Everyday I Write the Book:
A Bibliography of (Mostly) Academic
Work on Rock and Pop Music

A-C // D-G // H-L // M-R // S-Z
Recent additions

D

  1. Daley, Mike. 1997. Patti Smithís "Gloria": Intertextual play in a vocal performance. Popular Music 16: 235-235.
  2. Danaher, William F., and Stephen P. Blackwelder. 1993. The emergence of blues and rap: A comparison and assessment of the content, meaning, and message. Popular Music and Society 17(4): 1-12.
  3. Dancis, B. (1978). "Safety Pins and Class Struggle: Punk Rock and the Left," Socialist Review, 39, pp. 58-83.
  4. Danielsen, Anne. 1997. His name was Prince: A study of Diamonds and Pearls. Popular Music 16: 275-291.
  5. Davies, Chris Lawe. 1993. Aboriginal rock music: Space and place. In Rock and popular music: Politics, policies, institutions, ed. Tony Bennett, Simon Frith, Lawrence Grossberg, John Shepherd, and Graeme Turner, 249-265. New York: Routledge.
  6. Davies, John Booth. 1978. The psychology of music. Stanford: Stanford University Press.
  7. Davis, Donald M., and Joseph R. Dominick. 1991. Reactance theory and record warning labels: The X factor. Popular Music and Society 15(2): 79-86.
  8. Davis, S. (1985). "Pop Lyrics: A Mirror and Molder of Society," ETC. 42, pp. 167-169.
  9. Dawson, Jim, and Steve Propes. 1992. What was the first rock 'n' roll record? Boston: Faber and Faber.
  10. Day, Aidan. 1988. Jokerman: Reading the lyrics of Bob Dylan. New York: Basil Blackwell.
  11. DeChaine, D. Robert. 1997. Mapping subversion: Queercore music's playful discourse of resistance. Popular Music and Society 21(4): 7-37.
  12. De Clercq, J. (1974). "The Musical Receptivity of Young People." In Irmgard Bontinck (ed.), New Patterns of Musical Behaviour of the Young Generation in Industrial Societies (pp. 205-211). Vienna: Universal Edition.
  13. De Launey, Guy. 1995. Not-so-big in Japan: Western pop music in the Japanese market. Popular Music 14(2): 203-225.
  14. De Meyer, Gust. 1996. Cultural globalization and local identity: The case of Belgian popular music. Popular Music and Society 20(1): 123-134.
  15. Dean, Maury. 1973. Wo-uh-ho Peggy Sue: Exploring a teenage queen linguistically. Popular Music and Society 2: 244-254.
  16. Decker, Jeffrey Louis. 1993. The state of rap: Time and place in hip hop nationalism. Social Text 34: 53-84.
  17. Decker, Jeffrey Louis. 1994. The state of rap: Time and place in hip hop nationalism. In Microphone fiends: Youth music and youth culture, ed. Andrew Ross and Tricia Rose, 99-121. New York: Routledge.
  18. DeCurtis, Anthony. 1991. Introduction: The sanctioned power of rock & roll. South Atlantic Quarterly 90: 635-647.
  19. Deen, Jeannie. 1979. A young girl's fancy. In Elvis: Images and fancies, ed. Jac L. Tharpe, 169-172. Jackson: University Press of Mississippi.
  20. Deihl, E. Roderick, Michael J. Schneider, and Kenneth Petress. 1983. Dimensions of music preference: A factor analytic study. Popular Music and Society 9(3): 41-50.
  21. Del Grosso Destreri, L., & Corposanto, C. (1982). "Production and Consumption of Phonograms in Italy: In Search of the Sources of Research." In Kurt Blaukopf (ed.), The Phonogram in Cultural Communication (pp. 79-99). New York: Springer-Verlag.
  22. Denisoff, R. Serge. 1969. Folk-rock: Folk music, protest, or commercialism? Journal of Popular Culture 3: 214-230.
  23. Denisoff, R. Serge. 1970. Protest songs: Those on the top forty and those of the streets. American Quarterly 22: 807-823.
  24. Denisoff, R. Serge. 1972a. The evolution of the American protest song. In The sounds of social change: Studies in popular culture, ed. R. Serge Denisoff and Richard A. Peterson, 15-25. Chicago: Rand McNally.
  25. Denisoff, R. Serge. 1972b. Folk music and the American left. In The sounds of social change: Studies in popular culture, ed. R. Serge Denisoff and Richard A. Peterson, 105-120. Chicago: Rand McNally.
  26. Denisoff, R. Serge. 1973. The evolution of pop music broadcasting, 1920-1972. Popular Music and Society 2: 202-226.
  27. Denisoff, R. Serge. 1974. The vinyl crap game: The pop record industry. Journal of Jazz Studies 1(2): 3-26.
  28. Denisoff, R. Serge. 1975. Solid gold: The popular record industry. New Brunswick, NJ: Transaction Books.
  29. Denisoff, R. Serge. 1976. Massification and popular music: A review. Journal of Popular Culture 9: 886-894.
  30. Denisoff, R. Serge. 1982. Democratization of popular music. Media Development 1: 29-31.
  31. Denisoff, R. Serge. 1983a. Sing a song of social significance 2d ed. Bowling Green, OH: Bowling Green University Popular Press.
  32. Denisoff, R. Serge. 1983b. "Teen angel": Resistance, rebellion and death -- revisited. Journal of Popular Culture 16(4): 116-122.
  33. Denisoff, R. Serge. 1986. Tarnished gold: The record industry revisited. New Brunswick, NJ: Transaction Books.
  34. Denisoff, R. Serge. 1987a. Psychographics and MTV: An interview with Marshall Cohen. Popular Music and Society 11(3): 27-34.
  35. Denisoff, R. Serge. 1987b. Wodlinger v. MTV: Sherman-Clayton antitrust or publicity seeking. Popular Music and Society 11(3): 47-56.
  36. Denisoff, R. Serge. 1988a. Historicism and MTV: E. Ann Kaplan's Rocking around the clock. Popular Music and Society 12(2): 63-68.
  37. Denisoff, R. Serge. 1988b. Inside MTV. New Brunswick, NJ: Transaction Books.
  38. Denisoff, R. Serge, and John Bridges. 1981. The battered and neglected orphan: Popular music research and books. Popular Music and Society 8(1): 43-59.
  39. Denisoff, R. Serge, and John Bridges. 1982. Popular music: Who are the recording artists? Journal of Communication 32(1): 132-142.
  40. Denisoff, R. Serge, and John Bridges. 1983. The sociology of popular music: A review. Popular Music and Society 9(1): 51-62.
  41. Denisoff, R. Serge, and Mark H. Levine. 1970. Generations and counter-culture: A study in the ideology of music. Youth and Society 2: 33-58.
  42. Denisoff, R. Serge, and Mark H. Levine. 1971a. The one-dimensional approach to popular music: A research note. Journal of Popular Culture 4: 911-919.
  43. Denisoff, R. Serge, and Mark H. Levine. 1971b. The popular protest song: The case of "Eve of destruction." Public Opinion Quarterly 35(1): 117-122.
  44. Denisoff, R. Serge, and Mark H. Levine. 1972a. Brainwashing or background noise: The popular protest song. In The sounds of social change: Studies in popular culture, ed. R. Serge Denisoff and Richard A. Peterson, 213-221. Chicago: Rand McNally.
  45. Denisoff, R. Serge, and Mark H. Levine. 1972b. Youth and popular music: A test of the taste culture hypothesis. Youth and Society 4(2): 237-255.
  46. Denisoff, R. Serge, and Richard A. Peterson, ed. 1972. The sounds of social change: Studies in popular culture. Chicago: Rand McNally.
  47. Denisoff, R. Serge, and William D. Romanowski. 1990a. Katzman's "Rock around the clock": A pseudo-event? Journal of Popular Culture 24(1): 65-78.
  48. Denisoff, R. Serge, and William D. Romanowski. 1990b. MTV becomes pastiche: "Some people just don't get it!" Popular Music and Society 14(1): 47-61.
  49. Denselow, Robin. 1989. When the music's over: The story of political pop. Boston: Faber & Faber.
  50. Denski, Stan W. 1989. One step up and two steps back: A heuristic model for popular music and communication research. Popular Music and Society 13(1): 9-21.
  51. Denski, Stan W. 1991. "Inarticulate speech of the heart": Limits and insights in the popular interview literature. Popular Music and Society 15(3): 11-30.
  52. Denski, Stan W. 1992. Music, musicians, and communication: The personal voice in a common language. In Popular music and communication, ed. James Lull, 2d ed., 33-48. Newbury Park, CA: Sage.
  53. Denski, Stan W., and David J. Sholle. 1989. Asking questions: Toward the identification of key theoretical issues in popular music and communication research. Tracking: Popular Music Studies 2(1): 11-25.
  54. Denski, Stan W., and David J. Sholle. 1992. Metal men and glamour boys: Gender performance in heavy metal. In Men, masculinity, and the media, ed. Steve Craig, 41-60. Newbury Park, CA: Sage.
  55. Denzin, Norman K. 1970. Problems in analyzing elements of mass culture: Notes on the popular song and other artistic productions. American Journal of Sociology 75: 1035-1038.
  56. D'Eramo, M. (1975). "The Rhetorics of Protest: Brassens and Dylan," Cultures, 2(4), pp. 53-104.
  57. Dery, Mark. 1991. Signposts on the road to nowhere: Laurie Anderson's crisis of meaning. South Atlantic Quarterly 90: 785-801.
  58. DeSilva, Earlston E. 1989. The theology of black power and black song: James Brown. Black Sacred Music 3(2): 57-67.
  59. Desmond, R.J. (1987). "Adolescents and Music Lyrics: Implications of a Cognitive Perspective," Communication Quarterly, 35, pp. 276-284.
  60. Dezelsky, T., & Toohey, J.V. (1970). "Are You Listening to the Lyrics?" Journal of School Health, 40, pp. 40-42.
  61. Dimitriadis, Greg. 1996. Hip hop: From live performance to mediated narrative. Popular Music 15(2): 179-194.
  62. Dixon, Richard D. 1979a. Concert and coliseum: A report concerning leisure activity and locale. Popular Music and Society 6: 241-251.
  63. Dixon, Richard D. 1979b. Music in the community: A survey of who is paying attention. Popular Music and Society 7: 37-56.
  64. Dixon, Richard D. 1980. Suggested scales for the measurement of musical involvement and genre tastes. Popular Music and Society 7: 223-244.
  65. Dixon, Richard D. 1981. Musical taste cultures and taste publics revisited: A research note of new evidence. Popular Music and Society 8(1): 2-9.
  66. Dixon, Richard D. 1982. LP chart careers: Indices and predictors of ascent and descent in popularity. Popular Music and Society 8(3/4): 19-44.
  67. Dixon, Richard D., Fred R. Ingram, Richard M. Levinson, and Catherine L. Putnam. 1979. The cultural diffusion of punk rock in the United States. Popular Music and Society 6: 210-218.
  68. Dobkin, Alix. 1985. Sexism & racism & rock 'n' roll. OneTwoThreeFour 2: 21-34.
  69. Doherty, T. (1987). "MTV and the Music Video: Promo and Product," Southern Speech Communication Journal, 52, pp. 349-361.
  70. Domatob, J.K. (1989). "Black Africa's Cultural Synchronization Through Pop Music," Neohelicon, 16(2), pp. 303-315.
  71. Dotter, Daniel. 1987. Growing up is hard to do: Rock and roll performers as cultural heroes. Sociological Spectrum 7: 25-44.
  72. Dotter, Daniel. 1994. Rock and roll is here to stray: Youth subculture, deviance, and social typing in rockís early years. In Adolescents and their music: If itís too loud, youíre too old, ed. Jonathan S. Epstein, 87-114. New York: Garland Publishing, Inc.
  73. Doughty, Howard A. 1973. Rock: A nascent protean form. Popular Music and Society 2: 155-188.
  74. Douglas, Susan J. 1994. Where the girls are: Growing up female with the mass media. New York: Times Books.
  75. Dranov, Paula. 1980. Inside the music publishing industry. White Plains, NY: Knowledge Industry Publications.
  76. Drew, Robert S. 1993. American karaoke performers as amateurs and professionals. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 77-78. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  77. Driver, Peter. 1990. Whose technology? OneTwoThreeFour 9: 73-76.
  78. Duffett, Mark. 2000. Going down like a song: National identity, global commerce and the Great Canadian Party. Popular Music 19(1): 1-11.
  79. du Gay, Paul, Stuart Hall, Linda Janes, Hugh Mackay, and Keith Negus. 1997. Doing cultural studies: The story of the Sony Walkman. Thousand Oaks, CA: Sage Publications.
  80. Dukes, Duane, and Jerry M. Lewis. 1982. The public perception of rock concert violence. Popular Music and Society 8(3/4): 45-54.
  81. Dunaway, David King. 1987. Music as political communication in the United States. In Popular music and communication, ed. James Lull, 36-52. Newbury Park, CA: Sage.
  82. Dunbar-Hall, Peter. 1996. Rock songs as messages: Issues of health and lifestyle in central Australian aboriginal communities. Popular Music and Society 20(2): 43-67.
  83. Dunne, Michael. 1992a. Music videos: Advertisements for themselves. In Metapop: Self-referentiality in contemporary American popular culture, 145-159. Jackson: University Press of Mississippi.
  84. Dunne, Michael. 1992b. Rock music: Here I am, up on the stage. In Metapop: Self-referentiality in contemporary American popular culture, 107-123. Jackson: University Press of Mississippi.
  85. Durant, Alan. 1984. Conditions of music. Albany: State University of New York Press.
  86. Durant, Alan. 1985. Rock revolution or time-no-changes: Visions of change and continuity in rock music. Popular Music 5: 97-121.
  87. Durant, Alan. 1989. Improvisation in the political economy of music. Music and the politics of culture, ed. Christopher Norris, 252-282. New York: St. Martin's.
  88. Durgnat, R. (1971). "Rock, Rhythm and Dance," British Journal of Aesthetics, 11, pp. 28-47.
  89. Duxbury, Janell R. 1988. Shakespeare meets the backbeat: Literary allusion in rock music. Popular Music and Society 12(3): 19-23.
  90. Dyer, Richard. 1971. The meaning of Tom Jones. Working Papers in Cultural Studies 1: 52-64.
  91. Dyer, Richard. 1979. In defense of disco. Gay Left 8: 20-23.
  92. Dyson, Michael Eric. 1987. Rap, race, and reality: Run-D.M.C. Christianity and Crisis 47(4): 98-100.
  93. Dyson, Michael Eric. 1989. A postmodern Afro-American secular spirituality: Michael Jackson. Black Sacred Music 3(2): 98-124.
  94. Dyson, Michael Eric. 1991. Performance, protest, and prophecy in the culture of hip-hop. Black Sacred Music 5(1): 12-24.
  95. Dyson, Michael Eric. 1992a. Rap culture, the church, and American society. Black Sacred Music 6(1): 268-273.
  96. Dyson, Michael Eric. 1992b. Rights and responsibilities: 2 Live Crew and rap's moral vision. Black Sacred Music 6(1): 274-281.
  97. Dyson, Michael Eric. 1993a. The culture of hip-hop. In Reflecting black: African-American cultural criticism, 3-15. Minneapolis: University of Minnesota Press.
  98. Dyson, Michael Eric. 1993b. Michael Jackson's postmodern spirituality. In Reflecting black: African-American cultural criticism, 35-60. Minneapolis: University of Minnesota Press.
  99. Dyson, Michael Eric. 1993c. Rap culture, the church, and American society. In Reflecting black: African-American cultural criticism, 276-281. Minneapolis: University of Minnesota Press.
  100. Dyson, Michael Eric. 1993d. Rap music and black culture: An interview. In Reflecting black: African-American cultural criticism, 16-22. Minneapolis: University of Minnesota Press.
  101. Dyson, Michael Eric. 1996. Between God and gangsta rap. New York: Oxford University Press.
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  102. Easley, G., & Rabinovitz, L. (1988). "'No Controles': Music Video and Cultural Difference," Wide Angle, 10(2), pp. 62-69.
  103. Eberhart, George M. 1996. Stack Lee: The man, the music, and the myth. Popular Music and Society 20(1): 1-70.
  104. Eberly, Philip K. 1982. Music in the air: America's changing tastes in popular music. New York: Hastings.
  105. Edström, Olle. 1996. "Cookiní on the West Coast": A contribution from the Swedish west coast to contemporary composition practice. Popular Music 15: 83-106.
  106. Edwards, Emily D. 1994. Does love really stink? The "mean world" of love and sex in popular music of the 1980s. In Adolescents and their music: If itís too loud, youíre too old, ed. Jonathan S. Epstein, 225-249. New York: Garland Publishing, Inc.
  107. Edwards, Emily D., and Michael W. Singletary. 1984. Mass media images in popular music: An examination of media images in student music collections and student attitudes toward media performance. Popular Music and Society 9(4): 17-26.
  108. Ehrenreich, Barbara, Elizabeth Hess, and Gloria Jacobs. 1986. Beatlemania: Girls just want to have fun. In Re-making love: The feminization of sex, 10-38. Garden City, NY: Doubleday.
  109. Eisen, Jonathan, ed. 1969. The age of rock: Sounds of the American cultural revolution, a reader. New York: Vintage.
  110. Eisen, Jonathan, ed. 1970. The age of rock 2: Sights and sounds of the American cultural revolution. New York: Vintage.
  111. Eisenberg, Evan. 1987. The recording angel: The experience of music from Aristotle to Zappa. New York: Penguin.
  112. Elflein, Dietmar. 1998. Some aspects of hip-hop history in Germany. Popular Music 17(3): 255-265.
  113. Ellison, Mary. 1994. Charmaine Neville, the Mardi Gras Indians, and the music of oppositional politics. Popular Music and Society 18(4): 19-39.
  114. Ellsworth, Elizabeth, and Margot Kennard Larson. 1985. Critical media analysis, radical pedagogy, and MTV. Feminist Teacher 2(1): 8-12.
  115. Ellsworth, Elizabeth, Margot Kennard Larson, and Albert Selvin. 1986. MTV presents: Problematic pleasures. Journal of Communication Inquiry 10(1): 55-63.
  116. Emblidge, D. (1976). "Down Home with the Band: Country-Western Music and Rock," Ethnomusicology, 20, pp. 541-552.
  117. Endres, Kathleen L. 1984. Sex role standards in popular music. Journal of Popular Culture 18(1): 9-18.
  118. Endres, Thomas G. 1993. A dramatistic analysis of family themes in the top 100 country songs of 1992. Popular Music and Society 17(4): 29-46.
  119. Ennis, Philip H. 1992. The seventh stream: The emergence of rocknroll in American popular music. Hanover, NH: Wesleyan University Press.
  120. Epstein, Jonathon S., ed. 1994a. Adolescents and their music: If itís too loud, youíre too old. New York: Garland Publishing, Inc.
  121. Epstein, Jonathon S. 1994b. Misplaced childhood: An introduction to the sociology of youth and their music. In Adolescents and their music: If itís too loud, youíre too old, ed. Jonathan S. Epstein, xiii-xxxiv. New York: Garland Publishing, Inc.
  122. Epstein, Jonathan S., and David J. Pratto. 1990. Heavy metal rock music: Juvenile delinquency and satanic identification. Popular Music and Society 14(4): 67-76.
  123. Epstein, Jonathan S., David J. Pratto, and James K. Skipper, Jr. 1990. Teenagers, behavioral problems, and preferences for heavy metal and rap music: A case study of a Southern middle school. Deviant Behavior 11: 381-394.
  124. Eriksen, N. (1980). "Popular Culture and Revolutionary Theory: Understanding Punk Rock," Theoretical Review, 18, pp. 13-35.
  125. Eshun, Kodwo. 1995. From blaxploitation to rapsploitation. In Celluloid jukebox: Popular music and the movies since the 50s, ed. Jonathan Romney and Adrian Wootton, 52-59. London: British Film Institute.
  126. Etzkorn, K.P. (1966). "On Esthetic Standards and Reference Groups of Popular Songwriters," Sociological Inquiry, 35, pp. 39-47.
  127. Etzkorn, K.P. (1976). "Manufacturing Music," Society, 14(1), pp. 19-23.
  128. Etzkorn, K.P. (1982a). "Notes in Defense of Mass Communication Technology." In Kurt Blaukopf (ed.), The Phonogram in Cultural Communication (pp. 101-109). New York: Springer-Verlag.
  129. Etzkorn, K.P. (1982b). "On the Sociology of Musical Practice and Social Groups," International Social Science Journal, 34, pp. 555-570.
  130. Evans, D. (1982). "Blues and Modern Sound: Past, Present, and Future." In William R. Ferris & M.L. Hart (eds.), Folk Music and Modern Sound (pp. 163-176). Jackson: University Press of Mississippi.
  131. Evans, Paul. 1991. Los Angeles, 1999. South Atlantic Quarterly 90: 819-831.
  132. Everett, W. (1986). "Fantastic Remembrance in John Lennon's 'Strawberry Fields Forever' and 'Julia,'" The Musical Quarterly, 72, pp. 360-393.
  133. Ewbank, Alison. 1986. Local music in England. Critical Studies in Mass Communication 3: 372-375.
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  134. Fabbri, Franco. 1982a. A theory of musical genres: Two applications. Popular Music Perspectives 1: 52-81.
  135. Fabbri, Franco. 1982b. What kind of music? Popular Music 2: 131-143.
  136. Fabbri, Franco. 1983. Musical genres and their metalanguages. International Society for Music Education Yearbook 10: 24-30.
  137. Fabbri, Franco. 1987. Skill: The positive case (or in praise of learning). Ré Records Quarterly 3(1): 37-40.
  138. Fabbri, Franco. 1989. The system of canzone in Italy today. In World music, politics and social change: Papers from the International Association for the Study of Popular Music, ed. Simon Frith, 122-142. New York: Manchester University Press.
  139. Fairchild, Charles. 1995. "Alternative" music and the politics of cultural autonomy: The case of Fugazi and the D.C. scene. Popular Music and Society 19(1): 17-35.
  140. Faller, Greg S. 1996. From sitney to TV: Classical experimental style in contemporary music videos. Popular Music and Society 20(1): 175-189.
  141. Fang-Chih, Irene Yang. 1994. The history of popular music in Taiwan. Popular Music and Society 18(3): 53-66.
  142. Farley, Jeff. 1993. For love or money?: Austin musicians' discourse on the idealist/materialist debate. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 79-82. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  143. Farmer, P. (1976). "Pop Music in the Secondary School: A Justification," Music in Education, 40(5), pp. 217-219.
  144. Fathi, A., & Heath, C.L. (1974). "Group Influence, Mass Media and Musical Taste Among Canadian Students," Journalism Quarterly, 51, pp. 705-709.
  145. Fedler, F., Hall, J., & Tanzi, L.A. (1982). "Popular Songs Emphasize Sex, De-Emphasize Romance," Mass Communication Review, 9(2/3), pp. 10-15.
  146. Feld, Steven. 1988. Notes on world beat. Public Culture 1(1): 31-37.
  147. Fenster, Mark. 1990. The (ab)uses of popular music history. OneTwoThreeFour 8: 7-21.
  148. Fenster, Mark. 1991. The problem of taste within the problematic of culture. Communication Theory 1: 87-105.
  149. Fenster, Mark. 1993a. Queer punk fanzines: Identity, community and the articulation of homosexuality and hardcore. Journal of Communication Inquiry 17(1): 73-94.
  150. Fenster, Mark. 1993b. Two stories: Where exactly is the local? In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 83-87. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  151. Fenster, Mark, and Thomas Swiss. 1999. Business. In Key terms in popular music and culture, ed. Bruce Horner and Thomas Swiss, 225-238. Malden, MA: Blackwell.
  152. Ferland, Y., & Anderson, R.D. (1982). "The Recording Industry Survey Conducted in Canada." In Kurt Blaukopf (ed.), The Phonogram in Cultural Communication (pp. 19-41). New York: Springer-Verlag.
  153. Ferrandiro, J. (1969). "Rock Culture and the Development of Social Consciousness," Radical America (November), 3, pp. 11-34. Reprinted (1972) in G.H. Lewis (ed.), Side-Saddle on the Golden Calf: Social Culture and Popular Culture in America (pp. 263-290). Pacific Palisades, CA: Goodyear.
  154. Ferreira, Christine. 1987. Like a virgin: The men don't know, but the little girls understand. Popular Music and Society 11(2): 5-16.
  155. Ferri, M.M. (1970). "Modern Songs as Lyric Poetry: Euphony, Rhythm, Metre and Rhyme," Style, 4, pp. 245-251.
  156. Ferris, W.R., & Hart, M.L. (eds.) (1982). Folk Music and Modern Sound. Jackson: University Press of Mississippi.
  157. Fidler, Linda M., and William L. Schurk. 1986. Sound recording archives. Critical Studies in Mass Communication 3: 377-379.
  158. Fikentscher, Kai. 1991. "Supremely clubbed, devastatingly dubbed": Some observations on the nature of mixes on 12-inch dance singles. Tracking: Popular Music Studies 4(1): 9-15.
  159. Fikentscher, Kai. 1993. "Old school -- new school": An examination of changes in the production and consumption of post-disco underground dance music in New York City. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 89-93. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  160. Fink, Edward L., John P. Robinson, and Sue Dowden. 1985. The structure of music preference and attendance. Communication Research 12: 301-318.
  161. Finnegan, Ruth. 1989. The hidden musicians: Music-making in an English town. New York: Cambridge University Press.
  162. Fiori, Umberto. 1984. Rock music and politics in Italy. Popular Music 4: 261-277.
  163. Fiori, Umberto. 1985. Popular music: Theory, practice, value. Popular Music Perspectives 2: 13-23.
  164. Fiori, Umberto. 1987. Listening to Peter Gabriel's "I have the touch." Popular Music 6: 37-43.
  165. Fischer, Paul D. 1997/1998. "Do we really have to think about this stuff?: Music industry majors and popular music study. Journal of Popular Music Studies 9/10: 71-78.
  166. Fish, Duane K. 1995. Serving the servants: An analysis of the music of Kurt Cobain. Popular Music and Society 19(2): 87-101.
  167. Fiske, John. 1984. Video clippings. Australian Journal of Cultural Studies 2(1): 110-114.
  168. Fiske, John. 1986. MTV: Post-structural post-modern. Journal of Communication Inquiry 10(1): 74-79.
  169. Fiske, John. 1987a. British cultural studies and television. In Channels of discourse: Television and contemporary criticism, ed. Robert C. Allen, 254-289. Chapel Hill: University of North Carolina Press.
  170. Fiske, John. 1987b. Carnival and style. In Television culture, 240-264. New York: Methuen.
  171. Fiske, John. 1989a. Madonna. In Reading the popular, 95-113. Boston: Unwin Hyman.
  172. Fiske, John. 1989b. Romancing the rock. In Reading the popular, 115-132. Boston: Unwin Hyman.
  173. Fitzgerald, Jon. 1993. Black or white? Stylistic analysis of early Motown "crossover" hits: 1963-1966. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 95-98. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  174. Fitzgerald, Jon. 1995a. Motown crossover hits 1963-1966 and the creative process. Popular Music 14(1): 1-11.
  175. Fitzgerald, Jon. 1995b. When the Brill Building met Lennon-McCartney: Continuity and change in the early evolution of the Mainstream pop song. Popular Music and Society 19(1): 59-77.
  176. Fitzgerald, Jon. 1996. Lennon-McCartney and the "middle eight." Popular Music and Society 20(4): 41-52.
  177. Fitzgerald, Jon. 1997. Songwriters in the U.S. Top Forty, 1963-1966. Popular Music and Society 21(4): 85-110.
  178. Flacks, Marc Ajay. 1996. "All I want is to feel this way": Rock music and the myth of democracy. Journal of Popular Music Studies 7: 25-69.
  179. Flippo, Chet. 1974a. The history of Rolling Stone: Part I. Popular Music and Society 3: 159-188.
  180. Flippo, Chet. 1974b. The history of Rolling Stone: Part II. Popular Music and Society 3: 258-280.
  181. Flippo, Chet. 1974c. The history of Rolling Stone: Part III. Popular Music and Society 3: 281-298.
  182. Flood-Page, M., & Fowler, P. (1972). "Writing About Rock," Working Papers in Cultural Studies, 2, pp. 139-152.
  183. Flores, Juan. 1994. Puerto Rican and proud, boyee!: Rap roots and amnesia. In Microphone fiends: Youth music and youth culture, ed. Andrew Ross and Tricia Rose, 89-98. New York: Routledge.
  184. Flynn, Leisa Reinecke, Jacqueline Kilsheimer Eastman, and Stephen J. Newell. 1993. Predicting rock music consumption behaviors of undergraduates: Demographic versus psychological variables. Popular Music and Society 17(4): 13-28.
  185. Ford, L.R. (1971). "Geographical Factors in the Origin, Evolution, and Diffusion of Rock and Roll Music," Journal of Geography, 70, pp. 455-464.
  186. Forman, Murray. 2000. "Represent": Race, space and place in rap music. Popular Music 19(1): 65-90.
  187. Forét, Miroslav. 1990. Sociological aspects of popular music in Czechoslovakia in the eighties. Popular Music and Society 14(4): 49-55.
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