Note: Master students must read two books from the list below;
Note: Bachelor students must read one book from the list below.
These books are particularly relevant for understanding the role of media for music production:
- Wikstr?m, P. (2013): The Music Industry: Music in the Cloud. Malden, MA: Polity.
- Frith, S. and Zagorski-Thomas, S. (eds.) (2012): The Art of Record Production. An Introductory Reader for a New Academic Field. Farnham: Ashgate.
This book is particularly relevant for understanding the role of media for music distribution:
- Spilker, H. T. (2018): Digital Music Distribution: The Sociology of Online Music Streams. London and New York: Routledge.
This book is particularly relevant for understanding the role of media for music consumption:
- Baym, N. (2018): Playing to the Crowd: Musicians, Audiences, and the Intimate Work of Connection. New York: New York University Press.
Required & Recommended Readings
*This list is subject to some further changes / additions. Weekly required readings will be announced in the preceding lecture, and PDF uploaded on Canvas.
Baade, C. 2015. Radio. In The Routledge Reader in the Sociology of Music. Eds. Shepherd, J. and K. Devine. New York: Routledge: 309-317.
Born, G. 2005. On musical mediation: Ontology, technology and creativity. Twentieth-Century Music 2(1): 7–36.
Br?vig-Hanssen R. & Danielsen A. 2016. Digital Signatures: The Impact of Digitization on Popular Music Sound. Cambridge, Mass: MIT Press. (Excerpt TBC)
Danielsen, A. & Maas?, A. 2009. Mediating Music: materiality and silence in Madonna's 'Don't Tell Me'. Popular Music. 28(2): 127- 142.
Edmond, M. 2012. Here We Go Again: Music Videos after YouTube, Television & New Media, XX: 1-16.
Frith, S. and Marshall, L. (eds.) (2004): Music and Copyright. Second edition. New York: Routledge.
García Qui?ones, M., Kassabian, A. & Boschi, E. 2013. Ubiquitous musics: the everyday sounds that we don't always notice. Farnham: Ashgate. (Chapter TBC)
Hagen, A. N. (2015): The Playlist Experience: Personal Playlists in Music Streaming Services. Popular Music and Society, 38(5), 625-645.
Hagen, A. N. og Lüders, M.: "Social streaming? Navigating music as personal and social". Convergence: The International journal of Research into New Media Technologies 2017, 1-17.(17 s)
Hawkins, S. & Richardson, J. 2007. Remodelling Britney Spears: Matters of Intoxication and Mediation. Popular Music and Society, 30 (5), 605-629.
Kjus, Y. and Danielsen, A. (2014): Live Islands in the Seas of Recordings: The Music Experience of Visitors at the ?ya Festival. Popular Music and Society, 37(5), 660–679.
Kjus, Y. (2015). Reclaiming the Music: The Power of Local and Physical Music Distribution in the Age of Global Online Services. New Media and Society, s.1-17.
Kjus, Yngvar (2018): Live and Recorded: Music Experience in the Digital Millennium. London: Palgrave Macmillan.
Lindberg U., Gudmundsson, G, Michelsen, M. and Weisethaunet, H. (2005): Rock criticism from the beginning. Chapter 2, 3 and 4.
McGranahan, L. (2010): Mashnography: Creativity, Consumption, and Copyright in the Mashup Community. PhD dissertation. Introduction chapter.
Nowak, R. & Whelan, A. (eds.) (2016): Networked Music Cultures. Contemporary Approaches, Emerging Issues. London: Palgrave Macmillan
Prey, R. (2016). Musica Analytica: The Datafication of Listening. In Nowak, R., & Whelan, A. (Eds.) Networked Music Cultures (pp. 31-48). Palgrave Macmillan UK.
Prior, N. 2010. The rise of the new amateurs: Popular music, digital technology, and the fate of cultural production. In Hall, J.R., Grindstaff, L. and Lo, M. (Eds.). Handbook of Cultural Sociology, Routledge.
Sterne, J. 2012. Is Music a Thing? MP3: The Meaning of a Format. Durham: Duke UP.
Weisethaunet, H. and Lindberg, U. (2010): Authenticity Revisited: The Rock Critic and the Changing Real. Popular music and society. 33(4), s 465- 485.