Adams, Ruth, ‘The Englishness of English Punk: Sex Pistols, Subcultures, and Nostalgia’, Popular Music and Society, 31.4 (2008), 469–88 <https://doi.org/10.1080/03007760802053104>
Adelt, Ulrich, ‘Trying to Find an Identity: Eric Clapton’s Changing Conception of "Blackness”’, Popular Music and Society, 31.4 (2008), 433–52 <https://doi.org/10.1080/03007760802052809>
Albiez, Sean, ‘Know History!: John Lydon, Cultural Capital and the Prog/Punk Dialectic’, Popular Music, 22.3 (2003), 357–74 <https://doi.org/10.1017/S0261143003003234>
Anderton, Chris, ‘A Many-Headed Beast: Progressive Rock as European Meta-Genre’, Popular Music, 29.03 (2010), 417–35 <https://doi.org/10.1017/S0261143010000450>
Auner, Joseph, ‘“Sing It for Me”: Posthuman Ventriloquism in Recent Popular Music’, Journal of the Royal Musical Association, 128.1 (2003), 98–122 <https://doi.org/10.1093/jrma/fkg004>
Bennett, Andy, Cultures of Popular Music (Buckingham [England]: Open University Press, 2001)
———, ‘Punk and Punk Rock’, in Cultures of Popular Music (Buckingham: Open University Press, 2001) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=6212021>
Bennett, Andy, and Jon Stratton, Britpop and the English Music Tradition (Farnham, Surrey, England: Ashgate, 2010), Ashgate popular and folk music series
———, Britpop and the English Music Tradition (Farnham, Surrey, England: Ashgate, 2010) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=564095>
Blake, Andrew, Living Through Pop (Routledge, 1999)
Bowman, Rob, ‘The Stax Sound: A Musicological Analysis’, Popular Music, 14.03 (1995) <https://doi.org/10.1017/S0261143000007753>
Braziel, Jana Evans, ‘"Bye, Bye Baby”: Race, Bisexuality, and the Blues in the Music of Bessie Smith and Janis Joplin’, Popular Music and Society, 27.1 (2004), 3–26 <https://doi.org/10.1080/0300776032000144896>
Brown, Adriane, ‘“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 (2012) <http://ojs.meccsa.org.uk/index.php/netknow/article/view/252>
Burns, Lori, Alyssa Woods, and Marc Lafrance, ‘The Genealogy of a Song: Lady Gaga’s Musical Intertexts on The Fame Monster (2009)’, Twentieth-Century Music, 12.01 (2015), 3–35 <https://doi.org/10.1017/S1478572214000176>
Calvert, Dave, ‘Similar Hats on Similar Heads: Uniformity and Alienation at the Rat Pack’s Summit Conference of Cool’, Popular Music, 34.01 (2015), 1–21 <https://doi.org/10.1017/S0261143014000701>
Cambridge Companions Complete Collection, The Cambridge Companion to the Beatles, ed. by Kenneth Womack (Cambridge: Cambridge University Press, 2009), Cambridge Companions to Music <http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521869652>
Cateforis, Theo, ‘Chapter 2: “The Second British Invasion and Its Aftermath: From New Pop to Modern Rock”’, in Are We Not New Wave? (University of Michigan Press, 2011), pp. 45–71
Click, Melissa A., Hyunji Lee, and Holly Willson Holladay, ‘Making Monsters: Lady Gaga, Fan Identification, and Social Media’, Popular Music and Society, 36.3 (2013), 360–79 <https://doi.org/10.1080/03007766.2013.798546>
Cloonan, Martin, ‘State of the Nation: "Englishness,” Pop, and Politics in the Mid‐1990s’, Popular Music and Society, 21.2 (1997), 47–70 <https://doi.org/10.1080/03007769708591667>
Covach, John, ‘Progressive Rock, "Close to the Edge” and the Boundaries of Style’, in Understanding Rock: Essays in Musical Analysis (New York: Oxford University Press, 1997), pp. 3–32
Cunningham, David, ‘Kraftwerk and the Image of the Modern’, in Kraftwerk: Music Non-Stop (New York: Continuum, 2010), pp. 44–62
Danielsen, Anne, Presence and Pleasure: The Funk Grooves of James Brown and Parliament (Middletown, Conn: Wesleyan University Press, 2006)
———, Presence and Pleasure: The Funk Grooves of James Brown and Parliament (Middletown, CT: Wesleyan University Press, 2006) <http://hdl.handle.net/2027/heb.31678>
Dettmar, Kevin J. H., The Cambridge Companion to Bob Dylan (Cambridge: Cambridge University Press, 2009)
———, ed., The Cambridge Companion to Bob Dylan (Cambridge: Cambridge University Press, 2009) <http://ezproxy01.rhul.ac.uk/login?url=http://dx.doi.org/10.1017/CCOL9780521886949>
Dibben, Nicola, ‘Representations of Femininity in Popular Music’, Popular Music, 18.03 (1999) <https://doi.org/10.1017/S0261143000008904>
Dubler, Joshua, ‘Shit White People Say About Beyoncé’, Soundings: An Interdisciplinary Journal, 97.3 (2014) <https://doi.org/10.5325/soundings.97.3.0385>
Duffett, Mark, ‘Multiple Damnations: Deconstructing the Critical Response to Boy Band Phenomena’, Popular Music History, 7.2 (2012), 185–97
Echols, Alice, Hot Stuff (New York: W.W. Norton & Company, 2011)
Fink, Robert, ‘The Story of ORCH5, Or, the Classical Ghost in the Hip-Hop Machine’, Popular Music, 24.03 (2005) <https://doi.org/10.1017/S0261143005000553>
Fitzgerald, Jon, ‘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 (2007), 97–140 <https://www.jstor.org/stable/25433786>
———, ‘Motown Crossover Hits 1963–1966 and the Creative Process’, Popular Music, 14.01 (1995), 1–11 <https://doi.org/10.1017/S0261143000007601>
Flory, Jonathan Andrew, ‘I Hear a Symphony: Making Music at Motown, 1959–1979’, 2006 <http://search.proquest.com.ezproxy01.rhul.ac.uk/docview/305295268?accountid=11455>
Freund Schwartz, Roberta, How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom, 2016
Fuchs, Jeanne, and Ruth Prigozy, Frank Sinatra: The Man, the Music, the Legend (Rochester, NY: University of Rochester Press, 2007)
Glaros, Michelle, and Michael Laffey, ‘Situating The Residents’, Journal of Film and Video, 64.1–2 (2012) <https://doi.org/10.5406/jfilmvideo.64.1-2.0072>
Goodwin, Andrew, ‘Rationalization and Democratization in the New Technologies of Popular Music’, in Popular Music and Communication, 2nd ed (Newbury Park: Sage Publications, 1992), lxxxix, 147–68
———, ‘Rationalization and Democratization in the New Technologies of Popular Music’, in The Popular Music Studies Reader (London: Routledge, 2006), pp. 276–82
———, ‘Sample and Hold: Pop Music in the Digital Age of Reproduction’, Critical Quarterly, 30.3 (1988), 34–49 <https://doi.org/10.1111/j.1467-8705.1988.tb00315.x>
Hains, Rebecca C., ‘The Significance of Chronology in Commodity Feminism: Audience Interpretations of Girl Power Music’, Popular Music and Society, 37.1 (2014), 33–47 <https://doi.org/10.1080/03007766.2012.726033>
Holm-Hudson, Kevin, Progressive Rock Reconsidered (New York: Routledge, 2002)
Hubbs, Nadine, ‘“I Will Survive”: Musical Mappings of Queer Social Space in a Disco Anthem’, Popular Music, 26.02 (2007) <https://doi.org/10.1017/S0261143007001250>
Keightley, Keir, ‘“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), 1996 <http://spectrum.library.concordia.ca/221/1/NQ25911.pdf>
Keister, Jay, and Jeremy L. Smith, ‘Musical Ambition, Cultural Accreditation and the Nasty Side of Progressive Rock’, Popular Music, 27.03 (2008) <https://doi.org/10.1017/S0261143008102227>
Kevin Holm-Hudson, Progressive Rock Reconsidered (Routledge, 2001) <https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781315054230>
Kumari, Ashanka, ‘"Yoü and I”: Identity and the Performance of Self in Lady Gaga and Beyoncé’, The Journal of Popular Culture, 49.2 (2016), 403–16 <https://doi.org/10.1111/jpcu.12405>
Laing, Dave, ‘Anglo-American Music Journalism: Texts and Context’, in The Popular Music Studies Reader (London: Routledge, 2006), pp. 333–39 <https://moodle.royalholloway.ac.uk/mod/resource/view.php?id=261869>
———, ‘Formation’, in One Chord Wonders: Power and Meaning in Punk Rock, New and expanded edition (Oakland: PM Press, 2015) <https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781629630571&uid=^u>
———, One Chord Wonders: Power and Meaning in Punk Rock, New and expanded edition (Oakland: PM Press, 2015)
Lambert, Philip, ‘Brian Wilson’s Pet Sounds’, Twentieth-Century Music, 5.01 (2008), 109–33 <https://doi.org/10.1017/S1478572208000625>
Lawrence, Tim, Love Saves the Day: A History of American Dance Music Culture, 1970-1979 (Durham: Duke University Press, 2003)
———, Love Saves the Day: A History of American Dance Music Culture, 1970-1979 (Durham: Duke University Press, 2003) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1167908>
Leach, Elizabeth Eva, ‘Vicars of “Wannabe”: Authenticity and the Spice Girls’, Popular Music, 20.02 (2001) <https://doi.org/10.1017/S0261143001001386>
Lemish, Dafna, ‘Spice World: Constructing Femininity the Popular Way’, Popular Music and Society, 26.1 (2003), 17–29 <https://doi.org/10.1080/0300776032000076360>
Lynskey, Dorian, ‘The Clash ‘White Riot’’, in 33 Revolutions per Minute: A History of Protest Songs (London: Faber and Faber, 2012), pp. 337–58
Macan, Edward, ‘The Music’, in Rocking the Classics: English Progressive Rock and the Counterculture (New York: Oxford University Press, 1997), pp. 30–56
Macrossan, Phoebe, ‘Intimacy, Authenticity and “Worlding” in Beyoncé’s Star Project’, in Popular Music, Stars and Stardom (ANU Press, 2018), pp. 137–52 <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, Music of Yes: Structure and Vision in Progressive Rock (Chicago, Ill: Open Court, 1996), Feedback
Nelson, Michael, ‘Ol’ Red, White, and Blue Eyes: Frank Sinatra and the American Presidency’, Popular Music and Society, 24.4 (2000), 79–102 <https://doi.org/10.1080/03007760008591786>
O’Meara, Caroline, ‘The Raincoats: Breaking Down Punk Rock’s Masculinities’, Popular Music, 22.3 (2003), 299–313 <https://doi.org/10.1017/S0261143003003209>
Palmer, John R., ‘Yes, “Awaken”, and the Progressive Rock Style’, Popular Music, 20.02 (2001) <https://doi.org/10.1017/S026114300100143X>
Pinch, Trevor, and Frank Trocco, ‘The Social Construction of the Early Electronic Music Synthesizer’, Icon, 4 (1998), 9–31 <https://www.jstor.org/stable/23785956>
‘Punk Britannia Episode 1 | Box of Broadcasts’ (BBC4, 2012) <https://learningonscreen.ac.uk/ondemand/index.php/prog/029B8637?bcast=85798437>
‘Punk Britannia Episode 2 | Box of Broadcasts’ (BBC4, 2012) <https://learningonscreen.ac.uk/ondemand/index.php/prog/029F5AA0?bcast=92702054>
‘Punk Britannia Episode 3 | Box of Broadcasts’ (BBC4, 2012) <https://learningonscreen.ac.uk/ondemand/index.php/prog/02E7155F?bcast=92706875>
Railton, Diane, ‘The Gendered Carnival of Pop’, Popular Music, 20.03 (2001) <https://doi.org/10.1017/S0261143001001520>
Rodger, Gillian, ‘Drag, Camp and Gender Subversion in the Music and Videos of Annie Lennox’, Popular Music, 23.1 (2004), 17–29 <https://doi.org/10.1017/S0261143004000066>
Rose, Philip, ‘Which One’s Pink? - Towards an Analysis of the Concept Albums of Roger Waters and Pink Floyd’, 1995 <https://macsphere.mcmaster.ca/bitstream/11375/11030/1/fulltext.pdf>
Savage, Jon, England’s Dreaming: Sex Pistols and Punk Rock (London: Faber, 1991)
Schwartz, Roberta Freund, How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom (Aldershot, England: Ashgate, 2007)
———, ‘The Rock Island Line’, in How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom (Aldershot: Ashgate, 2007), Ashgate popular and folk music series <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=438913>
Simonelli, D., ‘Anarchy, Pop and Violence: Punk Rock Subculture and the Rhetoric of Class, 1976-78’, Contemporary British History, 16.2 (2002), 121–44 <https://doi.org/10.1080/713999447>
‘Sinatra: All or Nothing at All (Series 2, Episode 1) | Box of Broadcasts’ (BBC4, 2015) <https://learningonscreen.ac.uk/ondemand/index.php/prog/0BA3CF35?bcast=120773817>
‘Sinatra: All or Nothing at All (Series 2, Episode 2) | Box of Broadcasts’ (BBC4, 2016) <https://learningonscreen.ac.uk/ondemand/index.php/prog/0BA5422B?bcast=120778881>
Sinatra, Frank, ‘What’s This About Races?’, in Frank Sinatra and Popular Culture: Essays on an American Icon (Westport, Conn: Praeger, 1998)
Smith, Suzanne E., Dancing in the Street: Motown and the Cultural Politics of Detroit (Cambridge, Mass: Harvard University Press, 1999)
Stalcup, Scott, ‘Noise Noise Noise: Punk Rock’s History Since 1965’, Studies in Popular Culture, 23.3 (2001) <https://www.jstor.org/stable/23414589>
‘Standing in the Shadows of Motown: Storyville | Box of Broadcasts’ (BBC4, 2009) <https://learningonscreen.ac.uk/ondemand/index.php/prog/004E1978>
Stewart, Alexander, ‘Funky Drummer: New Orleans, James Brown and the Rhythmic Transformation of American Popular Music’, Popular Music, 19.3 (2000), 293–318 <https://www.jstor.org/stable/853638>
Straw, Will, ‘Dance Music’, in The Cambridge Companion to Pop and Rock (Cambridge: Cambridge University Press, 2001), pp. 158–75
———, ‘Dance Music’, in The Cambridge Companion to Pop and Rock, ed. by Simon Frith, Will Straw, and John Street (Cambridge: Cambridge University Press, 2001), Cambridge Companions to Music, 158–75 <https://doi.org/10.1017/CCOL9780521553698.010>
Taraborrelli, J. Randall, Sinatra: The Man Behind the Myth (Edinburgh: Mainstream, 1997)
Tunbridge, Laura, ‘Rebirth, Pop Song Cycles’, in The Song Cycle (Cambridge: Cambridge University Press, 2010), Cambridge introductions to music, 169–86
Vernallis, Carol, ‘Beyoncé’s Video Phone’, in Unruly Media: YouTube, Music Video, and the New Digital Cinema, 2013 <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1389072>
———, Unruly Media: YouTube, Music Video, and the New Digital Cinema (New York: Oxford University Press, 2013)
Wald, Elijah, ‘Blues and Country’, in The Blues: A Very Short Introduction (New York: Oxford University Press, 2010), Very short introductions <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=544496>
———, How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music (New York: Oxford University Press, 2011)
———, How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music (New York: Oxford University Press, 2011)
———, How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music (New York: Oxford University Press, 2011)
———, The Blues: A Very Short Introduction (Oxford: Oxford University Press, 2010)
———, ‘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, 2009) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354>
———, ‘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, 2009) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354>
———, ‘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, 2009) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354>
Ward, Brian, Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations (Berkeley [Calif.]: University of California Press, 1998)
Wild, David, ‘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 (University of Rochester Press/Hofstra University ;,Boydell &, 2007), pp. 37–44 <https://www-dawsonera-com.ezproxy01.rhul.ac.uk/abstract/9781580467025>
Williams, Juliet, ‘"Same DNA, but Born This Way”: Lady Gaga and the Possibilities of Postessentialist Feminisms’, Journal of Popular Music Studies, 26.1 (2014), 28–46 <https://doi.org/10.1111/jpms.12058>
Womack, Kenneth, The Cambridge Companion to the Beatles (Cambridge: Cambridge University Press, 2009)
Worley, M., ‘Oi! Oi! Oi!: Class, Locality, and British Punk’, Twentieth Century British History, 24.4 (2013), 606–36 <https://doi.org/10.1093/tcbh/hwt001>
