Most music resources are found on the second floor of the Arts and Social Sciences Library. These include:
Items in heavy demand may be held in the Short Loan Collection (SLC)
Other related resources can be found in the following branches:
You are free to use any of the libraries but please remember to carry your UCard with you. Opening hours and arrangement (including subject classification of materials) of these branches can be found by going to the Branch libraries page.
Music PhD theses of staff and students of the Music Department, from 1910 to date, are available in the thesis collection in the Arts and Social Sciences Library.
The Arts and Social Sciences Library contains a special collection of rare books.
Albiez, S. (2005) Post-soul futurama: African American cultural politics and early Detroit techno. European Journal of American Culture, 24(2), pp.131-152. [PDF]
Amico, S. (2001) 'I Want Muscles': housemusic, homosexuality and masculine signification. Popular Music, 20, pp.359-378.
Bradby, B. (1993) Sampling Sexuality: Gender, Technology and the Body in Dance Music. Popular Music, 12(2) 05/01, pp.155-176.
Buckland, F. (2002) Mr Mesa's ticket: memory and dance at the Body Positive T-dance. In: Impossible dance: club culture and queer world-making. Wesleyan University Press.
Cascone, K. (2000) The Aesthetics of Failure: "Post-Digital" Tendencies in Contemporary Computer Music. Computer Music Journal, 24(4) 12/01, pp.12-18.
Dyer, R. (1979). In defence of Disco. Gay Left, 8, 20-23.
Lawrence, T. (2006) “I Want to See All My Friends At Once”: Arthur Russell and the Queering of Gay Disco. Journal of Popular Music Studies, 18(2), pp.144-166.
Loza, S. (2001) Sampling (Hetero)Sexuality: Diva-Ness and Discipline in Electronic Dance Music. Popular Music, 20(3) 10/01, pp.349-357.
Madrid, A. L. (2006) Dancing with Desire: Cultural Embodiment in Tijuana's Nor-tec Music and Dance. Popular Music, 25(3), pp.383-399.
Malbon, B. (1999) The dancer from the dance: the musical and dancing crowds of clubbing. In: Clubbing :dancing, ecstasy and vitality. London, Routledge. [HQ799.8.G7 MAL]
McLeod, K. (2001) Genres, Subgenres, Sub-Subgenres and More: Musical and Social Differentiation Within Electronic/Dance Music Communities. Journal of Popular Music Studies, 13(1), pp.59-75.
Pani, M. (1997) Women and the early British rave Scene. In: McRobbie, A. (Ed.): Back to Reality?: Social Experience and Cultural Studies. Manchester University Press.
Race, K. (2003) The death of the dance party. Australian Humanities Review, 30.
Rogers, T. (2003) On the process and aesthetics of sampling in electronic music production. Organised Sound, 8(3), pp.313-320.
Saldanha, A. (2002) Music tourism and factions of bodies in Goa. Tourist Studies, 2(1), pp.43-62.
St John, G. (2006) Electronic Dance Music Culture and Religion: An Overview1. Culture and Religion, 7(1) 2006/03/01, pp.1-25.
Tagg, P. (1994) From Refrain to Rave: The Decline of Figure and the Rise of Ground. Popular Music, 13(2) 05/01, pp.209-222.
Thornton, S. (1996) Exploring the Meaning of Mainstream. In: Club Cultures, Music, Media, & Subculture Capital. pp.88-115. [ML3470 THO]
Baugh, B. (1993) Prolegomena to Any Aesthetics of Rock Music. The Journal of Aesthetics and Art Criticism, 51(1) 01/01, pp.23-29.
Biamonte, N. (2010) Triadic Modal and Pentatonic Patterns in Rock Music. Music Theory Spectrum, 32(2) 10/01, pp.95-110.
Brackett, J. (2008) Examining rhythmic and metric practices in Led Zeppelin's musical style. Popular Music, 27, pp.53-76.
Brown, J. (2001) Ally McBeal's Postmodern Soundtrack. Journal of the Royal Musical Association, 126(2) 01/01, pp.275-303.
Clawson, M. A. (1999) When Women Play the Bass: Instrument Specialization and Gender Interpretation in Alternative Rock Music. Gender and Society, 13(2) 04/01, pp.193-210.
Covach, J. The hippie aesthetic: cultural positioning and musical ambition in early progressive rock. [PDF]
Demers, J. (2006) Dancing Machines: 'Dance Dance Revolution', Cybernetic Dance, and Musical Taste. Popular Music, 25(3) 10/01, pp.401-414.
Doll, C. (2009) Transformation in rock harmony: an explanatory strategy. Gamut, 2(1).
Everett, W. (2000) The learned vs. the vernacular in the songs of Billy Joel. Contemporary Music Review, 18(4), pp.105-129.
Hesmondhalgh, D. (1999) Indie: the institutional politics and aesthetics of a popular music genre. Cultural Studies, 13(1), pp.34-61.
Holm-Hudson, K. (2001) The Future Is Now … and Then: Sonic Historiography in Post-1960s Rock. Genre, 34(3-4), pp.243-264.
Iii, A. J. Z. (2004a) Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation "All along the Watchtower". Journal of the American Musicological Society, 57(3) 12/01, pp.599-644.
Johnson, V. E. (1993) Polyphony and Cultural Expression: Interpreting Musical Traditions in "Do the Right Thing". Film Quarterly, 47(2) 12/01, pp.18-29.
Kubik, G. (1998) Analogies and Differences in African-American Musical Cultures across the Hemisphere: Interpretive Models and Research Strategies. Black Music Research Journal, 18(1/2) 04/01, pp.203-227.
Lury, K. (2002) Chewing Gum for the Ears: Children's Television and Popular Music. Popular Music, 21(3) 10/01, pp.291-305.
Maus, F. (2006) Intimacy and Distance: On Stipe's Queerness. Journal of Popular Music Studies, 18(2), pp.191-214.
Mazullo, M. (1997) Fans and Critics: Greil Marcus's "Mystery Train" as Rock 'n' Roll History. The Musical Quarterly, 81(2) 07/01, pp.145-169.
Mazullo, M. (2005) Remembering Pop: David Lynch and the Sound of the '60s. American Music, 23(4) 12/01, pp.493-513.
Miller, K. (2007) Jacking the Dial: Radio, Race, and Place in "Grand Theft Auto". Ethnomusicology, 51(3) 10/01, pp.402-438.
Moore, A. F. (2005). The persona-environment relation in recorded song. Music Theory Online, 11(4).
Pieslak, J. (2008) Sound, text and identity in Korn's Hey Daddy. Popular Music, 27, pp.35-52.
Spicer, M. (2004) (Ac)cumulative form in pop-rock music. Twentieth Century Music, 1, pp.29-64.
Temperley, D. (2007) The Melodic-Harmonic 'Divorce' in Rock. Popular Music, 26(2) 05/01, pp.323-342.
Waksman, S. (1996) Every inch of my love: Led Zeppelin and the problem of cock rock. Journal of Popular Music Studies, 8(1), pp.5-25.
Weinstein, D. (2004) All singers are dicks. Popular Music and Society, 27(3), pp.232-334.
Zimmerman, N. (2006) Consuming Nature: The Grateful Dead's Performance of an Anti-Commercial Counterculture. American Music, 24(2) 07/01, pp.194-216.
Brown, J. (2001) Ally McBeal's Postmodern Soundtrack. Journal of the Royal Musical Association, 126(2), pp.275-303.
Burns, L. and Watson, J. (2010) Subjective perspectives through word, image and sound: temporality, narrative agency and embodiment in the Dixie Chicks' video Top of the World. Music, Sound, and the Moving Image, 4(1), pp.3-37.
Collins, K. (2008) Grand Theft Auto? Popular music and intellectual property in video games. Music and the Moving Image, 1(1), pp.35-48.
Coulthard, L. (2009) Torture tunes: Tarantino, popular music and new Hollywood ultraviolence. Music and the Moving Image, 2(2), pp.1-6.
Demers, J. (2006) Dancing Machines: 'Dance Dance Revolution', Cybernetic Dance, and Musical Taste. Popular Music, 25(3), pp.401-414.
Dickinson, K. (2001). Pop, speed and the 'MTV aesthetic' in recent teen films. Scope, Department of Culture, Film and Media, University of Nottingham.
Flinn, C. (2004) The music that Lola ran to. In: Alter, N. M. a. K., Lutz (Ed.): Sound matters :essays on the acoustics of modern German culture. New York ; Oxford, Berghahn Books,
Holmes, S. (2004) "Reality Goes Pop!" Reality TV, Popular Music, and Narratives of Stardom in Pop Idol. Television & New Media, 5(2), pp.147-172.
Johnson, V. E. (1993) Polyphony and Cultural Expression: Interpreting Musical Traditions in "Do the Right Thing". Film Quarterly, 47(2), pp.18-29.
Kerton, S. (2006) Too much, Tatu young: queering politics in the world of Tatu. In: Whiteley, S. a. R., J (Ed.): Queering the Popular Pitch. Routledge.
Klein, B. (2008) In Perfect Harmony: Popular Music and Cola Advertising. Popular Music and Society, 31(1), pp.1-20.
Lury, K. (2002) Chewing Gum for the Ears: Children's Television and Popular Music. Popular Music, 21(3), pp.291-305.
Mazullo, M. (2005) Remembering Pop: David Lynch and the Sound of the '60s. American Music, 23(4), pp.493-513.
Miller, K. (2007) Jacking the Dial: Radio, Race, and Place in "Grand Theft Auto". Ethnomusicology, 51(3), pp.402-438.
Sanders, D. (2005). From the warehouse to the multiplex: techno and rave culture's reconfiguration of late 1990s sci-fi spectacle as musical performance. Screening the Past. 18: p. 1-15.
Sarrazin, N. (2008) Celluloid love songs: musical modus operandi and the dramatic aesthetics of romantic Hindi film. Popular Music, 27, pp.393-411.
Shaviro, S. (2002). The erotic life of machines. [PDF]
Smith, J. The Edge of Seventeen: Class, Age and Popular Music in Richard Linklater's School of Rock. Screening the Past. 18: p. 165-80.
Stilwell, R. J. (1995) 'In the air tonight': text, intertextuality and the construction of meaning. Popular Music and Society, 19(4).
Stilwell, R. J. (2003) It may look like a living room…: the musical number and the sitcom. ECHO, 5(1).
Vernallis, C. (2001) The kindest cut: functions and meanings of music video editing. Screen, 42(1), pp.21-48.
Woods, F. (2008) Nostalgia, Music and the Television Past Revisited in American Dreams. Music Sound and the Moving Image, 2(1), pp.27-50.
Auner, J. (2003) 'Sing It for Me': Posthuman Ventriloquism in Recent Popular Music. Journal of the Royal Musical Association, 128(1), pp.98-122.
Auster, A. (1999) Frank Sinatra. The Television Years -1950-1960. Journal of Popular Film and Television, 26(4), p.166.
Bradby, B. (1992) Like a virgin-mother? Materialism and maternalism in the songs of Madonna. Cultural Studies, 6(1), pp.73-96.
Chapman, D. (2008) 'That ill, tight sound': telepresence and biopolitics in post-Timbaland rap production. Journal of the Society of American Music, 2, pp.155-175.
Clarke, E. F. and Dibben, N. (2000) Sex, pulp and critique. Popular Music, 19, pp.231-241.
Cloonan, M. (1999) Pop and the nation-state: towards a theorisation. Popular Music, 18, 2, pp.193-207.
Danielsen, A. and Maasø, A. (2009) Mediating music: materiality and silence in Madonna's 'Don't Tell Me'. Popular Music, 28(2).
Dickinson, K. (2001) Believe? Vocoders, digitalized female identity and camp. Popular Music, 20, pp.333-347.
Fast, S. and Pegley, K. (2006) Music and Canadian Nationhood Post 9/11: An Analysis of Music Without Borders: Live. Journal of Popular Music Studies, 18(1), pp.18-39.
Fitzgerald, J. (2007) Black pop songwriting 1963–1966: an analysis of US top 40 hits by Cooke, Mayfield, Stevenson, Robinson, and Holland-Dozier-Holland. Black Music Research Journal, 27(2), pp.97-140.
Frith, S. (1986) Art versus technology: the strange case of popular music. Media, Culture & Society, 8(3), pp.263-279.
Frith, S. and Savag, J. (1993) Pearls and Swine: The Intellectuals and the Mass Media. New Left Review, a(198), p.107.
Goodwin, A. (1988) Sample and hold: pop music in the digital age of reproduction. Critical Quarterly, 30(3), pp.34-49. [A&SSL Serial PR1.C7]
Hawkins, S. and Richardson, J. (2007) Remodeling Britney Spears: matters of intoxication and mediation. Popular Music and Society, 30(5), pp.605-629.
Hennion, A. (1983) The Production of Success: An Anti-Musicology of the Pop Song. Popular Music, 3. pp.159-193.
Hustwitt, M. (1983) 'Caught in a whirlpool of aching sound': the production of dance music in Britain in the 1920s. Popular Music, 3, pp.7-31.
Lemish, D. (2003) Spice world: constructing femininity the popular way. Popular Music and Society, 26(1), pp.17-29.
McLeod, K. (2006) 'A fifth of Beethoven': disco, classical music, and the politics of inclusion. American Music, 24(3), pp.347-363.
Meier, L. M. (2008) In excess? Body genres, 'bad' music, and the judgment of audiences. Journal of Popular Music Studies, 20(3), pp.240-260.
Richardson, J. (2005) “The Digital Won't Let Me Go”: Constructions of the Virtual and the Real in Gorillaz' “Clint Eastwood”. Journal of Popular Music Studies, 17(1), pp.1-29.
Sanjek, D. (1999) Navigating the 'channel': recent scholarship on African-American popular music. Journal of Popular Music Studies, 11(1), pp.167-192.
Toft, R. (2010) Hits and misses: crafting a pop single for the top-40 market in the 1960s. Popular Music, 29, pp.267-281.
Walser, R. (1994) Prince as Queer Poststructuralist. Popular Music and Society, 18(2), pp.79-89.
Zbikowski, L. M. (2004) Modelling the groove: conceptual structure and popular music. Journal of the Royal Music Association, 129(2), pp.272-297. [PDF]
Aaron, A. F. (1992) The Jukebox of History: Narratives of Loss and Desire in the Discourse of Country Music. Popular Music, 11(1), pp.53-72.
Ancelet, B. J. (1988) Zydeco/Zarico: Beans, Blues and beyond. Black Music Research Journal, 8(1), pp.33-49.
Buchanan, D. A. (1995) Metaphors of Power, Metaphors of Truth: The Politics of Music Professionalism in Bulgarian Folk Orchestras. Ethnomusicology, 39(3), pp.381-416.
Cohen, S. (1995) Sounding out the City: Music and the Sensuous Production of Place. Transactions of the Institute of British Geographers, 20(4), pp.434-446.
Diamond, B. (2002) Native American contemporary music: The women. The World Of Music, 44(1).
Dugaw, D. (1987) The Popular Marketing of "Old Ballads": The Ballad Revival and Eighteenth-Century Antiquarianism Reconsidered. Eighteenth-Century Studies, 21(1), pp.71-90.
Evans, D. (1974) Techniques of Blues Composition among Black Folksingers. The Journal of American Folklore, 87(345), pp.240-249.
Fairbairn, H. (1994) Changing Contexts for Traditional Dance Music in Ireland: The Rise of Group Performance Practice. Folk Music Journal, 6(5), pp.566-599.
Farmelo, A. (2001) Another history of bluegrass: The segregation of popular music in the United States, 1820–1900. Popular Music and Society, 25(1-2) 2001/03/01, pp.179-203.
Kisliuk, M. (1988) "A Special Kind of Courtesy": Action at a Bluegrass Festival Jam Session. TDR (1988-), 32(3), pp.141-155.
Kubik, G. (1998) Analogies and Differences in African-American Musical Cultures across the Hemisphere: Interpretive Models and Research Strategies. Black Music Research Journal, 18(1/2), pp.203-227.
Lott, E. (1992) Love and Theft: The Racial Unconscious of Blackface Minstrelsy. Representations,(39), pp.23-50.
Manuel, P. (2010) Composition, authorship, and ownership in flamenco, past and present. Ethnomusicology, 54(1), pp.106-135. [A&SSL Serial ML3547.E8]
Marion, S. J. (2007) Searching for Rockordion: The Changing Image of the Accordion in America. American Music, 25(2), pp.216-247.
Pettan, S. (2001) Encounter with “The Others” from Within: The Case of Gypsy Musicians in Former Yugoslavia. The World of Music, 43.
Peña, M. (1985) From Ranchero to Jaiton: ethnicity and class in Texas-Mexican music (two styles in the form of a pair). Ethnomusicology, 29(1), pp.29-55.
Samuels, D. (1999) The Whole and the Sum of the Parts, or, How Cookie and the Cupcakes Told the Story of Apache History in San Carlos. The Journal of American Folklore, 112(445), pp.464-474.
Shank, B. (2002) "That Wild Mercury Sound": Bob Dylan and the Illusion of American Culture. Boundary 2, 29(1), pp.97-123.
Stewart, A. (2000) ‘Funky Drummer’: New Orleans, James Brown and the Rhythmic Transformation of American Popular Music. Popular Music, 19(3), pp.293-318.
Williams-Jones, P. (1975) Afro-American Gospel Music: A Crystallization of the Black Aesthetic. Ethnomusicology, 19(3), pp.373-385.
Wilson, O. (1974) The Significance of the Relationship between Afro-American Music and West African Music. The Black Perspective in Music, 2(1), pp.3-22.
Ake, D. (2005) Regendering jazz: Ornette Coleman and the New York jazz scene in the late 1950s. Journal of the Americal Musicological Society, 58(2), pp.488-496.
Ballantine, C. (1991) Concert and dance: the foundations of Black jazz in South Africa between the 20s and the early 40s. Popular Music, 10(2), pp.121-145.
Borgo, D. (2007) Free Jazz in the Classroom: An Ecological Approach to Music Education. Jazz Perspectives, 1(1) 2007/05/01, pp.61-88.
Brown, L. B. (2004) Marsalis and Baraka: an essay in comparative cultural discourse. Popular Music, 23, pp.241-255.
DeVeaux, S. (2001-2) Struggling with jazz. Current Musicology, pp.353–374. [A&SSL Serial ML1.C8]
Elsdon, P. (2008) Style and the Improvised in Keith Jarrett's solo concerts. Jazz Perspectives, 2(1), pp.51-67.
Frith, S. (2007) Is jazz popular music? Jazz Research Journal, 1(1).
Horn, D. (2000) The sound world of Art Tatum. Black Music Research Journal, 20(2), pp.237-257.
Jackson, J. H. (2002) Making jazz French: the reception of jazz music in Paris, 1927–1934. French Historical Studies, 25(1), pp.149-170.
Johnson, B. (1993) Hear me talkin' to ya: problems of jazz discourse. Popular Music, 12(1), pp.1-12.
Monson, I. (1994) Doubleness and jazz improvisation: irony, parody, and ethnomusicology. Critical Inquiry, 20(2).
Parsonage, C. (2002) A critical reassessment of the reception of early jazz in Britain. Popular Music, 22(3), pp.315-336.
Priestley, B. (2008) Charlie Parker and popular music. Annual Review of Jazz Studies.
Raeburn, B. B. (2009) Stars of David and Sons of Sicily: Constellations Beyond the Canon in Early New Orleans Jazz. Jazz Perspectives, 3(2) 2009/08/01, pp.123-152.
Stanbridge, A. (2004) A question of standards: My Funny Valentine and musical intertextuality. Popular Music History, 1(1).
Stras, L. (2007) White face, Black voice: race, gender, and region in the music of the Boswell Sisters. Journal of the Society of American Music, 1, pp.207-255.
Taylor Atkins, E. (1999) Jammin' on the jazz frontier: the Japanese jazz community in interwar Shanghai. Japanese Studies, 19(1).
Tomlinson, G. (1991) Cultural dialogics and jazz: a White historian signifies. Black Music Research Journal, 11(2), pp.229-264.
Tucker, S. (2005) Deconstructing the jazz tradition: the 'subjectless subject' of new jazz studies. Jazz Research Journal, 2.
Wall, T. and Long, P. (2009) Jazz Britannia: mediating the story of British jazz on television. Jazz Research Journal, 3(2).
Walser, R. (1993) Out of Notes: Signification, Interpretation, and the Problem of Miles Davis. The Musical Quarterly, 77(2), pp.343-365.
Whyton, T. (2007) Four for Trane: jazz and the disembodied voice. Jazz Perspectives, 1(2), pp.115-132.
The Inter-Library Loans (ILL) service can be used to obtain Items not held in print in the University's branch libraries or available online. There is a charge for this service, though it may be possible to obtain an Inter-library loan voucher to pay for this:
MetaLib: your resource gateway provides access to a vast range of online resources, including databases, search engines, subject gateways, and selected Internet resources.
A collection of gateways, giving access to a variety of music Internet resources:
Australasian Digital Theses Program - provides full text access to theses from Australian Universities.� Examples include: 'Frank Bridge and the English pastoral tradition' - by Paul Hopwood, University of Australia�
Listed below are organisations which have useful information available online:
The following quick reference tools can be found in the Arts & Social Sciences Library:
|Item||Location/ reference number|
|New Grove Dictionary of Music and Musicians 2nd ed.||ML100 NEW|
|Die Musik in Geschichte und Gegenwart||ML100 MUS|
|Dictionaries of music (general)||ML100|
|New Grove Dictionary of Opera||ML102.06 NEW|
|Dictionaries and Guides to Opera||ML102|
|Bibliographies and Thematic Catalogues||ML113|
Literature references are often written with abbreviated terms. Probably the most troublesome are abbreviated journal titles which can make finding a journal difficult.
To help in your search for journal abbreviations you may find the following information sources useful:
If you are unable to find the title of an abbreviation you are looking for please ask a member of the Library staff for assistance. Alternatively, these online resources may help:
Books on study skills in general are available at classmark LB1049, and on research skills at LB 2369, all in the Arts and Social Sciences Library.
EndNote is the University of Bristol's recommended bibliographical management software, which can be used to collect, store, organise and manage references, and to output them as reference lists or bibliographies. A particularly useful function is 'Cite While You Write', enabling you to format Word documents, producing bibliographies and adding references within the text.
Updated 9 September 2014 by the University Library
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