Lingue e Linguaggi

Lines of Longitude and Latitude. Defining text genres in popular music discourse

Abstract

Abbott P. 1988, Autobiography, Autography, Fiction: Groundwork for a Taxonomy of Textual Categories, in “New Literary History” 19 [3], pp. 597-615.

Adorno T. 1941, On Popular Music, in “Zeitschrift für Sozialforschung” 9 [1], pp. 17-48.

Aleshinskaya E. 2013, Key Components of Musical Discourse Analysis, in “Research in Language” 11 [4], pp. 423-444.

Azerrad M. 2023, Our Band Could Be Your Life: Scenes from the American Indie Underground 1981–1991, Da Capo Press, New York.

Barthes R. 1977, Image, musique, texte, Éditions du Seuil, Paris.

Bean M. 2019, Phantoms: The Rise of Deathrock from the LA Punk Scene, Jawbone Press, London.

Berenyi M. 2022, Fingers Crossed: How Music Saved Me from Success, Nine Eight Books, London.

Bergeron K. and Bohlman P. (eds.) 1992, Disciplining Music: Musicology and Its Canons, Chicago University Press, Chicago.

Bhatia V. 1993, Analysing Genre: Language Use in Professional Settings, Longman, London.

Bhatia V. 2004, Worlds of Written Discourse, Continuum, London.

Bohlman P. 1993, Musicology as a Political Act, in “Journal of Musicology” 11, pp. 411-436.

Bourdieu P. 1992, Les règles de l’art: Genèse et structure du champ littéraire, Éditions du Seuil, Paris.

Brown P. 2011, Are We Still Rolling? Studio, Drugs and Rock’n’Roll, Omnibus Press, London.

Butcher P. 2011, Freak Out! My Life with Frank Zappa, Jawbone Press, London.

Campbell P. 1991, Lessons from the World. A Cross-cultural Guide to Music Teaching and Learning, Schirmer Books, New York.

Chung D., Kim E., Trammell K. and Porter L. 2007, Uses and Perceptions of Blogs: A Report on Professional Journalists and Journalism Educators. in “Journalism & Mass Communication Educator” 62 [3], pp. 305-322.

Clarke D. 2012, Musical Autonomy Revisited, in Clayton M., Herbert T. and Middleton R. (eds), The Cultural Study of Music. A Critical Introduction, Routledge, London, pp. 172-183.

Clayton M., Herbert T. and Middleton R. (eds.)2012, The Cultural Study of Music. A Critical Introduction, Routledge, London.

Cloonan M. 2002, Exclusive! The British Press and Popular Music: The Story so far…, in Jones S. (ed), Pop Music and the Press, Temple University Press, Philadelphia, pp. 114-133.

Cohen S. 1991, Rock Culture in Liverpool: Popular Music in the Making, Clarendon Press, Oxford.

Connolly M. and Krueger A. 2006, Rockonomics: The Economics of Popular Music, in V. Ginsburgh, A. and Throsby, D. (eds), Handbook of the Economics of Art and Culture 1, Elsevier, Amsterdam, pp. 667-719.

Cook N. 1990, Music, Imagination and Culture, Clarendon Press,Oxford.

Cooper K. and Smay D. 2001, Bubblegum Music Is the Naked Truth, Feral House, Port Townsend.

Crozier H. 1996, Structures of Meaning: Popular Music and Society (Doctoral thesis), Goldsmiths, University of London, London.

Curtis D. 2005, Touching from a Distance: Ian Curtis and Joy Division, Faber & Faber, London.

Di Scipio A. 1995, Centrality of Techné for an Aesthetic Approach on Electroacoustic Music, in “Journal of New Music Research” 24 [4], pp. 369-383.

Doyle T. 2022. Running up That Hill: 50 Visions of Kate Bush, White Rabbit, London.

Du Noyer P. 2002, Liverpool, Wondrous Place: Music from Cavern to Cream, Virgin Books, London.

Easlea D. 2004, Everybody Dance: Chic and the Politics of Disco, Helter Skelter Publishing, London.

Einarson J. 2024, Words and Music: The Stories Behind the Books, JE Publishing, Winnipeg.

Endeacott R. 2014, Peaches: A Chronicle of the Stranglers, 1974-1990, Safehouse, London.

Evans,R. 2022, Listening to the Music the Machines Make: Inventing Electronic Pop 1978–1983, Velocity Press, London.

Fabbri F. 1982, A Theory of Musical Genres: Two Applications, in Horn D. and Tagg P. (eds.), Popular Music Perspectives, IASPM, Göteborg, pp. 52-81.

Fairclough N. 2001, The Dialectics of Discourse, in “Textus” 14 [2], 231-242.

Fairclough N. 2003, Analysing Discourse. Textual Analysis for Social Research, Routledge, London.

Farmer N. 1998, XTC: Song Stories, Sanctuary Publishing, London.

Feld S. 1994, Communication, Music, and Speech about Music, in Kail, C. and Feld, S. (eds.) Music Grooves: Essays and Dialogues, Chicago University Press, Chicago, pp. 77-95.

Fenster M. 2002, Consumers’ Guides. The Political Economy of the Music Press and the Democracy of Critical Discourse, in Jones S. (ed.) Pop Music and the Press, Temple University Press, Philadelphia, pp. 81-92.

Florek J. and Whelan P. 2009. Liverpool Eric's: All the Best Clubs Are Downstairs, Everybody Knows That, Feedback Publishing, Runcorn.

Floyd S. 1991, Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry, in “Black Music Research Journal” 11 [2], pp. 265-288.

Forsberg Weiland M. 2010, Fall to Pieces: A Memoir of Drug, Rock 'n' Roll, and the Darkness Before the Dawn, Howard Books, New York.

Francès R. 1988, The Perception of Music, Hillsdale, Erlbaum.

Frith S. 1978, The Sociology of Rock, Contsable, London.

Frith S. 1996, Performing Rites: On the Value of Popular Music, Harvard University Press, Cambridge.

Frith S. 2002, Fragments of a Sociology of Rock Criticism, in Jones S. (ed.)Pop Music and the Press, Temple University Press, Philadelphia, 235-246.

Frith S. 2004, Popular Music: Critical Concepts in Media and Cultural Studies, Routledge, London.

Frith S. and Goodwin A. (eds.)1990, On Record: Rock, Pop, and the Written Word, Pantheon Books, New York.

Fritz T. and Jentschke S. 2009, Universal Recognition of three Basic Emotions in Music, in “Current Biology” 19 [7], pp. 573-576.

Furay R. 2004, Preface, in Einarson J. (eds), For What It's Worth: The Story of Buffalo Springfield, Cooper Square Press, Lanham, pp. 7-8.

Gleeson S. and Gordon K. (eds.)2022, This Woman's Work: Essays on Music, Hachette Books, New York.

Godlovitch S. 1998, Musical Performance. A Philosophical Study, Routledge, London.

Gorman P. 2001, In Their Own Write: Adventures in the Music Press, Sanctuary, London.

Gorman P. 2023, Totally Wired. The Rise and Fall of Music Press, Thames & Hudson, London.

Green L. 1997, Music, Gender, Education, Cambridge University Press, Cambridge.

Green L. 2008. Music, Informal Learning and the School: A New Classroom Pedagogy, Ashgate, New York.

Gudmundsson G., Lindberg U., Michelsen M. and Weisethaunet H. 2002, The Brit Crit: Turning Points in British Rock Criticism, 1960-1990, in Jones S. (ed), Pop Music and the Press, Temple University Press, Philadelphia, pp. 41-64.

Gunnarsson B. 2009, Professional Discourse, Continuum, London.

Haddon M. 2020, What Is Post-Punk? Genre and Identity in Avant-Garde Popular Music, 1977-82, University of Michigan Press, Ann Arbor.

Hallam S. 2001, The Power of Music, The Performing Right Society, London.

Hamm C. 1982, Music in the New World, Norton, New York.

Haslam D. 2000, Manchester, England: The Story of the Pop Cult City, Fourth Estate, London.

Herbert T. 2012, Social History and Music History, in Clayton M., Herbert T. and Middleton R. (eds), The Cultural Study of Music. A Critical Introduction, Routledge, London, 49-58.

Heylin C. (ed.)1992, The Penguin Book of Rock & Roll Writing, Viking, London.

Heylin C. 2008. Babylon's Burning: From Punk to Grunge, Penguin Books, London.

Hoskyns B. (ed.)2003, The Sound and the Fury. A Rock’s Backpages Reader. 40 Years of Classic Rock Journalism, Bloomsbury, London.

Hussey W. 2019, Salad Daze, Omnibus Press, London.

Hyland K. 1998, Persuasion and Context: The Pragmatics of Academic Metadiscourse, in “Journal of Pragmatics” 30 [4], pp. 437-455.

Hyland K. 2005, Metadiscourse, Continuum, London.

Jones S. (ed.)2002, Pop Music and The Press, Temple University Press, Philadelphia.

Kantner P. 2000, Preface, in Unterberger R. (ed.)Urban Spacemen and Wayfaring Strangers, Backbeat Books, San Francisco, pp. vii-ix.

Katz D. 2024, Solid Foundation: An Oral History of Reggae, White Rabbit, London.

Lenneberg H. 2019, Witnesses and Scholars: Studies in Musical Biography, Routledge, London.

Lindberg U., Gudmundsson G., Michelsen M. and Wesiethaunet H. (eds.)2005, Rock Criticism from the Beginning: Amusers, Bruisers, and Cool-headed Cruisers, Peter Lang, Bern.

Little I. 2022, Baptism of Fire: A Year Living and Working with Duran Duran, Independent, London.

Lurie R. 2009, No Certainty Attached: Steve Kilbey and the Church, A&C Black, London.

MacIntyre D., McPhee G., and Cooper N. 2022, Hungry Beat: The Scottish Independent Pop Underground Movement, 1977-1984, White Rabbit Books, London.

Machin D. 2010, Analysing Popular Music. Images, Sound, Text, Sage, London.

Mantere M. and Kurkela V. (ed.) 2015, Critical Music Historiography: Probing Canons, Ideologies and Institutions, Ashgate, London.

Martin C. 1993, Traditional Criticism of Popular Music and the Making of a Lip-synching Scandal, in “Pop Music and Society” 17 [4], pp. 63-81.

McDonald C. 2000, Exploring Modal Subversions in Alternative Music, in “Popular Music” 19 [3], pp. 355-363.

McDonnell,E. and Powers A. (eds.)1995, Roch She Wrote. Women Write about Rock, Pop, and Rap, Delta Books, New York.

McGonigal M. 2007, Loveless, Continuum, New York.

McGuinn I. 2017, In the Wings: My Life with Roger McGuinn and The Byrds, Jawbone Press, London.

McLeod K. 2002, Between Rock and a Hard Place. Gender and Rock Criticism, in Jones S. (ed), Pop Music and the Press, Temple University Press, Philadelphia, pp. 93-113.

Meltzer R. 1970, The Aesthetics of Rock, Grove Press, New York.

Middleton R. 1990, Studying Popular Music, Open University Press, Philadelphia.

Moody R. 2015, Foreword, in Woodworth M. and Grossan A.J. (eds), How to Write about Music, Bloomsbury, London, pp. xi-xiii

Morley P. 2002, Words and Music. A History of Pop in the Shape of a City, Bloomsbury, London.

Negus K. 1999, Music Genres and Corporate Cultures, Routledge, London.

Nettl B. and Bohlman P. (eds.)1991, Comparative Musicology and Anthropology of Music: Essays in the History of Ethnomusicology, Chicago, Chicago University Press.

Parker D. 2001, Random Precision: Recording the Music of Syd Barrett 1965–1974, SAF Publishing, London.

Pegg N. 2016, The Complete David Bowie, Reynolds & Hearn, London.

Pekacz J. (ed.) 2017, Musical Biography: Towards New Paradigms, Routledge, London.

Pekacz J. 2004, Memory, History and Meaning: Musical Biography and Its Discontents, in “Journal of Musicological Research” 2 [1], pp. 39-80.

Pickering M. 2010, Taking Popular Music Seriously. By Simon Frith, in “Popular Music” 29, pp. 473-475.

Rehding A. 2021, Timbre/Techne, in Dolan E. and Rehding A. (eds), The Oxford Handbook of Timbre, Oxford University Press, Oxford, p. 381.

Reyes M. 2022, The Evolution of Mathematics: A Rhetorical Approach, Penn State Press, University Park.

Reynolds S. 1990a, Blissed Out. The Raptures of Rock, The Serpent’s Tail, London.

Reynolds S. 1990, The Sex Revolts: Gender, Rebellion and Rock’n’Roll, Harper Collins, London.

Reynolds S. 2005, Rip It Up and Start Again: Postpunk 1978-1984, Faber & Faber, London.

Robb J. 2023, The Art of Darkness: The History of Goth, White Rabbit, London.

Roe K. and Carlsson U. (eds.)1990, Popular Music Research, Nordicom, Goteborg.

Rogan J. 2001, The Byrds: Timeless Flight Revisited, Omnibus Press, London.

Rogers J. 2022, The Sound of Being Human. How Music Shapes Our Lives, White Rabbit, London.

Ronson S. 2024, Me and Mr. Jones: My Life with David Bowie and the Spiders from Mars, Pegasus Books, New York.

Sala M. 2024, Spiders from Mars. (Re)Confi guring Musicians’ Stories through their Songs, in “Elephant & Castle” 32 [1], pp. 202-214.

Seeger C. 1977, Studies in Musicology, 1935-1975, University of California Press, Berkeley.

Shuker R. 2001, Understanding Popular Music, Routledge, London.

Siertsema B. 1962, Timbre, Pitch and Intonation, in “Lingua” 11, pp. 388-398.

Spevack W. 2021, Keep on Shining: A Guide through the Music of Love and Arthur Lee, WES Books, New York.

Stafford A. 2020. Breathing The Same Air: A Memoir of My Time with XTC during the Making of The Big Express, Omnibus Press, London.

Stratton J. 1982, Between Two Worlds. Art and Commercialism in the Record Industry, in “Sociological Review” 30 [2], pp. 267-283.

Swan R. 2018, The Beach Boys: All The Songs, Black Dog & Leventhal, New York.

Swinkin J. 2015, Teaching Performance: A Philosophy of Piano Pedagogy. Contemporary Philosophies and Theories in Education, Springer, London.

Tagg P. 1994, From Refrain to Rave: The Decline of Figure and the Rise of Ground, in “Popular Music” 13 [2], pp. 209–222.

Tagg P. 2013, Music’s Meanings: A Modern Musicology for Non-Musos, Mass Media Music Scholars' Press, Uppsala.

Temperley D. 2011, Scalar Shift in Popular Music, in “Music Theory Online” 17 [4], pp. 2-17.

Théberge P. 1997, Any Sound You Can Imagine: Making Music/Consuming Technology, Wesleyan University Press, Hanover.

Tolhurst L. 2023, Goth: A History, Hachette Books, New York.

Tomlinson G. 2012, Musicology, Anthropology, History, in Clayton M., Herbert T. and Middleton R. (eds), The Cultural Study of Music. A Critical Introduction, Routledge, London, pp. 59-72.

Toop D. 1995, Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds, Serpent's Tail, London.

Torkelson Weber E. 2016, The Beatles and the Historians: An Analysis of Writings About the Fab Four, McFarland, Jefferson.

van der Merwe P. 1989, Origins of the Popular Style, Clarendon, Oxford.

Wiley C. and Watt P. 2019, Musical Biography in the Musicological Arena, in “Journal of Musicological Research” 38 [3-4], pp. 187–192.

Whiteley S. 2000, Women and Popular Music: Sexuality, Identity and Subjectivity, Routledge, London.

Woodworth M. 1998, Solo: Woman Singer-Songwriters in Their Own Words, Doubleday, New York.

Woodworth M. 2015, Introduction, in Woodworth M. and Grossan A.J. (eds), How to Write about Music, Bloomsbury, London, pp. 1-3.

Woodworth M. and Grossan A.J. (eds.) 2015, How to Write about Music, Bloomsbury, London.

Zollo P. 1997, Songwriters on Songwriting, Da Capo Press, New York.