Adams, R. (2008). The Englishness of English Punk: Sex Pistols, Subcultures, and Nostalgia. Popular Music and Society, 31(4), 469–488. https://doi.org/10.1080/03007760802053104
Adelt, U. (2008). Trying to Find an Identity: Eric Clapton’s Changing Conception of "Blackness”. Popular Music and Society, 31(4), 433–452. https://doi.org/10.1080/03007760802052809
Albiez, S. (2003). Know History!: John Lydon, Cultural Capital and the Prog/punk Dialectic. Popular Music, 22(3), 357–374. https://doi.org/10.1017/S0261143003003234
Anderton, C. (2010). A Many-Headed Beast: Progressive Rock as European Meta-Genre. Popular Music, 29(03), 417–435. https://doi.org/10.1017/S0261143010000450
Auner, J. (2003). ‘Sing it for Me’: Posthuman Ventriloquism in Recent Popular Music. Journal of the Royal Musical Association, 128(1), 98–122. https://doi.org/10.1093/jrma/fkg004
Bennett, A. (2001a). Cultures of Popular Music. Open University Press.
Bennett, A. (2001b). Punk and Punk Rock [Electronic book]. In Cultures of Popular Music. Open University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=6212021
Bennett, A., & Stratton, J. (2010a). Britpop and the English Music Tradition [Electronic resource]. Ashgate. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=564095
Bennett, A., & Stratton, J. (2010b). Britpop and the English Music Tradition: Vol. Ashgate popular and folk music series. Ashgate.
Blake, A. (1999). Living Through Pop. Routledge.
Bowman, R. (1995). The Stax Sound: A Musicological Analysis. Popular Music, 14(03). https://doi.org/10.1017/S0261143000007753
Braziel, J. E. (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. https://doi.org/10.1080/0300776032000144896
Brown, A. (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). http://ojs.meccsa.org.uk/index.php/netknow/article/view/252
Burns, L., Woods, A., & Lafrance, M. (2015). The Genealogy of a Song: Lady Gaga’s Musical Intertexts on The Fame Monster (2009). Twentieth-Century Music, 12(01), 3–35. https://doi.org/10.1017/S1478572214000176
Calvert, D. (2015). Similar Hats on Similar Heads: Uniformity and Alienation at the Rat Pack’s Summit Conference of Cool. Popular Music, 34(01), 1–21. https://doi.org/10.1017/S0261143014000701
Cambridge Companions Complete Collection. (2009). The Cambridge Companion to the Beatles: Vol. Cambridge Companions to Music (K. Womack, Ed.) [Electronic book]. Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521869652
Cateforis, T. (2011). Chapter 2: ‘The Second British Invasion and its Aftermath: From New Pop to Modern Rock’. In Are We Not New Wave? (pp. 45–71). University of Michigan Press.
Click, M. A., Lee, H., & Holladay, H. W. (2013). Making Monsters: Lady Gaga, Fan Identification, and Social Media. Popular Music and Society, 36(3), 360–379. https://doi.org/10.1080/03007766.2013.798546
Cloonan, M. (1997). State of the Nation: "Englishness,” Pop, and Politics in the Mid‐1990s. Popular Music and Society, 21(2), 47–70. https://doi.org/10.1080/03007769708591667
Covach, J. (1997). Progressive Rock, "Close to the Edge” and the Boundaries of Style. In Understanding Rock: Essays in Musical Analysis (pp. 3–32). Oxford University Press.
Cunningham, D. (2010). Kraftwerk and the Image of the Modern. In Kraftwerk: music non-stop (pp. 44–62). Continuum.
Danielsen, A. (2006a). Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Wesleyan University Press.
Danielsen, A. (2006b). Presence and Pleasure: The Funk Grooves of James Brown and Parliament [Electronic resource]. Wesleyan University Press. http://hdl.handle.net/2027/heb.31678
Dettmar, K. J. H. (2009a). The Cambridge Companion to Bob Dylan. Cambridge University Press.
Dettmar, K. J. H. (Ed.). (2009b). The Cambridge Companion to Bob Dylan [Electronic book]. Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886949
Dibben, N. (1999). Representations of Femininity in Popular Music. Popular Music, 18(03). https://doi.org/10.1017/S0261143000008904
Dubler, J. (2014). Shit White People Say About Beyoncé. Soundings: An Interdisciplinary Journal, 97(3). https://doi.org/10.5325/soundings.97.3.0385
Duffett, M. (2012). Multiple Damnations: Deconstructing the Critical Response to Boy Band Phenomena. Popular Music History, 7(2), 185–197.
Echols, A. (2011). Hot Stuff. W.W. Norton & Company.
Fink, R. (2005). The Story of ORCH5, Or, the Classical Ghost in the Hip-Hop Machine. Popular Music, 24(03). https://doi.org/10.1017/S0261143005000553
Fitzgerald, J. (1995). Motown Crossover Hits 1963–1966 and the Creative Process. Popular Music, 14(01), 1–11. https://doi.org/10.1017/S0261143000007601
Fitzgerald, J. (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. https://www.jstor.org/stable/25433786
Flory, J. A. (2006). I Hear a Symphony: Making Music at Motown, 1959–1979. http://search.proquest.com.ezproxy01.rhul.ac.uk/docview/305295268?accountid=11455
Freund Schwartz, R. (2016). How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom.
Fuchs, J., & Prigozy, R. (2007). Frank Sinatra: The Man, the Music, the Legend. University of Rochester Press.
Glaros, M., & Laffey, M. (2012). Situating The Residents. Journal of Film and Video, 64(1–2). https://doi.org/10.5406/jfilmvideo.64.1-2.0072
Goodwin, A. (1988). Sample and Hold: Pop Music in the Digital Age of Reproduction. Critical Quarterly, 30(3), 34–49. https://doi.org/10.1111/j.1467-8705.1988.tb00315.x
Goodwin, A. (1992). Rationalization and Democratization in the New Technologies of Popular Music. In Popular music and communication (2nd ed, Vol. 89, pp. 147–168). Sage Publications.
Goodwin, A. (2006). Rationalization and Democratization in the New Technologies of Popular Music. In The Popular Music Studies Reader (pp. 276–282). Routledge.
Hains, R. C. (2014). The Significance of Chronology in Commodity Feminism: Audience Interpretations of Girl Power Music. Popular Music and Society, 37(1), 33–47. https://doi.org/10.1080/03007766.2012.726033
Holm-Hudson, K. (2002). Progressive Rock Reconsidered. Routledge.
Hubbs, N. (2007). ‘I Will Survive’: Musical Mappings of Queer Social Space in a Disco Anthem. Popular Music, 26(02). https://doi.org/10.1017/S0261143007001250
Keightley, K. (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). http://spectrum.library.concordia.ca/221/1/NQ25911.pdf
Keister, J., & Smith, J. L. (2008). Musical Ambition, Cultural Accreditation and the Nasty Side of Progressive Rock. Popular Music, 27(03). https://doi.org/10.1017/S0261143008102227
Kevin Holm-Hudson. (2001). Progressive Rock Reconsidered [Electronic resource]. Routledge. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781315054230
Kumari, A. (2016). "Yoü and I”: Identity and the Performance of Self in Lady Gaga and Beyoncé. The Journal of Popular Culture, 49(2), 403–416. https://doi.org/10.1111/jpcu.12405
Laing, D. (2006). Anglo-American Music Journalism: Texts and Context. In The Popular Music Studies Reader (pp. 333–339). Routledge. https://moodle.royalholloway.ac.uk/mod/resource/view.php?id=261869
Laing, D. (2015a). Formation [Electronic resource]. In One Chord Wonders: Power and Meaning in Punk Rock (New and expanded edition). PM Press. https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781629630571&uid=^u
Laing, D. (2015b). One Chord Wonders: Power and Meaning in Punk Rock (New and expanded edition). PM Press.
Lambert, P. (2008). Brian Wilson’s Pet Sounds. Twentieth-Century Music, 5(01), 109–133. https://doi.org/10.1017/S1478572208000625
Lawrence, T. (2003a). Love Saves the Day: A History of American Dance Music Culture, 1970-1979. Duke University Press.
Lawrence, T. (2003b). Love Saves the Day: A History of American Dance Music Culture, 1970-1979 [Electronic resource]. Duke University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1167908
Leach, E. E. (2001). Vicars of ‘Wannabe’: Authenticity and the Spice Girls. Popular Music, 20(02). https://doi.org/10.1017/S0261143001001386
Lemish, D. (2003). Spice World: Constructing Femininity the Popular Way. Popular Music and Society, 26(1), 17–29. https://doi.org/10.1080/0300776032000076360
Lynskey, D. (2012). The Clash ‘White Riot’. In 33 Revolutions per Minute: A History of Protest Songs (pp. 337–358). Faber and Faber.
Macan, E. (1997). The Music. In Rocking the Classics: English Progressive Rock and the Counterculture (pp. 30–56). Oxford University Press.
Macrossan, P. (2018). Intimacy, Authenticity and ‘Worlding’ in Beyoncé’s Star Project. In Popular Music, Stars and Stardom (pp. 137–152). ANU Press. https://www.jstor.org/stable/j.ctv301dk8.12?Search=yes&resultItemClick=true&searchText=Macrossan%2C&searchText=%27Intimacy%2C&searchText=Authenticity&searchText=and&searchText=%22Worlding%22&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DMacrossan%252C%2B%25E2%2580%2598Intimacy%252C%2BAuthenticity%2Band%2B%25E2%2580%259CWorlding%25E2%2580%259D%2B%26amp%3Bfilter%3D&refreqid=search%3Ad91897d1aeb6860e5a88703e26c76724&seq=1#metadata_info_tab_contents
Martin, B. (1996). Music of Yes: Structure and Vision in Progressive Rock: Vol. Feedback. Open Court.
Nelson, M. (2000). Ol’ Red, White, and Blue Eyes: Frank Sinatra and the American Presidency. Popular Music and Society, 24(4), 79–102. https://doi.org/10.1080/03007760008591786
O’Meara, C. (2003). The Raincoats: Breaking Down Punk Rock’s Masculinities. Popular Music, 22(3), 299–313. https://doi.org/10.1017/S0261143003003209
Palmer, J. R. (2001). Yes, ‘Awaken’, and the Progressive Rock Style. Popular Music, 20(02). https://doi.org/10.1017/S026114300100143X
Pinch, T., & Trocco, F. (1998). The Social Construction of the Early Electronic Music Synthesizer. Icon, 4, 9–31. https://www.jstor.org/stable/23785956
Punk Britannia Episode 1 | Box of Broadcasts. (2012). BBC4. https://learningonscreen.ac.uk/ondemand/index.php/prog/029B8637?bcast=85798437
Punk Britannia Episode 2 | Box of Broadcasts. (2012). BBC4. https://learningonscreen.ac.uk/ondemand/index.php/prog/029F5AA0?bcast=92702054
Punk Britannia Episode 3 | Box of Broadcasts. (2012). BBC4. https://learningonscreen.ac.uk/ondemand/index.php/prog/02E7155F?bcast=92706875
Railton, D. (2001). The Gendered Carnival of Pop. Popular Music, 20(03). https://doi.org/10.1017/S0261143001001520
Rodger, G. (2004). Drag, Camp and Gender Subversion in the Music and Videos of Annie Lennox. Popular Music, 23(1), 17–29. https://doi.org/10.1017/S0261143004000066
Rose, P. (1995). Which One’s Pink? - Towards an Analysis of the Concept Albums of Roger Waters and Pink Floyd. https://macsphere.mcmaster.ca/bitstream/11375/11030/1/fulltext.pdf
Savage, J. (1991). England’s Dreaming: Sex Pistols and Punk Rock. Faber.
Schwartz, R. F. (2007a). How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. Ashgate.
Schwartz, R. F. (2007b). The Rock Island Line [Electronic book]. 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. Ashgate. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=438913
Simonelli, D. (2002). Anarchy, Pop and Violence: Punk Rock Subculture and the Rhetoric of Class, 1976-78. Contemporary British History, 16(2), 121–144. https://doi.org/10.1080/713999447
Sinatra: All or Nothing at All (Series 2, Episode 1) | Box of Broadcasts. (2015). BBC4. https://learningonscreen.ac.uk/ondemand/index.php/prog/0BA3CF35?bcast=120773817
Sinatra: All or Nothing at All (Series 2, Episode 2) | Box of Broadcasts. (2016). BBC4. https://learningonscreen.ac.uk/ondemand/index.php/prog/0BA5422B?bcast=120778881
Sinatra, F. (1998). What’s This About Races? In Frank Sinatra and Popular Culture: Essays on an American Icon. Praeger.
Smith, S. E. (1999). Dancing in the Street: Motown and the Cultural Politics of Detroit. Harvard University Press.
Stalcup, S. (2001). Noise Noise Noise: Punk Rock’s History Since 1965. Studies in Popular Culture, 23(3). https://www.jstor.org/stable/23414589
Standing in the Shadows of Motown: Storyville | Box of Broadcasts. (2009). BBC4. https://learningonscreen.ac.uk/ondemand/index.php/prog/004E1978
Stewart, A. (2000). Funky Drummer: New Orleans, James Brown and the Rhythmic Transformation of American Popular Music. Popular Music, 19(3), 293–318. https://www.jstor.org/stable/853638
Straw, W. (2001a). Dance Music. In The Cambridge Companion to Pop and Rock (pp. 158–175). Cambridge University Press.
Straw, W. (2001b). Dance Music [Electronic book]. In S. Frith, W. Straw, & J. Street (Eds.), The Cambridge Companion to Pop and Rock: Vol. Cambridge Companions to Music (pp. 158–175). Cambridge University Press. https://doi.org/10.1017/CCOL9780521553698.010
Taraborrelli, J. R. (1997). Sinatra: The Man Behind the Myth. Mainstream.
Tunbridge, L. (2010). Rebirth, Pop Song Cycles. In The Song Cycle: Vol. Cambridge introductions to music (pp. 169–186). Cambridge University Press.
Vernallis, C. (2013a). Beyoncé’s Video Phone [Electronic book]. In Unruly Media: YouTube, Music Video, and the New Digital Cinema. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1389072
Vernallis, C. (2013b). Unruly Media: YouTube, Music Video, and the New Digital Cinema. Oxford University Press.
Wald, E. (2009a). Twisting Girls Change the World [Electronic book]. In How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. Oxford University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354
Wald, E. (2009b). Twisting Girls Change the World [Electronic book]. In How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. Oxford University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354
Wald, E. (2009c). Twisting Girls Change the World [Electronic book]. In How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. Oxford University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354
Wald, E. (2010a). Blues and Country [Electronic book]. In The Blues: A Very Short Introduction: Vol. Very short introductions. Oxford University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=544496
Wald, E. (2010b). The Blues: A Very Short Introduction. Oxford University Press.
Wald, E. (2011a). How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. Oxford University Press.
Wald, E. (2011b). How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. Oxford University Press.
Wald, E. (2011c). How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. Oxford University Press.
Ward, B. (1998). Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations. University of California Press.
Wild, D. (2007). They Can’t Take That Away from Me: Frank Sinatra and His Curious but Close Relationship with the Rock ‘n’ Roll Generation [Electronic resource]. In Frank Sinatra: The Man, the Music, the Legend (pp. 37–44). University of Rochester Press/Hofstra University ;,Boydell &. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781580467025
Williams, J. (2014). "Same DNA, but Born this Way”: Lady Gaga and the Possibilities of Postessentialist Feminisms. Journal of Popular Music Studies, 26(1), 28–46. https://doi.org/10.1111/jpms.12058
Womack, K. (2009). The Cambridge Companion to the Beatles. Cambridge University Press.
Worley, M. (2013). Oi! Oi! Oi!: Class, Locality, and British Punk. Twentieth Century British History, 24(4), 606–636. https://doi.org/10.1093/tcbh/hwt001
