Dr Stan Erraught
Tutor information is taken from the Module Catalogue
Born G. and Hesmondhalgh D. (eds.) (2000) – Western Music and its Others: Difference, Representation and Appropriation in Music, Berkeley: University of California Press.
Eriksson, Fleischer et al (2019) – Spotify Teardown: Inside the Black Box of Streaming, Cambridge, MA: MIT Press.
Erraught, Stan (2020) - 'Outsourcing Taste: Are Algorithms Doing All the Work' in Otmazgin and Ben- Ari (eds.) Creative Context: Creativity and Innovation in the Media and Cultural Industries. Singapore: Springer.
Fairchild, Charles (2019) – Sounds, Screens, Speakers: an Introduction to Music and Media, London: Bloomsbury Academic
Fleischer, Rasmus (2017) – “If the Song Has No Price, is it Still a Commodity? Rethinking the Commodification of Digital Music” Culture Unbound 9/2 146-162
Galuszka, Patryk (2015) – “Music Aggregators and Intermediaries of the Digital Music Market” in International Journal of Communication Vol. 9 254-293
Goodman, Fred (1997) – The Mansion on the Hill, London: Jonathan Cape
Hesmondhalgh, David (2013) - Why Music Matters, Oxford: Wiley Blackwell.
Hodgson, Jay (2019) - Understanding Records (2nd ed.), London: Bloomsbury.
Hracs, B.J. (2015) – “Cultural Intermediaries in the Digital Age: The Case of Independent Musicians and Managers in Toronto” Regional Studies, 49:3, 461-475
Hyojung Sun (2019) –“Paradox of celestial jukebox: Resurgence of market control”, Creative Industries Journal, 12:1, 105-124
Jenkins, Ford and Green (2013) -Spreadable Media: Creating Value and Meaning in a Networked Culture, New York: New York University Press.
Jin, Dal Yong (2016) -'Critical Discourse of K-Pop within Globalisation' in New Korean Wave: Transnational Cultural Power in the Era of Social Media, Chicago: University of Illinois Press.
Kenney, William H. (1999) – Recorded Music in American Life, Oxford: Oxford University Press
Lie, John (2012) – “What Is the K in K-pop? South Korean Popular Music the Culture Industry, and National Identity, Korea Observer Vol. 43, No. 3, Autumn 2012, pp. 339-363. Available online: https://www.tobiashubinette.se/hallyu_1.pdf
Marshall, Lee (ed.) 2012 - The International Recording Industries, London: Routledge
Mazierska, Gillon and Rigg (eds.) (2020) - Popular Music in the Post Digital Age, London: Bloomsbury Academic.
Milner, Greg (2009) -Perfecting sound Forever, London: Granta.
Negus, Keith (1999) – Music Genres and Corporate Cultures, Oxford: Routledge
Roy, Elodie A. (2020) - Media, Materiality and Memory: Grounding the Groove, Abingdon: Ashgate.
Shin, Hyunjoon (2009) - 'Have you Ever Seen the Rain? and Who'll Stop the Rain?: The Globalising Project of Korean Pop (K-Pop) in Inter-Asia Cultural Studies, 10:4, 507-523
Shuker, Roy (2013) -Understanding Popular Music Culture (4th ed.) London and New York: Routledge.
Sinclair et al (2019) – “Marketing and Music in the Age of Digital Reproduction” in European Journal of Marketing 53/3 pp. 402-11 OCR REQUESTED BY LIBRARY (CHG 31/10/2019)
Snickars, Pelle (2016) – “More Music is Better Music” in Wikstrőm and Fillippi (eds.) Business Innovation and Disruption in the Music Industry, Cheltenham: Edward Elgar pp.191-202
Taylor, Timothy D. (2016) – Music and Capitalism: A History of the Present, Chicago: University of Chicago Press.
Wade Morris, Jeremy (2015) - Selling Digital Music, Formatting Culture, Oakland,CA: University of California Press.
Wade Morris, Jeremy (2015b) - 'Curation by Code: Infomediaries and the Data Mining of Taste' in European Journal of Cultural Studies, Vol.18(4-5) 446-463
Weiss Hanrahan, Nancy (2018) - 'Hearing the Contradictions: Aesthetic Experience, Music and Digitization' in Cultural Sociology, Vol 12(3) 289-302
Witt, Stephen (2015) – How Music Got Free, London: The Bodley Head
This list was last updated on 11/12/2020