Adams, Ruth. 2008. ‘The Englishness of English Punk: Sex Pistols, Subcultures, and Nostalgia’. Popular Music and Society 31(4):469–88. doi: 10.1080/03007760802053104.
Adelt, Ulrich. 2008. ‘Trying to Find an Identity: Eric Clapton’s Changing Conception of "Blackness”’. Popular Music and Society 31(4):433–52. doi: 10.1080/03007760802052809.
Albiez, Sean. 2003. ‘Know History!: John Lydon, Cultural Capital and the Prog/Punk Dialectic’. Popular Music 22(3):357–74. doi: 10.1017/S0261143003003234.
Anderton, Chris. 2010. ‘A Many-Headed Beast: Progressive Rock as European Meta-Genre’. Popular Music 29(03):417–35. doi: 10.1017/S0261143010000450.
Anon. 2009. ‘Standing in the Shadows of Motown: Storyville | Box of Broadcasts’.
Anon. 2012a. ‘Punk Britannia Episode 1 | Box of Broadcasts’.
Anon. 2012b. ‘Punk Britannia Episode 2 | Box of Broadcasts’.
Anon. 2012c. ‘Punk Britannia Episode 3 | Box of Broadcasts’.
Anon. 2015. ‘Sinatra: All or Nothing at All (Series 2, Episode 1) | Box of Broadcasts’.
Anon. 2016. ‘Sinatra: All or Nothing at All (Series 2, Episode 2) | Box of Broadcasts’.
Auner, Joseph. 2003. ‘“Sing It for Me”: Posthuman Ventriloquism in Recent Popular Music’. Journal of the Royal Musical Association 128(1):98–122. doi: 10.1093/jrma/fkg004.
Bennett, Andy. 2001a. Cultures of Popular Music. Buckingham [England]: Open University Press.
Bennett, Andy. 2001b. ‘Punk and Punk Rock’. in Cultures of Popular Music. Buckingham: Open University Press.
Bennett, Andy, and Jon Stratton. 2010a. Britpop and the English Music Tradition. Vol. Ashgate popular and folk music series. Farnham, Surrey, England: Ashgate.
Bennett, Andy, and Jon Stratton. 2010b. Britpop and the English Music Tradition. Farnham, Surrey, England: Ashgate.
Blake, Andrew. 1999. Living Through Pop. Routledge.
Bowman, Rob. 1995. ‘The Stax Sound: A Musicological Analysis’. Popular Music 14(03). doi: 10.1017/S0261143000007753.
Braziel, Jana Evans. 2004. ‘"Bye, Bye Baby”: Race, Bisexuality, and the Blues in the Music of Bessie Smith and Janis Joplin’. Popular Music and Society 27(1):3–26. doi: 10.1080/0300776032000144896.
Brown, Adriane. 2012. ‘“She Isn’t Whoring Herself Out Like a Lot of Other Girls We See”: Identification and "Authentic” American Girlhood on Taylor Swift Fan Forums’. Networking Knowledge: Journal of the MeCCSA Postgraduate Network 5(1).
Burns, Lori, Alyssa Woods, and Marc Lafrance. 2015. ‘The Genealogy of a Song: Lady Gaga’s Musical Intertexts on The Fame Monster (2009)’. Twentieth-Century Music 12(01):3–35. doi: 10.1017/S1478572214000176.
Calvert, Dave. 2015. ‘Similar Hats on Similar Heads: Uniformity and Alienation at the Rat Pack’s Summit Conference of Cool’. Popular Music 34(01):1–21. doi: 10.1017/S0261143014000701.
Cambridge Companions Complete Collection. 2009. The Cambridge Companion to the Beatles. Vol. Cambridge Companions to Music. edited by K. Womack. Cambridge: Cambridge University Press.
Cateforis, Theo. 2011. ‘Chapter 2: “The Second British Invasion and Its Aftermath: From New Pop to Modern Rock”’. Pp. 45–71 in Are We Not New Wave? University of Michigan Press.
Click, Melissa A., Hyunji Lee, and Holly Willson Holladay. 2013. ‘Making Monsters: Lady Gaga, Fan Identification, and Social Media’. Popular Music and Society 36(3):360–79. doi: 10.1080/03007766.2013.798546.
Cloonan, Martin. 1997. ‘State of the Nation: "Englishness,” Pop, and Politics in the Mid‐1990s’. Popular Music and Society 21(2):47–70. doi: 10.1080/03007769708591667.
Covach, John. 1997. ‘Progressive Rock, "Close to the Edge” and the Boundaries of Style’. Pp. 3–32 in Understanding Rock: Essays in Musical Analysis. New York: Oxford University Press.
Cunningham, David. 2010. ‘Kraftwerk and the Image of the Modern’. Pp. 44–62 in Kraftwerk: music non-stop. New York: Continuum.
Danielsen, Anne. 2006a. Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Middletown, Conn: Wesleyan University Press.
Danielsen, Anne. 2006b. Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Middletown, CT: Wesleyan University Press.
Dettmar, Kevin J. H. 2009a. The Cambridge Companion to Bob Dylan. Cambridge: Cambridge University Press.
Dettmar, Kevin J. H., ed. 2009b. The Cambridge Companion to Bob Dylan. Cambridge: Cambridge University Press.
Dibben, Nicola. 1999. ‘Representations of Femininity in Popular Music’. Popular Music 18(03). doi: 10.1017/S0261143000008904.
Dubler, Joshua. 2014. ‘Shit White People Say About Beyoncé’. Soundings: An Interdisciplinary Journal 97(3). doi: 10.5325/soundings.97.3.0385.
Duffett, Mark. 2012. ‘Multiple Damnations: Deconstructing the Critical Response to Boy Band Phenomena’. Popular Music History 7(2):185–97.
Echols, Alice. 2011. Hot Stuff. New York: W.W. Norton & Company.
Fink, Robert. 2005. ‘The Story of ORCH5, Or, the Classical Ghost in the Hip-Hop Machine’. Popular Music 24(03). doi: 10.1017/S0261143005000553.
Fitzgerald, Jon. 1995. ‘Motown Crossover Hits 1963–1966 and the Creative Process’. Popular Music 14(01):1–11. doi: 10.1017/S0261143000007601.
Fitzgerald, Jon. 2007. ‘Black Pop Songwriting 1963-1966: An Analysis of U.S. Top Forty Hits by Cooke, Mayfield, Stevenson, Robinson, and Holland-Dozier-Holland’. Black Music Research Journal 27(2):97–140.
Flory, Jonathan Andrew. 2006. ‘I Hear a Symphony:  Making Music at Motown, 1959–1979’.
Freund Schwartz, Roberta. 2016. How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom.
Fuchs, Jeanne, and Ruth Prigozy. 2007. Frank Sinatra: The Man, the Music, the Legend. Rochester, NY: University of Rochester Press.
Glaros, Michelle, and Michael Laffey. 2012. ‘Situating The Residents’. Journal of Film and Video 64(1–2). doi: 10.5406/jfilmvideo.64.1-2.0072.
Goodwin, Andrew. 1988. ‘Sample and Hold: Pop Music in the Digital Age of Reproduction’. Critical Quarterly 30(3):34–49. doi: 10.1111/j.1467-8705.1988.tb00315.x.
Goodwin, Andrew. 1992. ‘Rationalization and Democratization in the New Technologies of Popular Music’. Pp. 147–68 in Popular music and communication. Vol. 89. Newbury Park: Sage Publications.
Goodwin, Andrew. 2006. ‘Rationalization and Democratization in the New Technologies of Popular Music’. Pp. 276–82 in The Popular Music Studies Reader. London: Routledge.
Hains, Rebecca C. 2014. ‘The Significance of Chronology in Commodity Feminism: Audience Interpretations of Girl Power Music’. Popular Music and Society 37(1):33–47. doi: 10.1080/03007766.2012.726033.
Holm-Hudson, Kevin. 2002. Progressive Rock Reconsidered. New York: Routledge.
Hubbs, Nadine. 2007. ‘“I Will Survive”: Musical Mappings of Queer Social Space in a Disco Anthem’. Popular Music 26(02). doi: 10.1017/S0261143007001250.
Keightley, Keir. 1996. ‘“Frank Sinatra As Adult Performer” and “The Production of the Capitol Sinatra”’. in Frank Sinatra, Hi-Fi, and the Formations of Adult Culture: Gender, Technology, and Celebrity, 1948–1962 (PhD Dissertation, Concordia University, 1996).
Keister, Jay, and Jeremy L. Smith. 2008. ‘Musical Ambition, Cultural Accreditation and the Nasty Side of Progressive Rock’. Popular Music 27(03). doi: 10.1017/S0261143008102227.
Kevin Holm-Hudson. 2001. Progressive Rock Reconsidered. Routledge.
Kumari, Ashanka. 2016. ‘"Yoü and I”: Identity and the Performance of Self in Lady Gaga and Beyoncé’. The Journal of Popular Culture 49(2):403–16. doi: 10.1111/jpcu.12405.
Laing, Dave. 2006. ‘Anglo-American Music Journalism: Texts and Context’. Pp. 333–39 in The Popular Music Studies Reader. London: Routledge.
Laing, Dave. 2015a. ‘Formation’. in One Chord Wonders: Power and Meaning in Punk Rock. Oakland: PM Press.
Laing, Dave. 2015b. One Chord Wonders: Power and Meaning in Punk Rock. New and expanded edition. Oakland: PM Press.
Lambert, Philip. 2008. ‘Brian Wilson’s Pet Sounds’. Twentieth-Century Music 5(01):109–33. doi: 10.1017/S1478572208000625.
Lawrence, Tim. 2003a. Love Saves the Day: A History of American Dance Music Culture, 1970-1979. Durham: Duke University Press.
Lawrence, Tim. 2003b. Love Saves the Day: A History of American Dance Music Culture, 1970-1979. Durham: Duke University Press.
Leach, Elizabeth Eva. 2001. ‘Vicars of “Wannabe”: Authenticity and the Spice Girls’. Popular Music 20(02). doi: 10.1017/S0261143001001386.
Lemish, Dafna. 2003. ‘Spice World: Constructing Femininity the Popular Way’. Popular Music and Society 26(1):17–29. doi: 10.1080/0300776032000076360.
Lynskey, Dorian. 2012. ‘The Clash ‘White Riot’’. Pp. 337–58 in 33 Revolutions per Minute: A History of Protest Songs. London: Faber and Faber.
Macan, Edward. 1997. ‘The Music’. Pp. 30–56 in Rocking the Classics: English Progressive Rock and the Counterculture. New York: Oxford University Press.
Macrossan, Phoebe. 2018. ‘Intimacy, Authenticity and “Worlding” in Beyoncé’s Star Project’. Pp. 137–52 in Popular Music, Stars and Stardom. ANU Press.
Martin, Bill. 1996. Music of Yes: Structure and Vision in Progressive Rock. Vol. Feedback. Chicago, Ill: Open Court.
Nelson, Michael. 2000. ‘Ol’ Red, White, and Blue Eyes: Frank Sinatra and the American Presidency’. Popular Music and Society 24(4):79–102. doi: 10.1080/03007760008591786.
O’Meara, Caroline. 2003. ‘The Raincoats: Breaking Down Punk Rock’s Masculinities’. Popular Music 22(3):299–313. doi: 10.1017/S0261143003003209.
Palmer, John R. 2001. ‘Yes, “Awaken”, and the Progressive Rock Style’. Popular Music 20(02). doi: 10.1017/S026114300100143X.
Pinch, Trevor, and Frank Trocco. 1998. ‘The Social Construction of the Early Electronic Music Synthesizer’. Icon 4:9–31.
Railton, Diane. 2001. ‘The Gendered Carnival of Pop’. Popular Music 20(03). doi: 10.1017/S0261143001001520.
Rodger, Gillian. 2004. ‘Drag, Camp and Gender Subversion in the Music and Videos of Annie Lennox’. Popular Music 23(1):17–29. doi: 10.1017/S0261143004000066.
Rose, Philip. 1995. ‘Which One’s Pink? - Towards an Analysis of the Concept Albums of Roger Waters and Pink Floyd’.
Savage, Jon. 1991. England’s Dreaming: Sex Pistols and Punk Rock. London: Faber.
Schwartz, Roberta Freund. 2007a. How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. Aldershot, England: Ashgate.
Schwartz, Roberta Freund. 2007b. ‘The Rock Island Line’. in How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. Vol. Ashgate popular and folk music series. Aldershot: Ashgate.
Simonelli, D. 2002. ‘Anarchy, Pop and Violence: Punk Rock Subculture and the Rhetoric of Class, 1976-78’. Contemporary British History 16(2):121–44. doi: 10.1080/713999447.
Sinatra, Frank. 1998. ‘What’s This About Races?’ in Frank Sinatra and Popular Culture: Essays on an American Icon. Westport, Conn: Praeger.
Smith, Suzanne E. 1999. Dancing in the Street: Motown and the Cultural Politics of Detroit. Cambridge, Mass: Harvard University Press.
Stalcup, Scott. 2001. ‘Noise Noise Noise: Punk Rock’s History Since 1965’. Studies in Popular Culture 23(3).
Stewart, Alexander. 2000. ‘Funky Drummer: New Orleans, James Brown and the Rhythmic Transformation of American Popular Music’. Popular Music 19(3):293–318.
Straw, Will. 2001a. ‘Dance Music’. Pp. 158–75 in The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press.
Straw, Will. 2001b. ‘Dance Music’. Pp. 158–75 in The Cambridge Companion to Pop and Rock. Vol. Cambridge Companions to Music, edited by S. Frith, W. Straw, and J. Street. Cambridge: Cambridge University Press.
Taraborrelli, J. Randall. 1997. Sinatra: The Man Behind the Myth. Edinburgh: Mainstream.
Tunbridge, Laura. 2010. ‘Rebirth, Pop Song Cycles’. Pp. 169–86 in The Song Cycle. Vol. Cambridge introductions to music. Cambridge: Cambridge University Press.
Vernallis, Carol. 2013a. ‘Beyoncé’s Video Phone’. in Unruly Media: YouTube, Music Video, and the New Digital Cinema.
Vernallis, Carol. 2013b. Unruly Media: YouTube, Music Video, and the New Digital Cinema. New York: Oxford University Press.
Wald, Elijah. 2009a. ‘Twisting Girls Change the World’. in How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York, New York: Oxford University Press.
Wald, Elijah. 2009b. ‘Twisting Girls Change the World’. in How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York, New York: Oxford University Press.
Wald, Elijah. 2009c. ‘Twisting Girls Change the World’. in How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York, New York: Oxford University Press.
Wald, Elijah. 2010a. ‘Blues and Country’. in The Blues: A Very Short Introduction. Vol. Very short introductions. New York: Oxford University Press.
Wald, Elijah. 2010b. The Blues: A Very Short Introduction. Oxford: Oxford University Press.
Wald, Elijah. 2011a. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press.
Wald, Elijah. 2011b. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press.
Wald, Elijah. 2011c. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press.
Ward, Brian. 1998. Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations. Berkeley [Calif.]: University of California Press.
Wild, David. 2007. ‘They Can’t Take That Away from Me: Frank Sinatra and His Curious but Close Relationship with the Rock “n” Roll Generation’. Pp. 37–44 in Frank Sinatra: The Man, the Music, the Legend. University of Rochester Press/Hofstra University ;,Boydell &.
Williams, Juliet. 2014. ‘"Same DNA, but Born This Way”: Lady Gaga and the Possibilities of Postessentialist Feminisms’. Journal of Popular Music Studies 26(1):28–46. doi: 10.1111/jpms.12058.
Womack, Kenneth. 2009. The Cambridge Companion to the Beatles. Cambridge: Cambridge University Press.
Worley, M. 2013. ‘Oi! Oi! Oi!: Class, Locality, and British Punk’. Twentieth Century British History 24(4):606–36. doi: 10.1093/tcbh/hwt001.