Testi di riferimento
C. Fairchild (2008), The Medium and Materials of Popular Music: 'Hound Dog', Turntablism and Muzak as Situated Musical Practices, «Popular Music» 27/1, pp. 99-116.
E. Bates (2013), Popular Music Studies and the Problems of Sound, Society and Method, «IASPM@Journal» 3/2, pp. 15-32.
S. Zagorski-Thomas (2014), The Musicology of Record Production, Cambridge, Cambridge University Press., pp. 20-31.
N. Auricchio (2017), Natural Highs: Timbre and Chills in Electronic Dance Music, in Popular Music Studies Today. Proceedings of the International Association for the Study of Popular Music, edited by J. Merrill, Springer, pp. 11-23.
A. Bratus (2014), Le forme della canzone come sistema. Piani, cicli, moduli, processi, in Le forme della canzone, a cura di E. Careri e G. Ruberti, LIM, pp. 45-67.
S. Hawkins (2003), Feel the Beat Come Down: House Music as Rhetoric, in Analyzing Popular Music, edited by A. F. Moore, Cambridge University Press, pp. 80-102.
D. Griffiths (2003), From Lyric to Anti-lyric: Analyzing the Words in Pop Song, in Analyzing Popular Music, edited by A. F. Moore, Cambridge University Press, pp. 39-59.
R. Attas (2011), Sarah Setting the Terms: Defining Phrase in Popular Music, «Music Theory Online», 17/3,
S. Lacasse (2015), Strategie narrative in “Stan” di Eminem. Il ruolo della voce e della tecnologia nell’articolazione della trama fonografica, in Le dimensioni della voce. Un'introduzione all’espressività dei prodotti vocali, Besa, pp. 201-233.
R. Gibson (2010), Carbon and Silicon, in VOICE. Vocal Aesthetics in Digital Arts and Media, ed. by N. Neumark, R. Gibson, and T. van Leeuwen, MIT Press, p. 211-224.
A. F. Moore (2012), Song Means: Analysing and Interpreting Recorded Popular Song, Ashgate, pp. 19-49.
N. Biamonte (2010), Triadic Modal and Pentatonic Patterns in Rock Music, «Music Theory Spectrum » 32, pp. 95-110.
G. Davidson Ford (2017), Adele's Hello: Harmonic Ambiguity & Modal Inflection in Contemporary Pop, in Popular Music Studies Today: Proceedings of the International Association for the Study of Popular Music 2017, Springer, pp. 111-118.
P. Théberge - K. Devine - T. Everrett (2015), Introduction: Living Stereo, in Living Stereo. Histories and Cultures of Multichannel Sound, ed. by P. Théberge - K. Devine - T. Everrett,Bloomsbury, pp. 1-28.
R. Brøvig-Hanssen- A. Danielsen (2016), Digital Signatures. The Impact of Digitization on Popular Music Sound, MIT Press, pp. 117-132.
D. Blake (2012), Timbre as Differentiation in Indie Music, «Music Theory Online», 18/2, http://www.mtosmt.org/issues/mto.12.18.2/mto.12.18.2.blake.html.
N. Cook (1998), Analysing Musical Multimedia, Oxford Univ. Press, cap. 2.
W. Everett (2009), The Foundations of Rock. From Blue Suede Shoes to Suite: Judy Blue Eyes, Oxford University Press, pp. 134-156.
S. Frith (1996), Performing Rites: On the Value of Popular Music, Harvard University Press, 1996, cap. 9.
R. Middleton (1994), Studiare la popular music, Feltrinelli, pp. 335-392.
P. Tagg (2011), La tonalità di tutti i giorni, Il Saggiatore, pp. 146-170.
C. Vernallis (2004), Experiencing Music Video: Aesthetics and Cultural Context, Columbia University Press,cap. 7.
A. Behr - K. Negus - J. Street (2017), The sampling continuum: musical aesthetics and ethics in the age of digital production, Journal for Cultural Research, 21/3, pp. 223-240.