Obligatorisk pensum:
Agawu, K. 1995. 'The Invention of African Rhythm.' Journal of the American Musicological Society 48/3, pp. 380-95.
Br?vig-Hanssen, R. (forthcoming 2010) 'Opaque Mediation. The cut-and-paste groove in DJ Food's 'Break'' i Danielsen, A. Musical Rhythm in the Age of Digital Reproduction. (Farnham, Surrey: Ashgate)
Butler, M. 2006. Unlocking the Groove. (Indiana) (kapittel 3 og 4)
Danielsen, A. 2006. Presence and Pleasure. The Funk Grooves of James Brown and Parliament. (Middletown, Connecticut: Wesleyan University Press)
Keil, C. 1995. 'The Theory of Participatory Discrepancies: A Progress Report.' Ethnomusicology 39/1
Keil, C. og Feld, S. 1994. Music Grooves. (Chicago), kapittel 1 og 4, samt 'Dialogue 2'
Kvifte, T. 2004. 'Description of grooves and syntax/process dialectics', Studia Musicologica Norvegica 30, pp. 54-77.
Kvifte, T. 2007. 'Categories and Timing: On the Perception of Meter', Ethnomusicology 51/1, pp. 64-84.
McClary, S. 2000. 'Temporality and ideology. Qualities of Motion in Seventeenth-Century French Music.' ECHO. A Music-Centered Journal
Snead, J. 1990. 'Repetition as a Figure of Black Culture.' i Gates, H.L. Jr. (ed) Black Literature and Literary Theory. (New York/London: Methuen)
Wilson, O. 1983. 'Black music as an art form.' Black Music Research Journal 3: 1-22
Zeiner-Henriksen, H.T. (forthcoming 2010) 'Moved By the Groove. Bass Drum Sounds and Body Movements in Electronic Dance Music'' i Danielsen, A. Musical Rhythm in the Age of Digital Reproduction. (Farnham, Surrey: Ashgate)
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I tillegg kommer selvvalgt pensum p? ca. 450 sider i tilknytning til semesteroppgaven. Dette kan for eksempel velges blant f?lgende b?ker og artikler:
B?ker:
Butler, M. 2006. Unlocking the Groove. (Indiana). (om elektronisk dansemusikk, mulig ? velge de delene av boken som ikke er obligatorisk pensum)
Chernoff, J.M. 1979. African Rhythm and African Sensibility. (Chicago)
Gates, H.L., Jr. 1988. The Signifying Monkey. (Oxford). (s?rlig kapittel 1 og 2)
Keil, C. og Feld, S. 1994. Music Grooves. (Chicago). (de delene av boken som ikke er obligatorisk pensum)
McClary, S. 2000. Conventional Wisdom. The Content of Musical Form. (University of California Press) (om temporalitet)
Artikler:
- Teoretiske arbeider om rytme/eksempler p? analyse av rytme og groove:
Bengtsson, I., A. Gabrielsson, and S.M. Thorsén. 1969. Empirisk rytmforskning. [Empirical Rhythm Research]. Svensk tidskrift f?r musikforskning, 48–118.
Butterfield, M.W. 2006. The Power of the Anacrusis: Engendered Feeling in Groove-Based Musics. Music Theory Online 12/4.
Clarke, E.F. 1985. Structure and Expression in Rhythmic Performance. In Musical Structure and Cognition, eds. I. Cross, R. West and P. Howell. London: Academic Press.
Clarke, E.F. 1987. Categorical Rhythm Perception: An Ecological Perspective. In Action and Perception in Rhythm and Music, ed. A. Gabrielsson. Stockholm: Publications issued by the Royal Swedish Academy of Music 55.
Clarke, E.F. 1989. The Perception of Expressive Timing in Music. Psychological Research 51/1, 2–9.
Clarke E.F. 1999. Rhythm and Timing in Music. In The Psychology of Music, ed. D. Deutsch. New York: Academic Press
Iyer, V. 2002. Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music. Music Perception 19/3, 387–414.
London, J. 2004. Hearing in Time: Psychological Aspects of Musical Meter. Oxford: Oxford University Press
Madison, G. 2006. Experiencing Groove Induced by Music: Consistency and Phenomenology. Music Perception 24/2, 201–8
Monson, I. 1996. Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press.
Waadeland, C.H. 2001. ‘It Don’t Mean a Thing If It Ain’t Got That Swing’ – Simulating Expressive Timing by Modulated Movements. Journal of New Music Research 30/1, 23–37.
Waadeland, C. H. 2006. Strategies in empirical studies of swing groove. Studia Musicologica Norvegica 32: 169-191.
Nketia, J. H. K. 1974. 'The Rhythmic Basis of Instrumental Music' i The Music of Africa (NewYork/London), s. 125-39
Walser, R. 1995. 'Rhythm, rhyme and rhetoric in the Music of Public Enemy' i Ethnomusicology 39/2, s. 193-217
- Om mediering og musikkproduksjon:
Bates, E. 2004. ‘Glitches, Bugs, and Hisses: The Degeneration of Musical Recordings and the Contemporary Musical Work’, in C. J. Washburne and M. Derko (Eds) Bad Music: The Music We Love to Hate. New York: Routledge
Clarke, E.F. 2007. The impact of recording on listening, 20th Century Music 4/1: 47–70.
Danielsen, A. 2008. The Musicalization of ‘Reality’: Reality Rap and Rap Reality on Public Enemy’s Fear of a Black Planet. European Journal of Cultural Studies 11/4, 405–21
Danielsen, A. and Maaso, A. 2009. ‘Mediating Music: materiality and silence in Madonna’s “Don’t Tell Me”’. Popular Music 28/2, 127–142.
Greene, P.D. and T. Porcello (eds.). 2005. Wired for Sound: Engineering and Technologies in Sonic Cultures. Middletown, Connecticut: Wesleyan University Press.
Prior, Nick 2008. 'Putting Glitch in the Field'. Cultural Sociology, 2, 301-319
Sangild, T. 2004. ‘Glitch—The Beauty of Malfunction’, in C.J. Washburne & M. Derko (Eds) Bad Music: The Music We Love to Hate. New York: Routledge
Schloss, J.G. 2004. Making Beats: The Art of Sample-Based Hip-Hop. Middletown, Connecticut: Wesleyan University Press.
Serazio, Michael (2008): ‘The Apolitical Irony of Generation Mash-Up: A Cultural Case Study in Popular Music’, Popular Music and Society 31:1, pp. 79 — 94
Shiga, John (2007): ‘Copy-and-Persist: The Logic of Mash-Up Culture’, Critical Studies in Media Communication, 24:2, 93–114