Adams, Ruth. 2008. ‘The Englishness of English Punk: Sex Pistols, Subcultures, and Nostalgia’. Popular Music and Society 31 (4): 469–88. https://doi.org/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. https://doi.org/10.1080/03007760802052809.
Albiez, Sean. 2003. ‘Know History!: John Lydon, Cultural Capital and the Prog/Punk Dialectic’. Popular Music 22 (3): 357–74. https://doi.org/10.1017/S0261143003003234.
Anderton, Chris. 2010. ‘A Many-Headed Beast: Progressive Rock as European Meta-Genre’. Popular Music 29 (03): 417–35. https://doi.org/10.1017/S0261143010000450.
Auner, Joseph. 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, Andy. 2001a. Cultures of Popular Music. Buckingham [England]: Open University Press.
———. 2001b. ‘Punk and Punk Rock’. In Cultures of Popular Music. Buckingham: Open University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=6212021.
Bennett, Andy, and Jon Stratton. 2010a. Britpop and the English Music Tradition. Vol. Ashgate popular and folk music series. Farnham, Surrey, England: Ashgate.
———. 2010b. Britpop and the English Music Tradition. Farnham, Surrey, England: Ashgate. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=564095.
Blake, Andrew. 1999. Living Through Pop. Routledge.
Bowman, Rob. 1995. ‘The Stax Sound: A Musicological Analysis’. Popular Music 14 (03). https://doi.org/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. https://doi.org/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). http://ojs.meccsa.org.uk/index.php/netknow/article/view/252.
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. https://doi.org/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. https://doi.org/10.1017/S0261143014000701.
Cambridge Companions Complete Collection. 2009. The Cambridge Companion to the Beatles. Edited by Kenneth Womack. Vol. Cambridge Companions to Music. Cambridge: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521869652.
Cateforis, Theo. 2011. ‘Chapter 2: “The Second British Invasion and Its Aftermath: From New Pop to Modern Rock”’. In Are We Not New Wave?, 45–71. 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. https://doi.org/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. https://doi.org/10.1080/03007769708591667.
Covach, John. 1997. ‘Progressive Rock, "Close to the Edge” and the Boundaries of Style’. In Understanding Rock: Essays in Musical Analysis, 3–32. New York: Oxford University Press.
Cunningham, David. 2010. ‘Kraftwerk and the Image of the Modern’. In Kraftwerk: Music Non-Stop, 44–62. New York: Continuum.
Danielsen, Anne. 2006a. Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Middletown, Conn: Wesleyan University Press.
———. 2006b. Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Middletown, CT: Wesleyan University Press. http://hdl.handle.net/2027/heb.31678.
Dettmar, Kevin J. H. 2009a. The Cambridge Companion to Bob Dylan. Cambridge: Cambridge University Press.
———, ed. 2009b. The Cambridge Companion to Bob Dylan. Cambridge: Cambridge University Press. http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886949.
Dibben, Nicola. 1999. ‘Representations of Femininity in Popular Music’. Popular Music 18 (03). https://doi.org/10.1017/S0261143000008904.
Dubler, Joshua. 2014. ‘Shit White People Say About Beyoncé’. Soundings: An Interdisciplinary Journal 97 (3). https://doi.org/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). https://doi.org/10.1017/S0261143005000553.
Fitzgerald, Jon. 1995. ‘Motown Crossover Hits 1963–1966 and the Creative Process’. Popular Music 14 (01): 1–11. https://doi.org/10.1017/S0261143000007601.
———. 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, Jonathan Andrew. 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, 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). https://doi.org/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. https://doi.org/10.1111/j.1467-8705.1988.tb00315.x.
———. 1992. ‘Rationalization and Democratization in the New Technologies of Popular Music’. In Popular Music and Communication, 2nd ed, 89:147–68. Newbury Park: Sage Publications.
———. 2006. ‘Rationalization and Democratization in the New Technologies of Popular Music’. In The Popular Music Studies Reader, 276–82. 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. https://doi.org/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). https://doi.org/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). http://spectrum.library.concordia.ca/221/1/NQ25911.pdf.
Keister, Jay, and Jeremy L. Smith. 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. Routledge. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781315054230.
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. https://doi.org/10.1111/jpcu.12405.
Laing, Dave. 2006. ‘Anglo-American Music Journalism: Texts and Context’. In The Popular Music Studies Reader, 333–39. London: Routledge. https://moodle.royalholloway.ac.uk/mod/resource/view.php?id=261869.
———. 2015a. ‘Formation’. In One Chord Wonders: Power and Meaning in Punk Rock, New and expanded edition. Oakland: PM Press. https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781629630571&uid=^u.
———. 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. https://doi.org/10.1017/S1478572208000625.
Lawrence, Tim. 2003a. Love Saves the Day: A History of American Dance Music Culture, 1970-1979. Durham: Duke University Press.
———. 2003b. Love Saves the Day: A History of American Dance Music Culture, 1970-1979. Durham: Duke University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1167908.
Leach, Elizabeth Eva. 2001. ‘Vicars of “Wannabe”: Authenticity and the Spice Girls’. Popular Music 20 (02). https://doi.org/10.1017/S0261143001001386.
Lemish, Dafna. 2003. ‘Spice World: Constructing Femininity the Popular Way’. Popular Music and Society 26 (1): 17–29. https://doi.org/10.1080/0300776032000076360.
Lynskey, Dorian. 2012. ‘The Clash ‘White Riot’’. In 33 Revolutions per Minute: A History of Protest Songs, 337–58. London: Faber and Faber.
Macan, Edward. 1997. ‘The Music’. In Rocking the Classics: English Progressive Rock and the Counterculture, 30–56. New York: Oxford University Press.
Macrossan, Phoebe. 2018. ‘Intimacy, Authenticity and “Worlding” in Beyoncé’s Star Project’. In Popular Music, Stars and Stardom, 137–52. 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, 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. https://doi.org/10.1080/03007760008591786.
O’Meara, Caroline. 2003. ‘The Raincoats: Breaking Down Punk Rock’s Masculinities’. Popular Music 22 (3): 299–313. https://doi.org/10.1017/S0261143003003209.
Palmer, John R. 2001. ‘Yes, “Awaken”, and the Progressive Rock Style’. Popular Music 20 (02). https://doi.org/10.1017/S026114300100143X.
Pinch, Trevor, and Frank Trocco. 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, Diane. 2001. ‘The Gendered Carnival of Pop’. Popular Music 20 (03). https://doi.org/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. https://doi.org/10.1017/S0261143004000066.
Rose, Philip. 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, 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.
———. 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. 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): 121–44. 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, 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). 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, Alexander. 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, Will. 2001a. ‘Dance Music’. In The Cambridge Companion to Pop and Rock, 158–75. Cambridge: Cambridge University Press.
———. 2001b. ‘Dance Music’. In The Cambridge Companion to Pop and Rock, edited by Simon Frith, Will Straw, and John Street, Cambridge Companions to Music:158–75. Cambridge: Cambridge University Press. https://doi.org/10.1017/CCOL9780521553698.010.
Taraborrelli, J. Randall. 1997. Sinatra: The Man Behind the Myth. Edinburgh: Mainstream.
Tunbridge, Laura. 2010. ‘Rebirth, Pop Song Cycles’. In The Song Cycle, Cambridge introductions to music:169–86. Cambridge: Cambridge University Press.
Vernallis, Carol. 2013a. ‘Beyoncé’s Video Phone’. In Unruly Media: YouTube, Music Video, and the New Digital Cinema. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1389072.
———. 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. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354.
———. 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. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354.
———. 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. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354.
———. 2010a. ‘Blues and Country’. In The Blues: A Very Short Introduction. Vol. Very short introductions. New York: Oxford University Press. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=544496.
———. 2010b. The Blues: A Very Short Introduction. Oxford: Oxford University Press.
———. 2011a. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press.
———. 2011b. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press.
———. 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’. In Frank Sinatra: The Man, the Music, the Legend, 37–44. University of Rochester Press/Hofstra University ;,Boydell &. https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781580467025.
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. https://doi.org/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. https://doi.org/10.1093/tcbh/hwt001.