Items where Subject is "Music"

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Agatonovic, Dejan. Agatonovic, D. (2015) ‘Fashion individualism within clubbing culture’, international conference Fashion Tales 2015, Universita’ Cattolica del Sacro Cuore, Milan, Italy. In: Fashion Tales 2015, June 2015, Universita’ Cattolica del Sacro Cuore, Milan, Italy. (Unpublished)

Albiez, Sean. (2009). Broughton e​.​p. [Composition]

Albiez, Sean. (2011). Coma Zinema e​.​p. [Composition]

Albiez, Sean. (2011). Cryptolect. [Composition]

Albiez, Sean. (2004). The Day the Music Died Laughing: Madonna & Country. In: Madonna's Drowned Worlds: New Approaches to Her Cultural Transformations. (1982-2002). Abingdon: Ashgate Publishing.

Albiez, Sean. (2013). 'Electronica', 'Electronic Body Music (EBM)', 'Electronic Dance Music (EDM)', 'Dubstep', 'Hi-NRG', 'Techno' and 'Chillout' encyclopedia entries. In: The Continuum Encyclopedia of Popular Music of the World: International Music Genres Volume. London/New York: Continuum International Publishing. (In Press)

Albiez, Sean. (2011). Europe Non-Stop: West Germany, Britain and the Rise of Synthpop 1975-1981. In: Kraftwerk - Music Non-Stop. London/New York: Continuum International Publishing.

Albiez, Sean. (2009). Flitch. [Composition]

Albiez, Sean. (2012). I Saw No Shadow of Another Parting From Her e​.​p. [Composition]

Albiez, Sean. (2009). Im Gebirge e​.​p. [Composition]

Albiez, Sean. (2011). Industria e​.​p. [Composition]

Albiez, Sean. (2003). Know History! John Lydon, cultural capital and the prog/punk dialectic. Popular Music, November 2003, 22 (3),

Albiez, Sean. (2013). 'Kraftwerk', 'Television', 'The Police', and 'Jonathan Richman' encyclopedia entries. In: The Grove Dictionary of American Music (Second Edition). Oxford University Press. (In Press)

Albiez, Sean. (2011). Love's Uneasy Tears e​.​p. [Composition]

Albiez, Sean. (2012). A Man Cuts Down a Tree and it has Consequences [film soundtrack]. [Video]

Albiez, Sean. (2005). Post Soul Futurama: African American cultural politics and early Detroit Techno. European Journal of American Culture, 2005, 24 (2),

Albiez, Sean. (2011). Post Soul Futurama: African American cultural politics and early Detroit Techno. In: Electronica, Dance and Club Music [The Library of Essays on Popular Music]. Abingdon: Ashgate Publishing.

Albiez, Sean. (2005). Print the Truth, Not the Legend: Sex Pistols, Lesser Free Trade Hall, Manchester, 4 June 1976. In: Performance and Popular Music: History, Place and Time. Abingdon: Ashgate Publishing.

Albiez, Sean. (2011). Prozess​-​und Auflösung e​.​p. [Composition]

Albiez, Sean. (2011). Pr​:​Axis e​.​p. [Composition]

Albiez, Sean. (2012). Psychotopography. [Composition]

Albiez, Sean. (2011). Punk after 'Punk' in the UK: 1978-1984. Scribd, 30 April 2011,

Albiez, Sean. (2011). Remix - John Foxx and the Maths - Shatterproof. [Audio]

Albiez, Sean. (2009). The Sooner You Begin e​.​p. [Composition]

Albiez, Sean. (2003). Sounds of Future Past: from Neu! to Numan. Phleps, T and von Appen, R (eds.) POP SOUNDS: Klangtexturen in der Pop- und Rockmusik, 2003,

Albiez, Sean. (2004). Strands of the Future: France and the birth of electronica. Volume!, 2004, 2004-1,

Albiez, Sean. (2011). Sunblindfaith e​.​p. [Composition]

Albiez, Sean. (2011). Technot e​.​p. [Composition]

Albiez, Sean. (2012). obe:lus - Fenamoto [film soundtrack]. [Composition]

Albiez, Sean. (2011). obe:lus - Landslide [film soundtrack]. [Composition]

Albiez, Sean. (2012). obe:lus - Satellite OraMix. [Composition]

Albiez, Sean and Lindvig, Kyrre Tromm. (2011). Autobahn and Heimatklänge: soundtracking the FRG. In: Kraftwerk - Music Non-Stop. London/ New York: Continuum International Publishing.

Anderton, C B. (2007). (Re)Constructing Music Festival Places. PhD thesis, University of Wales, Swansea.

Anderton, Chris. (2006). Beating the bootleggers: fan creativity, 'lossless' audio trading and commercial opportunities. In: Cybersounds: essays on virtual music culture. Peter Lang, New York, pp. 161-184. ISBN 9780820478616

Anderton, Chris. (2011). Between Commerce and Carnival: Corporate Sponsorship and the Outdoor Music Festival Sector. In: The Business of Live Music, 31st March - 2nd April 2011, University of Edinburgh. (Unpublished)

Anderton, Chris. Commercialising the Carnivalesque: the V Festival and Image/Risk Management. In: Exploring Festival Economies Conference, October 2007, City University, London. (Unpublished)

Anderton, Chris. (2009). Commercializing the carnivalesque: the V Festival and image/risk management. Event Management, 2009, 12 (1), pp. 39-51

Anderton, Chris. Early European Contributions to the Progressive Rock Meta-Genre: Krautrock and Rock Progressivo Italiano. In: Annual International Conference of the Royal Geographical Society with the Institute of British Geographers, September 2010, Royal Geographical Society, London. (Unpublished)

Anderton, Chris. (2009). 'Full grown from the head of Jupiter'? : rethinking the history of progressive rock and its European contributions. In: De-canonizing music history. Cambridge Scholars Publishing, Newcastle-upon-Tyne, pp. 97-112. ISBN 9781443813914

Anderton, Chris. ‘Full grown from the head of Jupiter’? Rethinking the history of progressive rock and its European contributions. In: De-Canonizing Music Histories, November 2007, Sibelius Academy, Helsinki. (Unpublished)

Anderton, Chris. (2009). ‘Full-grown from the head of Jupiter’? Lay discourses and Italian progressive rock. In: De-Canonizing Music History. Cambridge Scholars Publishing, Newcastle upon Tyne, pp. 97-112. ISBN 978-1-4438-1391-4

Anderton, Chris. (2011). 'Music Festival Sponsorship: Between Commerce and Carnival'. Arts Marketing: An International Journal, 2011, 1 (2), pp. 145-158

Anderton, Chris. (2008). Out of place in the country? Music festivals, rurality, and the English country village: Fairport’s Cropredy Convention. In: Annual International Conference of the Royal Geographical Society with the Institute of British Geographers, September 2008, Royal Geographical Society, London. (Unpublished)

Anderton, Chris. Reconsidering the ‘symphonic orthodoxy’: progressive rock’s formative years in Europe. In: Biennial conference of the International Association for the Study of Popular Music - UK & Ireland branch, September 2010, Cardiff University. (Unpublished)

Anderton, Chris. Rethinking ‘progression’: progressive rock since the late 1970s. In: 15th International Biennial conference of the International Society for the Study of Popular Music, July 2009, University of Liverpool. (Unpublished)

Anderton, Chris. A Weekend in the Country: Fairport’s Cropredy Convention, the Rural Idyll, and Englishness. In: Biennial conference of the International Association for the Study of Popular Music UK & Ireland Branch, September 2008, University of Glasgow. (Unpublished)

Anderton, Chris. (2010). A many-headed beast: progressive rock as European meta-genre. Popular Music, October 2010, 29 (3), pp. 417-435

Anderton, Chris. (2015). Branding and sponsorship at music festivals. In: Festival Cultures: Media, Music, Place, 22 May 2015, University of East Anglia. (Unpublished)

Anderton, Chris. (2015). Branding, sponsorship and the music festival. In: The Pop Festival: History, Music, Media, Culture. Bloomsbury, New York and London. ISBN 978-1-62356-959-4

Anderton, Chris. (2015). Curating, collecting and archiving: Fan labour and the conflicts of copyright. In: Popular Music Fandom Conference, 10 April 2015, University of Chester. (Unpublished)

Anderton, Chris. (2016). Fire in harmony: the 1980s UK British progressive rock revival. In: Prog Rock in Europe. Overview of a Persistent Musical Style. Editions Universitaires de Dijon, Dijon, pp. 151-164. ISBN 9782364411753

Anderton, Chris. (2014). Fire in harmony: the rise and fall of the 1980s UK progressive revival. In: First International Conference of the ACADPROG Network, 10-12 December 2014, Université de Bourgogne, Dijon. (Unpublished)

Anderton, Chris. (2017). Music festivals in the UK. Ashgate Popular and Folk Music Series . Ashgate (now part of Taylor & Francis/Routledge), UK. (Submitted)

Anderton, Chris. (2016). Musikfestivals als »zyklische Orte«: Fairport’s Cropredy Convention. In: Draußen: Zum neuen Naturbezug in der Popkultur der Gegenwart. Transcript, Germany, pp. 119-138. ISBN 978-3-8376-1639-2

Anderton, Chris. (2016). Progressive rock fandom: Creating, curating and archiving through blogs and bootlegs. In: Second International Conference of The Progect Network for the Study of Progressive Rock, 25-27 May 2016, University of Edinburgh. (Unpublished)

Anderton, Chris. (2014). Pseudo- record Labels: Creative fandom and networks of distribution. In: One Century of Record Labels – mapping place, stories and communities of sound, 6-7 November 2014, Newcastle University. (Unpublished)

Anderton, Chris. (2016). Sonic artefacts: ‘record collecting’ in the digital age. IASPM@Journal, 2016, 6 (1), pp. 85-113

Anderton, Chris. (2015). The branded landscapes of music festivals in the UK: Sponsorship, ideology and the rural. In: RGS-IBG Annual International Conference , 1-4 September 2015, University of Exeter. (Unpublished)

Anderton, Chris and James, Martin. (2015). Seven years of SMILEfest: a case study in innovation, collaboration and enterprise. In: 4th Solent Learning and Teaching Community Conference, 31 March 2015, Southampton Solent University. (Unpublished)

Anderton, Chris and James, Martin and Dubber, Andrew. (2013). Understanding the music industries. Sage, London, California, New Delhi, Singapore. ISBN 978-1-4462-0795-6

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Bennett, T. Towards “embedded non-creative work”? Administration, digitisation and the recorded music industry. International Journal of Cultural Policy, (In Press)

Bennett, Toby. (2017). Book review: The production and consumption of music in the digital age. Popular Music and Society, 19 January 2017,

Bennett, Toby. (2019). ‘Essential – Passion for music’: Affirming, critiquing and practicing passionate work in creative industries. In: Palgrave Handbook of Creativity at Work. Palgrave Macmillan, London. (In Press)

Bennett, Toby. (2018). “The whole feminist-taking-your-clothes-off thing”: Critique and negotiation of gender inequality in UK music industries. IASPM@Journal, 2018, (In Press)

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Davie, Stuart. (2008). 'Independent record labels and their business decisions: the case of the Beggars group'. [Final Year Project]

Dockwray, Ruth and Moore, Allan, F.. (2010). 'Configuring the Sound-box 1965-72'. Popular Music, 2010, 29 (2), pp. 181-197

Dockwray, Ruth and Moore, Allan, F.. (2008). 'The establishment of the virtual performance space in rock'. twentieth-century music, 2008, 5 (12), pp. 219-241

Dockwray, Ruth and Moore, Allan, F. and Schmidt, Patricia. 'A Hermeneutics of Spatialisation for Recorded Song'. twentieth-century music, 6 (1), pp. 83-114

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FATHALLAH, JUDITH. (2019). The genre fandom shaped: new media, emo and gender. Other. Iowa University Press. (Unpublished)

Fathallah, Judith. Invisible girls: emo, gender, and the problem of femininity. In: Under my Thumb: The Songs that Hate Women and the Women that Love them. Repeater Books.

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Giordano, Aline. ‘Photo, music, text’. [Show/Exhibition]

Giordano, Aline. The alternative discourses of music fanzine photography. In: 2011 IASPM Benelux conference, 14-15 april 2011, Netherlands. (Submitted)

Giordano, Aline. (2012). Researching the photographic representation of popular music using autoethnography as a research approach. In: Symposium ‘Practice Make Perfect’, 07/09/2013, Swansea Metropolitan University.

Giordano, Aline. (2012). Researching the photographic representation of popular music using autoethnography as a research approach. In: Practice Makes Perfect, 7 September 2013, Swansea. (Unpublished)

Giordano, Aline. The silenced majority (Exhibition: An eye for an ear). [Show/Exhibition]

Godber, Marie. (2010). 'The Beat that Rocked the Mersey'- An investigation into the contributing factors that created the phenomenon that was the Merseybeat Sound. [Final Year Project]

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James, Martin. The (re)marketing of disability in pop: Ian Curtis and Joy Division. Popular Music, 28 (3), pp. 367-380

James, Martin. (2018). No I don’t like where you come from, it’s just a satellite of London: High Wycombe, the Sex Pistols and the punk transformation. Punk and Post Punk Journals, 2018, 7 (3), pp. 341-362

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King, Nicola. (2008). 'Is the indie gig venue a meaningful place?'. [Final Year Project]

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Lach, Nicholas. (2010). An investigation into the decline of British popular music in the North American market. [Final Year Project]

Living, Bernhard. (2010). Corpus Animus. [Composition]

Living, Benhard. (2013). Closed Contact (Noise Transmission) (2013). [Composition]

Living, Bernhard. (2012). Abstract Reality (2012). [Composition]

Living, Bernhard. (2013). Alien Artifacts (2013). [Composition]

Living, Bernhard. (2012). Between One Thing and Another (2012). [Composition]

Living, Bernhard. (2013). Blue Hair (2013). [Composition]

Living, Bernhard. (2011). The Dance of Inanimate Beings (2011). [Composition]

Living, Bernhard. (2010). Delayed Reaction (2010). [Composition]

Living, Bernhard. (2014). The Duplicity of Meaning (2014). [Composition]

Living, Bernhard. (2012). Empty Rooms (2012). [Composition]

Living, Bernhard. (2011). Everything Passes (2011). [Composition]

Living, Bernhard. (2010). First Iteration (2010). [Composition]

Living, Bernhard. (2011). Genius Loci (2011). [Composition]

Living, Bernhard. (2013). Girl on a Train (Thought Process) (2013). [Composition]

Living, Bernhard. (2010). A Glass of Water (2010). [Composition]

Living, Bernhard. (2010). Half Empty/Half Full (2010). [Composition]

Living, Bernhard. (2013). Home + Remix (2013). [Composition]

Living, Bernhard. (2010). Ich Bin Eine Maschine (2010). [Composition]

Living, Bernhard. (2011). Impossible Objects (2011). [Composition]

Living, Bernhard. (2010). Impossible Objects (2011). [Composition]

Living, Bernhard. (2013). Isolated Corner (2013). [Composition]

Living, Bernhard. (2010). Leverkusen Memories (2010). [Composition]

Living, Bernhard. (2010). Life Cycle (2010). [Composition]

Living, Bernhard. (2012). Lost in a Tunnel (2012). [Composition]

Living, Bernhard. (2012). Memory Loss (2012). [Composition]

Living, Bernhard. (2011). Muscle Memory (2011). [Composition]

Living, Bernhard. (2011). Not Your Name + Remix (2011). [Composition]

Living, Bernhard. (2012). Phantom Limbs (2012). [Composition]

Living, Bernhard. (2012). Physical Experience (2012). [Composition]

Living, Bernhard. (2013). Real Compared to What (2013). [Composition]

Living, Bernhard. (2013). Realtime Life (2013). [Composition]

Living, Bernhard. (2011). Sleepless Nights (2011). [Composition]

Living, Bernhard. (2013). Static + Remix (2013). [Composition]

Living, Bernhard. (2011). Temporary Existence (2011). [Composition]

Living, Bernhard. (2011). Things Come to Mind (2011). [Composition]

Living, Bernhard. (2013). Thinking Backwards (2013). [Composition]

Living, Bernhard. (2014). Transient Realism. [Composition]

Living, Bernhard. (2013). Trip Hammer + Remix (2013). [Composition]

Living, Bernhard. (2014). Undecided Metaphor (2014). [Audio]

Living, Bernhard. (2011). What Now/Und Jetz? (2011). [Composition]

Living, Bernhard. (2012). What’s Inside Your Head (2012). [Composition]

Living, Bernhard. (2012). Why Not/Warum Nicht? (2012). [Composition]

Living, Bernhard. (2014). Worn Out (Human Exit). [Composition]

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Michailidis, Tychonas and Dooley, James and Granieri, Niccolò and Di Donato, Balandino. (2018). Improvising through the senses: a performance approach with the indirect use of technology. Digital Creativity, 27 August 2018, 29 (2/3), pp. 149-164

Michailidis, Tychonas and Hockman, Jason. (2018). Affordance of vibrational excitation for music composition and performance. In: Sound Music Computing.

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Niccolò Granieri, NG and James Dooley, JD and Tychonas Michailidis, TM. Harnessing ancillary microgestures in piano technique implementing microgestural control into an expressive keyboard-based hyper-instrument. In: Innovation In Music: performance, production, technology and business. Informa UK Limited. (In Press)

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Parry, Bryn. Editorial Board member. International Journal of Event Management Research e-journal. (Unpublished)

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Richards, Russell. (2012). Meshwork” music derived linear animation for Trampoline digital arts network: “Attention Structure - Public Screens - Norway - 2012. [Video]

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Shone, Anton and Parry, Bryn. (2013). Downloadable cases and online interactive material, supporting Shone, A. and Parry, B., (2013), “Successful Event Management: a practical handbook”, 4th Ed., Andover, Cengage Learning. Cengage Learning. (In Press)

Shone, Anton and Parry, Bryn. (2013). "Successful Event Management:a practical handbook. 4th edition". Cengage Learning, Andover.

Slevin, Tom. (2013). Sonia Delaunay’s Robe Simultanée: Modernity, Fashion and Transmediality. Fashion Theory: The Journal of Dress, Body, and Culture, March 2013, 17 (1), (In Press)

Stanfield, Peter. (1999). Dixie cowboys: Hollywood and 1930s westerns. PhD thesis, Southampton Solent University [validated by Nottingham Trent University].