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Mass Marketing the American Avant-Garde, 1967–1971

American music (Champaign, Ill.), 2017-10, Vol.35 (3), p.281-302

Hicks, Michael

2017

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From creator to data: the post-record music industry and the digital conglomerates

Media, culture & society, 2019-04, Vol.41 (3), p.367-384

Negus, Keith

2019

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The Effect of Digital Sharing Technologies on Music Markets: A Survival Analysis of Albums on Ranking Charts

Management science, 2007-09, Vol.53 (9), p.1359-1374

2007

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Connecting Music Education and Virtual Performance Practices from YouTube

Music education research, 2018-05, Vol.20 (3), p.360-376

Cayari, Christopher

2018

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Convergent evolution in a large cross-cultural database of musical scales

PloS one, 2023-12, Vol.18 (12), p.e0284851-e0284851

2023

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TROPISMS – A PERSONAL HISTORY OF THE GENESIS OF A COMPOSITION, STRING QUARTET NO. 5, DANCERS ON A PLANE

Tempo (London), 2022-01, Vol.76 (299), p.67-78

Volans, Kevin

2022

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Live and Recorded Music Interventions to Reduce Postoperative Pain: Protocol for a Nonrandomized Controlled Trial

JMIR research protocols, 2023-03, Vol.12, p.e40034-e40034

2023

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Country Canon

Journal of Popular Music Studies, 2021-09, Vol.33 (3), p.22-25

Easton, Steacy

2021

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Editorial

Journal of historical research in music education, 2022-10, Vol.44 (1), p.3-4

McCarthy, Marie

2022

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Pop vs rock: A comparison study of managing sessions in the recording studio and the influences of genre

Journal of music, technology and education, 2020-12, Vol.13 (2-3), p.141-161

2020

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The Resonance of the Romantic Horn Call in the Reception of Brahms’s Trio, Op. 40

19th century music, 2023-11, Vol.47 (2), p.129-154

Phillips, Reuben

2023

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Cover Art: A Reflection on Afrofuturistic Album Covers, Funk Music, and Black American Identity Formation: A Reflection on Afrofuturistic Album Covers, Funk Music, and Black American Identity Formation

Journal of popular music studies, 2021-09, Vol.33 (3), p.26-30

Haywood, Antoine

2021

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Some Sort of Machine without a Body: György Ligeti and Antoinette Vischer Explore the Modern Harpsichord

Studia musicologica, 2024-02, Vol.64 (1-2), p.75-91

Reisinger, Elisabeth

2024

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“Something New in the Musical Line”: The Emergence of the Song Recital during the 1870s and 1880s

American music (Champaign, Ill.), 2020-12, Vol.38 (4), p.454-484

Platt, Heather

2020

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“We Get the Job Done”: Immigrant Discourse and Mixtape Authenticity in The Hamilton Mixtape

American music (Champaign, Ill.), 2018-12, Vol.36 (4), p.487-506

Williams, Justin A.

2018

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Maroon History, Music, and Sacred Sounds in the Americas: A Jamaican Case

Journal of Africana religions, 2017-01, Vol.5 (2), p.275-282

Fuller, Harcourt

2017

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‘New Blood’: A contemporary GIM programme

Approaches: Mousikotherapeia kai Eidikī Mousikī Paidagōgikī, 2017-12, Vol.9 (2), p.343-358

Fuglestad, Svein

2017

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ADAPTING COPYRIGHT FOR THE MASHUP GENERATION

University of Pennsylvania law review, 2016-01, Vol.164 (2), p.441-512

Menell, Peter S.

2016

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When We First Began: New Sonic Histories of Hip Hop

Journal of popular music studies, 2024-03, Vol.36 (1), p.18-22

Pyar Seth

2024

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All Songs Considered: The Persuasive Listening of Music Podcasts

Twentieth-century music, 2022-10, Vol.19 (3), p.411-426

MCDANIEL, BYRD

2022

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"Nobody Likes Rock and Roll but the Public": Down Beat, Genre Boundaries and the Dismissal of Rock and Roll by Jazz Critics

Popular music and society, 2013-12, Vol.36 (5), p.559-577

Brennan, Matt

2013

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“Make It Funky”: Funk, Live Performance, and the Concept “Genre Works”

American music (Champaign, Ill.), 2020-09, Vol.38 (3), p.353-379

Valnes, Matthew

2020

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Bill Malone, Alan Lomax, and the Origins of Country Music

The Journal of American folklore, 2014-04, Vol.127 (504), p.126-139

Cohen, Ronald D.

2014

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Live Islands in the Seas of Recordings: The Music Experience of Visitors at the Øya Festival

Popular music and society, 2014-10, Vol.37 (5), p.660-679

2014

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The Dynamic Interplay Between Recorded Music and Live Concerts: The Role of Piracy, Unbundling, and Artist Characteristics

Journal of marketing, 2017-07, Vol.81 (4), p.67-87

2017

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Mass Marketing the American Avant-Garde, 1967–1971

From creator to data: the post-record music industry and the digital conglomerates

The Effect of Digital Sharing Technologies on Music Markets: A Survival Analysis of Albums on Ranking Charts

Connecting Music Education and Virtual Performance Practices from YouTube

Convergent evolution in a large cross-cultural database of musical scales

TROPISMS – A PERSONAL HISTORY OF THE GENESIS OF A COMPOSITION, STRING QUARTET NO. 5, DANCERS ON A PLANE

Live and Recorded Music Interventions to Reduce Postoperative Pain: Protocol for a Nonrandomized Controlled Trial

Country Canon

Editorial

Pop vs rock: A comparison study of managing sessions in the recording studio and the influences of genre

The Resonance of the Romantic Horn Call in the Reception of Brahms’s Trio, Op. 40

Cover Art: A Reflection on Afrofuturistic Album Covers, Funk Music, and Black American Identity Formation: A Reflection on Afrofuturistic Album Covers, Funk Music, and Black American Identity Formation

Some Sort of Machine without a Body: György Ligeti and Antoinette Vischer Explore the Modern Harpsichord

“Something New in the Musical Line”: The Emergence of the Song Recital during the 1870s and 1880s

“We Get the Job Done”: Immigrant Discourse and Mixtape Authenticity in The Hamilton Mixtape

Maroon History, Music, and Sacred Sounds in the Americas: A Jamaican Case

‘New Blood’: A contemporary GIM programme

ADAPTING COPYRIGHT FOR THE MASHUP GENERATION

When We First Began: New Sonic Histories of Hip Hop

All Songs Considered: The Persuasive Listening of Music Podcasts

"Nobody Likes Rock and Roll but the Public": Down Beat, Genre Boundaries and the Dismissal of Rock and Roll by Jazz Critics

“Make It Funky”: Funk, Live Performance, and the Concept “Genre Works”

Bill Malone, Alan Lomax, and the Origins of Country Music

Live Islands in the Seas of Recordings: The Music Experience of Visitors at the Øya Festival

The Dynamic Interplay Between Recorded Music and Live Concerts: The Role of Piracy, Unbundling, and Artist Characteristics

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