Adams, Ruth. ‘The Englishness of English Punk: Sex Pistols, Subcultures, and Nostalgia’. Popular Music and Society 31.4 (2008): 469–488. Web.
Adelt, Ulrich. ‘Trying to Find an Identity: Eric Clapton’s Changing Conception of "Blackness”’. Popular Music and Society 31.4 (2008): 433–452. Web.
Albiez, Sean. ‘Know History!: John Lydon, Cultural Capital and the Prog/Punk Dialectic’. Popular Music 22.3 (2003): 357–374. Web.
Anderton, Chris. ‘A Many-Headed Beast: Progressive Rock as European Meta-Genre’. Popular Music 29.03 (2010): 417–435. Web.
Auner, Joseph. ‘“Sing It for Me”: Posthuman Ventriloquism in Recent Popular Music’. Journal of the Royal Musical Association 128.1 (2003): 98–122. Web.
Bennett, Andy. Cultures of Popular Music. Buckingham [England]: Open University Press, 2001. Print.
---. ‘Punk and Punk Rock’. Cultures of Popular Music. Buckingham: Open University Press, 2001. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=6212021>.
Bennett, Andy, and Jon Stratton. Britpop and the English Music Tradition. Ashgate popular and folk music series. Farnham, Surrey, England: Ashgate, 2010. Print.
---. Britpop and the English Music Tradition. Farnham, Surrey, England: Ashgate, 2010. Web. <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=564095>.
Blake, Andrew. Living Through Pop. Routledge, 1999. Print.
Bowman, Rob. ‘The Stax Sound: A Musicological Analysis’. Popular Music 14.03 (1995): n. pag. Web.
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. Web.
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): n. pag. Web. <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. Web.
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. Web.
Cambridge Companions Complete Collection. The Cambridge Companion to the Beatles. Ed. Kenneth Womack. Cambridge Companions to Music. Cambridge: Cambridge University Press, 2009. Web. <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”’. Are We Not New Wave?. University of Michigan Press, 2011. 45–71. Print.
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): 360–379. Web.
Cloonan, Martin. ‘State of the Nation: "Englishness,” Pop, and Politics in the Mid‐1990s’. Popular Music and Society 21.2 (1997): 47–70. Web.
Covach, John. ‘Progressive Rock, "Close to the Edge” and the Boundaries of Style’. Understanding Rock: Essays in Musical Analysis. New York: Oxford University Press, 1997. 3–32. Print.
Cunningham, David. ‘Kraftwerk and the Image of the Modern’. Kraftwerk: Music Non-Stop. New York: Continuum, 2010. 44–62. Print.
Danielsen, Anne. Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Middletown, Conn: Wesleyan University Press, 2006. Print.
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Dettmar, Kevin J. H. The Cambridge Companion to Bob Dylan. Cambridge: Cambridge University Press, 2009. Print.
---, ed. The Cambridge Companion to Bob Dylan. Cambridge: Cambridge University Press, 2009. Web. <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): n. pag. Web.
Dubler, Joshua. ‘Shit White People Say About Beyoncé’. Soundings: An Interdisciplinary Journal 97.3 (2014): n. pag. Web.
Duffett, Mark. ‘Multiple Damnations: Deconstructing the Critical Response to Boy Band Phenomena’. Popular Music History 7.2 (2012): 185–197. Print.
Echols, Alice. Hot Stuff. New York: W.W. Norton & Company, 2011. Print.
Fink, Robert. ‘The Story of ORCH5, Or, the Classical Ghost in the Hip-Hop Machine’. Popular Music 24.03 (2005): n. pag. Web.
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. Web. <https://www.jstor.org/stable/25433786>.
---. ‘Motown Crossover Hits 1963–1966 and the Creative Process’. Popular Music 14.01 (1995): 1–11. Web.
Flory, Jonathan Andrew. ‘I Hear a Symphony:  Making Music at Motown, 1959–1979’. 2006. Web. <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. N.p., 2016. Print.
Fuchs, Jeanne, and Ruth Prigozy. Frank Sinatra: The Man, the Music, the Legend. Rochester, NY: University of Rochester Press, 2007. Print.
Glaros, Michelle, and Michael Laffey. ‘Situating The Residents’. Journal of Film and Video 64.1–2 (2012): n. pag. Web.
Goodwin, Andrew. ‘Rationalization and Democratization in the New Technologies of Popular Music’. Popular Music and Communication. 2nd ed. Vol. 89. Newbury Park: Sage Publications, 1992. 147–168. Print.
---. ‘Rationalization and Democratization in the New Technologies of Popular Music’. The Popular Music Studies Reader. London: Routledge, 2006. 276–282. Print.
---. ‘Sample and Hold: Pop Music in the Digital Age of Reproduction’. Critical Quarterly 30.3 (1988): 34–49. Web.
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. Web.
Holm-Hudson, Kevin. Progressive Rock Reconsidered. New York: Routledge, 2002. Print.
Hubbs, Nadine. ‘“I Will Survive”: Musical Mappings of Queer Social Space in a Disco Anthem’. Popular Music 26.02 (2007): n. pag. Web.
Keightley, Keir. ‘“Frank Sinatra As Adult Performer” and “The Production of the Capitol Sinatra”’. Frank Sinatra, Hi-Fi, and the Formations of Adult Culture: Gender, Technology, and Celebrity, 1948–1962 (PhD Dissertation, Concordia University, 1996). N.p., 1996. Web. <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): n. pag. Web.
Kevin Holm-Hudson. Progressive Rock Reconsidered. Routledge, 2001. Web. <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): 403–416. Web. <https://onlinelibrary.wiley.com/doi/full/10.1111/jpcu.12405>.
Laing, Dave. ‘Anglo-American Music Journalism: Texts and Context’. The Popular Music Studies Reader. London: Routledge, 2006. 333–339. Web. <https://moodle.royalholloway.ac.uk/mod/resource/view.php?id=261869>.
---. ‘Formation’. One Chord Wonders: Power and Meaning in Punk Rock. New and expanded edition. Oakland: PM Press, 2015. Web. <https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&amp;isbn=9781629630571&amp;uid=^u>.
---. One Chord Wonders: Power and Meaning in Punk Rock. New and expanded edition. Oakland: PM Press, 2015. Print.
Lambert, Philip. ‘Brian Wilson’s Pet Sounds’. Twentieth-Century Music 5.01 (2008): 109–133. Web.
Lawrence, Tim. Love Saves the Day: A History of American Dance Music Culture, 1970-1979. Durham: Duke University Press, 2003. Print.
---. Love Saves the Day: A History of American Dance Music Culture, 1970-1979. Durham: Duke University Press, 2003. Web. <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): n. pag. Web.
Lemish, Dafna. ‘Spice World: Constructing Femininity the Popular Way’. Popular Music and Society 26.1 (2003): 17–29. Web.
Lynskey, Dorian. ‘The Clash ‘White Riot’’. 33 Revolutions per Minute: A History of Protest Songs. London: Faber and Faber, 2012. 337–358. Print.
Macan, Edward. ‘The Music’. Rocking the Classics: English Progressive Rock and the Counterculture. New York: Oxford University Press, 1997. 30–56. Print.
Macrossan, Phoebe. ‘Intimacy, Authenticity and “Worlding” in Beyoncé’s Star Project’. Popular Music, Stars and Stardom. ANU Press, 2018. 137–152. Web. <https://www.jstor.org/stable/j.ctv301dk8.12?Search=yes&amp;resultItemClick=true&amp;searchText=Macrossan%2C&amp;searchText=%27Intimacy%2C&amp;searchText=Authenticity&amp;searchText=and&amp;searchText=%22Worlding%22&amp;searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DMacrossan%252C%2B%25E2%2580%2598Intimacy%252C%2BAuthenticity%2Band%2B%25E2%2580%259CWorlding%25E2%2580%259D%2B%26amp%3Bfilter%3D&amp;refreqid=search%3Ad91897d1aeb6860e5a88703e26c76724&amp;seq=1#metadata_info_tab_contents>.
Martin, Bill. Music of Yes: Structure and Vision in Progressive Rock. Feedback. Chicago, Ill: Open Court, 1996. Print.
Nelson, Michael. ‘Ol’ Red, White, and Blue Eyes: Frank Sinatra and the American Presidency’. Popular Music and Society 24.4 (2000): 79–102. Web.
O’Meara, Caroline. ‘The Raincoats: Breaking Down Punk Rock’s Masculinities’. Popular Music 22.3 (2003): 299–313. Web.
Palmer, John R. ‘Yes, “Awaken”, and the Progressive Rock Style’. Popular Music 20.02 (2001): n. pag. Web.
Pinch, Trevor, and Frank Trocco. ‘The Social Construction of the Early Electronic Music Synthesizer’. Icon 4 (1998): 9–31. Web. <https://www.jstor.org/stable/23785956>.
‘Punk Britannia Episode 1 | Box of Broadcasts’. 2012. Web. <https://learningonscreen.ac.uk/ondemand/index.php/prog/029B8637?bcast=85798437>.
‘Punk Britannia Episode 2 | Box of Broadcasts’. 2012. Web. <https://learningonscreen.ac.uk/ondemand/index.php/prog/029F5AA0?bcast=92702054>.
‘Punk Britannia Episode 3 | Box of Broadcasts’. 2012. Web. <https://learningonscreen.ac.uk/ondemand/index.php/prog/02E7155F?bcast=92706875>.
Railton, Diane. ‘The Gendered Carnival of Pop’. Popular Music 20.03 (2001): n. pag. Web.
Rodger, Gillian. ‘Drag, Camp and Gender Subversion in the Music and Videos of Annie Lennox’. Popular Music 23.1 (2004): 17–29. Web.
Rose, Philip. ‘Which One’s Pink? - Towards an Analysis of the Concept Albums of Roger Waters and Pink Floyd’. 1995. Web. <https://macsphere.mcmaster.ca/bitstream/11375/11030/1/fulltext.pdf>.
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Schwartz, Roberta Freund. How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. Aldershot, England: Ashgate, 2007. Print.
---. ‘The Rock Island Line’. How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. Ashgate popular and folk music series. Aldershot: Ashgate, 2007. Web. <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): 121–144. Web.
‘Sinatra: All or Nothing at All (Series 2, Episode 1) | Box of Broadcasts’. 2015. Web. <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. Web. <https://learningonscreen.ac.uk/ondemand/index.php/prog/0BA5422B?bcast=120778881>.
Sinatra, Frank. ‘What’s This About Races?’ Frank Sinatra and Popular Culture: Essays on an American Icon. Westport, Conn: Praeger, 1998. Print.
Smith, Suzanne E. Dancing in the Street: Motown and the Cultural Politics of Detroit. Cambridge, Mass: Harvard University Press, 1999. Print.
Stalcup, Scott. ‘Noise Noise Noise: Punk Rock’s History Since 1965’. Studies in Popular Culture 23.3 (2001): n. pag. Web. <https://www.jstor.org/stable/23414589>.
‘Standing in the Shadows of Motown: Storyville | Box of Broadcasts’. 2009. Web. <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. Web. <https://www.jstor.org/stable/853638>.
Straw, Will. ‘Dance Music’. The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press, 2001. 158–175. Print.
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Taraborrelli, J. Randall. Sinatra: The Man Behind the Myth. Edinburgh: Mainstream, 1997. Print.
Tunbridge, Laura. ‘Rebirth, Pop Song Cycles’. The Song Cycle. Cambridge introductions to music. Cambridge: Cambridge University Press, 2010. 169–186. Print.
Vernallis, Carol. ‘Beyoncé’s Video Phone’. Unruly Media: YouTube, Music Video, and the New Digital Cinema. N.p., 2013. Web. <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. Print.
Wald, Elijah. ‘Blues and Country’. The Blues: A Very Short Introduction. Very short introductions. New York: Oxford University Press, 2010. Web. <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. Print.
---. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press, 2011. Print.
---. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press, 2011. Print.
---. The Blues: A Very Short Introduction. Oxford: Oxford University Press, 2010. Print.
---. ‘Twisting Girls Change the World’. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York, New York: Oxford University Press, 2009. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354>.
---. ‘Twisting Girls Change the World’. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York, New York: Oxford University Press, 2009. Web. <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=431354>.
---. ‘Twisting Girls Change the World’. How the Beatles Destroyed Rock ‘N’ Roll: An Alternative History of American Popular Music. New York, New York: Oxford University Press, 2009. Web. <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. Print.
Wild, David. ‘They Can’t Take That Away from Me: Frank Sinatra and His Curious but Close Relationship with the Rock “n” Roll Generation’. Frank Sinatra: The Man, the Music, the Legend. University of Rochester Press/Hofstra University ;,Boydell &, 2007. 37–44. Web. <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. Web.
Womack, Kenneth. The Cambridge Companion to the Beatles. Cambridge: Cambridge University Press, 2009. Print.
Worley, M. ‘Oi! Oi! Oi!: Class, Locality, and British Punk’. Twentieth Century British History 24.4 (2013): 606–636. Web.