, Calif: University of California Press. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=579794.
Katz, M. (2010g) ‘Music in 1s and 0s: The Art and Politics of Digital Sampling’, in Capturing Sound: How Technology Has Changed Music. Rev. ed. Berkeley: University of California Press.
Katz, M. (2010h) ‘Music in 1s and 0s: The Art and Politics of Digital Sampling’’, in Capturing Sound: How Technology Has Changed Music. Berkeley, Calif: University of California Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780520947351.
Kim, P.H. (2010) ‘The Birth of "Rok”: Cultural Imperialism, Nationalism, and the Glocalization of Rock Music in South Korea, 1964–1975’, positions, 18(1), pp. 199–230. Available at: https://doi.org/10.1215/10679847-2009-028                                  10.1215/10679847-2009-028.
Kjus, Y. and Danielsen, A. (2016) ‘Live Mediation: Performing Concerts Using Studio Technology’, Popular Music, 35(03), pp. 320–337. Available at: https://doi.org/10.1017/S0261143016000568.
Klein, B. (2009) ‘As Heard on TV: The Marriage of Popular Music and Advertising’, in As Heard on TV: Popular Music in Advertising. Farnham [etc.]: Ashgate.
Klein, B. (2016) ‘Selling Out: Musicians, Autonomy, and Compromise in the Digital Age’, Popular Music and Society, pp. 1–17. Available at: https://doi.org/10.1080/03007766.2015.1120101.
Korsgaard, M.B. (2013a) ‘Music Video Transformed’, in The Oxford Handbook of New Audiovisual Aesthetics. New York, NY: Oxford University Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13410269810002671&institutionId=2671&customerId=2670.
Korsgaard, M.B. (2013b) ‘Music Video Transformed’, in The Oxford Handbook of New Audiovisual Aesthetics. New York: Oxford University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.
Laing, D. (2012a) ‘Music and the Market: The Economics of Music in the Modern World’, in The Cultural Study of Music: A Critical Introduction. New York: Routledge, pp. 288–298.
Laing, D. (2012b) ‘Music and the Market: The Economics of Music in the Modern World’, in The Cultural Study of Music: A Critical Introduction. New York: Routledge. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=957262.
Landau, C. (2011a) ‘"My Own Little Morocco at Home”: A Biographical Account of Migration, Mediation and Music Consumption’, in J. Toynbee and B. Dueck (eds) Migrating music. London: Routledge, pp. 38–54.
Landau, C. (2011b) ‘"My Own Little Morocco at Home”: A Biographical Account of Migration, Mediation and Music Consumption’, in Migrating Music. Hoboken: Taylor and Francis. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=683938.
Langlois, T. (1996) ‘The Local and Global in North African Popular Music’, Popular Music, 15(03). Available at: https://doi.org/10.1017/S0261143000008266.
Larkin, B. (2004) ‘Bandiri Music, Globalization, and Urban Experience in Nigeria’, Social Text, 22(4 81), pp. 91–112. Available at: https://doi.org/10.1215/01642472-22-4_81-91.
Levitt, D.A. and Schwanauer, S.M. (1993) Machine Models of Music. Cambridge, Massachusetts: MIT Press. Available at: https://ieeexplore-ieee-org.ezproxy01.rhul.ac.uk/book/6267501.
Love, J. (2015) ‘From Cautionary Chart-Topper to Friendly Beverage Anthem: Michael Jackson’s "Billie Jean” and Pepsi’s "Choice of a New Generation” Television Campaign’, Journal of the Society for American Music, 9(02), pp. 178–203. Available at: https://doi.org/10.1017/S175219631500005X.
Manuel, P. (1993) ‘Rasia: A Case Study in Commercialization’, in Cassette Culture: Popular Music and Technology in North India. Chicago: University of Chicago Press.
Manuel, P. (2014) ‘The Regional North Indian Popular Music Industry in 2014: From Cassette Culture to Cyberculture’, Popular Music, 33(03), pp. 389–412. Available at: https://doi.org/10.1017/S0261143014000592.
Martin, C. (1993) ‘Traditional Criticism of Popular Music and the Making of a Lip‐synching Scandal’, Popular Music and Society, 17(4), pp. 63–81. Available at: https://doi.org/10.1080/03007769308591535.
Mauel, P. (1993) ‘Introduction: Theoretical Perspectives’, in Cassette Culture: Popular Music and Technology in North India. Chicago: University of Chicago Press.
Meier, L.M. (2011) ‘Promotional Ubiquitous Musics: Recording Artists, Brands, and "Rendering Authenticity”’, Popular Music and Society, 34(4), pp. 399–415. Available at: https://doi.org/10.1080/03007766.2011.601569.
Meier, L.M. (2017) Popular Music as Promotion: Music and Branding in the Digital Age. Cambridge: Polity. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780745692234.
Middleton, R. (1990a) ‘It’s All Over Now’, in Studying Popular Music. Milton Keynes [England]: Open University Press.
Middleton, R. (1990b) ‘“It’s All Over Now”. Popular Music and Mass Culture - Adorno’s Theory’, in Studying Popular Music. Milton Keynes: Open University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780335232284.
Mitsui, T. and Hosokawa, S. (2001) ‘Introduction’, in Karaoke Around the World: Global Technology, Local Singing. London: Routledge.
Moore, A. (2002) ‘Authenticity as Authentication’, Popular Music, 21(2). Available at: https://www.jstor.org/stable/853683?seq=1#metadata_info_tab_contents.
Moore, A. (2012a) ‘Beyond a Musicology of Production’, in The Art of Record Production: An Introductory Reader for a New Academic Field. Farnham: Ashgate.
Moore, A. (2012b) ‘Beyond a Musicology of Production’, in The Art of Record Production: An Introductory Reader for a New Academic Field. Farnham: Ashgate. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=985368.
Morcom, A. (2009) ‘Bollywood, Tibet, and the Spatial and Temporal Dimensions of Global Modernity’, Studies in South Asian Film & Media, 1(1), pp. 145–172. Available at: https://doi.org/10.1386/safm.1.1.145_1.
Negus, K. (1992) ‘Music Machines’, in Producing Pop: Culture and Conflict in the Popular Music Industry. London: Arnold.
Negus, K. (1996) ‘Industry’, in Popular Music in Theory: An Introduction. Cambridge: Polity.
Negus, K. (1999a) ‘Culture, Industry, Genre: Conditions of Musical Creativity’, in Music Genres and Corporate Cultures. London: Routledge, pp. 14–30.
Negus, K. (1999b) ‘Culture, Industry, Genre: Conditions of Musical Creativity’, in Music Genres and Corporate Cultures. London: Routledge, pp. 14–30. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203169469.
Negus, K. (1999c) ‘Territorial Marketing: International Repertoire and World Music’, in Music Genres and Corporate Cultures. London: Routledge, pp. 152–172.
Negus, K. (1999d) ‘Territorial Marketing: International Repertoire and World Music’, in Music Genres and Corporate Cultures. London: Routledge, pp. 152–172. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203169469.
Ogawa, H. (2001) ‘The Effects of Karaoke on Music in Japan’, in Karaoke Around the World: Global Technology, Local Singing. London: Routledge.
Oliver, R. (2013) ‘99 Problems” but Danger Mouse Ain’t One: The Creative and Legal Difficulties of Brian Burton, "Author” of the Grey Album’’, Popular Musicology Online, 3. Available at: http://www.popular-musicology-online.com/issues/03/rambarran.html.
Pasdzierny, M. (2013a) ‘’Geeks on Stage? Investigations in the World of (Live) Chipmusic’, in P. Moormann (ed.) Music and Game: Perspectives on a Popular Alliance. Wiesbaden: Springer VS. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13408629820002671&institutionId=2671&customerId=2670.
Pasdzierny, M. (2013b) ‘’Geeks on Stage? Investigations in the World of (Live) Chipmusic’, in Music and Game: Perspectives on a Popular Alliance. Wiesbaden: Springer VS. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13410216160002671&institutionId=2671&customerId=2670.
Patmore, D. (2009) ‘Selling Sounds: Recordings and the Record Business’, in E. Clarke, D. Leech-Wilkinson, and J. Rink (eds) The Cambridge Companion to Recorded Music. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521865821.
Patteson, T. (2016) ‘Listening to Instruments’, in Instruments for new music : sound, technology, and modernism. [Place of publication not identified]: University of California Press.
Paul, T. (1999) ‘Technology’, in Key Terms in Popular Music and Culture. Blackwell.
Plasketes, G. (1992) ‘Romancing the Record: The Vinyl De-Evolution and Subcultural Evolution’, The Journal of Popular Culture, 26(1), pp. 109–122. Available at: https://doi.org/10.1111/j.0022-3840.1992.00109.x.
Prato, P. (2001) ‘From TV to Holidays: Karaoke in Italy’, in Karaoke Around the World: Global Technology, Local Singing. London: Routledge.
‘Reformat The Planet, Part 1 | YouTube’ (no date). Available at: https://www.youtube.com/watch?v=sNFIisXI23A.
Reynolds, S. (2012) ‘Don’t Look Back: Nostalgia and Retro’, in Retromania: Pop Culture’s Addiction to Its Own Past. London: Faber & Faber.
Risset, J.-C. (1999) ‘Composing in Real-Time?’, Contemporary Music Review, 18(3), pp. 31–39. Available at: https://doi.org/10.1080/07494469900640331.
Risset, J.-C. and Duyne, S.V. (1996) ‘Real-Time Performance Interaction With a Computer-Controlled Acoustic Piano’, Computer Music Journal, 20(1). Available at: https://doi.org/10.2307/3681273.
Roads, C. (2015a) ‘Generative Strategies’, in Composing Electronic Music: A New Aesthetic. New York, NY: Oxford University Press.
Roads, C. (2015b) ‘Generative Strategies’, in Composing Electronic Music. Oxford University Press. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9780199706471.
Rodman, R. (2010a) ‘"And Now Another Word from Our Sponsor”: Strategies of Occultation and Imbuement in Musical Commercials’, in Tuning In: American Narrative Television Music. New York: Oxford University Press.
Rodman, R. (2010b) ‘"And Now Another Word from Our Sponsor”: Strategies of Occultation and Imbuement in Musical Commercials’, in Tuning In: American Narrative Television Music. New York: Oxford University Press. Available at: http://dx.doi.org/10.1093/acprof:oso/9780195340242.001.0001.
Schuyler, P. (2000) ‘Joujouka/Jajouka/Zahjoukah: Moroccan Music and Euro-American Imagination’, in Mass Mediations. Berkeley: University of California Press. Available at: https://publishing.cdlib.org/ucpressebooks/view?docId=ft8k4008kx&brand=ucpress.
Schwanauer, S.M. and Levitt, D.A. (1993) Machine Models of Music. Cambridge, Mass: MIT Press.
Senici, E. (no date) ‘Porn Style? Space and Time in Live Opera Videos’, 26(1), pp. 63–80. Available at: https://muse-jhu-edu.ezproxy01.rhul.ac.uk/article/385218.
Shay, A. (2000) ‘The 6/8 Beat Goes On: Persian Popular Music from Bazm-e Qajariyyeh to Beverly Hills Garden Parties’, in Mass Mediations. Berkeley: University of California Press. Available at: http://publishing.cdlib.org/ucpressebooks/view?docId=ft8k4008kx&brand=ucpress.
Shevy, M. and Hung, K. (2013a) ‘Music in Television Advertising and Other Persuasive Media’, in S.-L. Tan et al. (eds) The Psychology of Music in Multimedia. First ediction. Oxford: Oxford University Press.
Shevy, M. and Hung, K. (2013b) ‘Music in Television Advertising and Other Persuasive Media’, in The Psychology of Music in Multimedia. Oxford: Oxford University Press. Available at: http://dx.doi.org/10.1093/acprof:oso/9780199608157.001.0001.
Sinnreich, A. (2010) ‘Crisis of Configurability’, in Mashed Up: Music, Technology, and the Rise of Configurable Culture. Amherst: University of Massachusetts Press.
Soldier, D. (2002) ‘Eine Kleine Naughtmusik: How Nefarious Nonartists Cleverly Imitate Music’, Leonardo Music Journal, 12, pp. 53–58. Available at: https://doi.org/10.1162/096112102762295142.
Sterne, J. (2007) ‘Media or Instruments? Yes.’, Off Screen, 11(8–9).
Stokes, M. (2012a) ‘Globalization and the Politics of World Music’, in The Cultural Study of Music: A Critical Introduction. London: Routledge, pp. 309–320. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=957262.
Stokes, M. (2012b) ‘Globalization and the Politics of World Music’, in The Cultural Study of Music: A Critical Introduction. New York: Routledge. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=957262.
Straw, W. (2000) ‘Exhausted Commodities: The Material Culture of Music’, Canadian Journal of Communication, 25(1). Available at: https://www.cjc-online.ca/index.php/journal/article/view/1148/1067.
Tambling, J. (1994) ‘Opera in the Distraction Culture’, in A Night in at the Opera. London: John Libbey, pp. 1–23.
Taylor, T.D. (2001) ‘Technostalgia’, in Strange Sounds: Music, Technology, & Culture. New York: Routledge.
Taylor, T.D. (2007) ‘The Commodification of Music at the Dawn of the Era of “Mechanical Music”’, Ethnomusicology, 51(2). Available at: https://www.jstor.org/stable/20174526?seq=1#metadata_info_tab_contents.
Taylor, T.D. (2012) The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. Chicago, Ill: University of Chicago Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780226791142.
Taylor, T.D. (2014) The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. Chicago: The University of Chicago Press.
Théberge, P. (2012) ‘The End of the World as We Know It: The Changing Role of the Studio in the Age of the Internet’, in The Art of Record Production: An Introductory Reader for a New Academic Field. Farnham: Ashgate.
Thorley, M. (2016a) ‘Virtual Music, Virtual Money: The Impact of Crowdfunding Models on Creativity, Authorship and Identity’’, in S. Whiteley and S. Rambarran (eds) The Oxford Handbook of Music and Virtuality. New York: Oxford University Press.
Thorley, M. (2016b) ‘Virtual Music, Virtual Money: The Impact of Crowdfunding Models on Creativity, Authorship and Identity’, in The Oxford Handbook of Music and Virtuality. Oxford University Press. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4083462.
Tonelli, C. (2014) ‘The Chiptuning of the World: Game Boys, Imagined Travel, and Musical Meaning’, in S.S. Gopinath and J. Stanyek (eds) The Oxford Handbook of Mobile Music Studies: Volume 2. New York: Oxford University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1093/oxfordhb/9780199913657.001.0001.
Turino, T. (2000a) Nationalists, Cosmopolitans, and Popular Music in Zimbabwe. Chicago: University of Chicago Press.
Turino, T. (2000b) Nationalists, Cosmopolitans, and Popular Music in Zimbabwe. Chicago: University of Chicago Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://hdl.handle.net/2027/heb.05910.
Vernallis, C. (2004) ‘Interlude: Space, Colour, Texture and Time’, in Experiencing Music Video: Aesthetics and Cultural Context. New York: Columbia University Press, pp. 109–136.
Wang, P. (no date) ‘Music and Advertising. The Influence of Advertising and the Media on the Development of the Music Industry in the USA’. Available at: https://musicbusinessresearch.files.wordpress.com/2012/04/ijmbr_april_2012_pinie_wang2.pdf.
Whiteley, S. (2012) ‘Bring That Beat Back: Sampling as Virtual Collaboration’, in The Oxford Handbook of Music and Virtuality. Oxford University Press. Available at: http://eu.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=13410341360002671&institutionId=2671&customerId=2670.
Whiteley, S. (2016) The Oxford Handbook of Music and Virtuality. Oxford University Press. Available at: https://www-dawsonera-com.ezproxy01.rhul.ac.uk/readonline/9780199321292.
Whiteley, S. and Rambarran, S. (2012) ‘Bring That Beat Back: Sampling as Virtual Collaboration’, in The Oxford Handbook of Music and Virtuality. Available at: http://www.oxfordhandbooks.com.ezproxy01.rhul.ac.uk/view/10.1093/oxfordhb/9780199321285.001.0001/oxfordhb-9780199321285-e-11?rskey=HW9soS&result=1.
Williams, J. (2013a) ‘Dr. Dre’s “Jeep Beats” and Musical Borrowing for the Automotive Space’, in Rhymin’ and Stealin’: Musical Borrowing in Hip-Hop. Ann Arbor: University of Michigan Press, pp. 73–102.
Williams, J. (2013b) ‘Dr. Dre’s “Jeep Beats” and Musical Borrowing for the Automotive Space’, in Rhymin’ and Stealin’: Musical Borrowing in Hip-Hop Music. Ann Arbor: University of Michigan Press, pp. 73–102. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://lib.myilibrary.com?id=509493.
Williams, J. and Wilson, R. (2016) ‘Music and Crowdfunded Websites: Digital Patronage and Artist-Fan Interactivity’, in The Oxford handbook of music and virtuality. Oxford University Press, pp. 593–612.
Wurtzler, S. (1992) ‘"She Sang Live, But the Microphone Was Turned Off:” The Live, The Recorded and The Subject of Representation’, in Sound Theory, Sound Practice. New York: Routledge.
Young, M. (2016) ‘Interactive and Generative Music: A Quagmire for the Musical Analyst’, in S. Emmerson and L. Landy (eds) Expanding the Horizon of Electroacoustic Music Analysis. Cambridge: Cambridge University Press. Available at: https://www-cambridge-org.ezproxy01.rhul.ac.uk/core/books/expanding-the-horizon-of-electroacoustic-music-analysis/C7233E2356F93D501E867DA44FFC006E.
Zagorski-Thomas, S. (2007) ‘The Musicology of Record Production’, twentieth-century music, 4(02), pp. 189–207. Available at: https://doi.org/10.1017/S1478572208000509.
Zak, A. (2009) ‘Getting Sounds: The Art of Sound Engineering’, in E. Clarke, D. Leech-Wilkinson, and J. Rink (eds) The Cambridge Companion to Recorded Music. Cambridge: Cambridge University Press. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521865821.
Zeilinger, M.J. (2013) ‘Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy’, IASPM@Journal, 3(1), pp. 19–34. Available at: http://www.iaspmjournal.net/index.php/IASPM_Journal/article/view/599/pdf_2.
Zirbel, K.E. (2000) ‘Playing It Both Ways: Local Egyptian Performers Between Regional Identity and International Markets’, in Mass Mediations. Berkeley: University of California Press. Available at: https://publishing.cdlib.org/ucpressebooks/view?docId=ft8k4008kx&brand=ucpress.