Skip to main content Accessibility help
×
Hostname: page-component-7479d7b7d-jwnkl Total loading time: 0 Render date: 2024-07-16T00:30:43.293Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  30 August 2019

Nicholas Cook
Affiliation:
University of Cambridge
Monique M. Ingalls
Affiliation:
Baylor University, Texas
David Trippett
Affiliation:
University of Cambridge
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Baym, Nancy. 2015. Personal Connections in the Digital Age, 2nd edn. Cambridge: Polity.Google Scholar
Bennett, Lucy. 2012. ‘Patterns of listening through social media: Online fan engagement with the live musical experience’. Social Semiotics 22 (5): 545–57.CrossRefGoogle Scholar
Boden, Margaret. 2004. The Creative Mind: Myths and Mechanisms, 2nd edn. London: Routledge.Google Scholar
Bogdanovic, Danijela. 2016. ‘Bands in virtual spaces, social networking, and masculinity’. In The Oxford Handbook of Music and Virtuality, edited by Sheila Whiteley and Shara Rambarran, 428–47. New York: Oxford University Press.Google Scholar
Burgess, Jean and Green, Joshua (with contributions by Jenkins, Henry and Hartley, John). 2009. YouTube: Online Video and Participatory Culture. Cambridge: Polity.Google Scholar
Castells, Manuel. 2001. The Internet Galaxy: Reflections on the Internet, Business, and Society. Oxford: Oxford University Press.Google Scholar
Connor, Thomas. 2016. ‘Hatsune Miku, 2.0Pac, and beyond: Rewinding and fast-forwarding the virtual pop star’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 111–28. New York: Oxford University Press.Google Scholar
Cook, Nicholas. 2013. ‘Video cultures: “Bohemian Rhapsody”, “Wayne’s World” and beyond’. In Representation in Western Music, edited by Walden, Joshua, 7999. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Cook, Nicholas. 2018. Music as Creative Practice. New York: Oxford University Press.Google Scholar
Drott, Eric. 2018. ‘Music as a technology of surveillance’. Journal of the Society for American Music 12(3): 233–67.CrossRefGoogle Scholar
Feldman, David. 1994. ‘Mozart and the transformational imperative’. In On Mozart, edited by Morris, James, 5271. Cambridge: Woodrow Wilson Center Press and Cambridge University Press.Google Scholar
Giesler, Markus and Pohlmann, Mali. 2003. ‘The anthropology of file sharing: Consuming Napster as a gift’. In Advances in Consumer Research, 30, edited by Keller, Anand and Rook, Dennis: 273–9. Valdosta, GA: Association for Consumer Research.Google Scholar
Hartley, John. 2008. Television Truths: Forms of Knowledge in Popular Culture. London: Blackwell.CrossRefGoogle Scholar
Jackson, Louise and Dines, Mike. 2016. ‘Vocaloids and Japanese virtual vocal performance: The cultural heritage and technological futures of vocal puppetry’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 101–10. New York: Oxford University Press.Google Scholar
Jenkins, Henry. 2006. Convergence Culture: Where Old and New Media Collide. New York: New York University Press.Google Scholar
Jenkins, Henry. 2009. ‘What happened before YouTube’. In Burgess, Jean and Green, Joshua (with contributions by Jenkins, Henry and Hartley, John), YouTube: Online Video and Participatory Culture, 109–25. Cambridge: Polity.Google Scholar
Jenkins, Henry, Ford, Sam and Green, Joshua. 2013. Spreadable Media: Creating Value and Meaning in a Networked Culture. New York: New York University Press.Google Scholar
Jenkins, Henry, Ito, Mizuko and boyd, danah. 2016. Participatory Culture in a Networked Era. Cambridge: Polity.Google Scholar
Katz, Mark. 2004. Capturing Sound: How Technology has Changed Music. Berkeley: University of California Press.Google Scholar
Kramer, Lawrence, 2013. ‘Classical music for the posthuman tradition’. In The Oxford Handbook of New Audiovisual Aesthetics, edited by Richardson, John, Gorbman, Claudia and Vernallis, Carol, 3952. New York: Oxford University Press.Google Scholar
Lessig, Lawrence. 2008. Remix: Making Art and Commerce Thrive in the Hybrid Economy. London: Bloomsbury.Google Scholar
Lingel, Jessa and Naaman, Mor. 2011. ‘You should have been there, man: Live music, DIY content and online communities’. New Media and Society 14 (2): 332–49.Google Scholar
Macpherson, Crawford. 2010. The Political Theory of Possessive Individualism from Hobbes to Locke. Oxford: Oxford University Press.Google Scholar
Massanari, Adrienne. 2015. Participatory Culture, Community, and Play: Learning from reddit. New York: Peter Lang.Google Scholar
Michielse, Maarten. 2013. ‘Musical chameleons: Fluency and flexibility in online remix contests’. M/C Journal 16 (4) (http://journal.media-culture.org.au/index.php/mcjournal/article/view/676).Google Scholar
Michielse, Maarten. 2016. ‘A digital recording consciousness: Analysing, mixing and evaluating audio in the mashup community’. Journal of the International Association for the Study of Popular Music 6 (2): 139–53.Google Scholar
Miller, Kiri. 2012. Playing Along: Digital Games, YouTube, and Virtual Performance. Oxford: Oxford University Press.Google Scholar
O’Brien, Benjamin. 2016. ‘Sample sharing: Virtual laptop ensemble communities’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 377–91. New York: Oxford University Press.Google Scholar
Rheingold, Howard. 1993. The Virtual Community: Homesteading on the Electronic Frontier. Reading, MA: Addison-Wesley Publishing Company.Google Scholar
Richardson, John. 2012. An Eye for Music: Popular Music and the Audiovisual Surreal. New York: Oxford University Press.Google Scholar
Shifman, Limor. 2014. Memes in Digital Culture. Cambridge, MA: MIT Press.Google Scholar
Silver, Jeremy. 2016. Blockchain or the Chaingang? Challenges, Opportunities and Hype: The Music Industry and Blockchain Technologies (CREATe Working Paper 2016/05). Glasgow: RCUK Centre for Copyright and New Business Models in the Creative Economy.Google Scholar
Sinnreich, Aram. 2010. Mashed Up: Music, Technology, and the Rise of Configurable Culture. Amherst: University of Massachusetts Press.Google Scholar
Strangelove, Michael. 2010. Watching YouTube: Extraordinary Videos by Ordinary People. Toronto: University of Toronto Press.Google Scholar
Théberge, Paul. 2004. ‘The network studio: Historical and technological paths to a new ideal in music making’. Social Studies of Science 34 (5): 759–81.Google Scholar
Vernallis, Carol. 2013. Unruly Media: YouTube, Music Video, and the New Digital Cinema. New York: Oxford University Press.Google Scholar
Watson, Yoshe. 2017. ‘Virtual Undergrounds: How do People Use Music to Build Subcultures on the Internet?’. MPhil dissertation, University of Cambridge.Google Scholar
Whiteley, Sheila and Rambarran, Shara, eds. 2016. The Oxford Handbook of Music and Virtuality. New York: Oxford University Press.CrossRefGoogle Scholar
Williams, Justin and Wilson, Ross. 2016. ‘Music and crowdfunded websites: Digital patronage and artist-fan interactivity’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 593612. New York: Oxford University Press.Google Scholar
Zaborowski, Rafal. 2016. ‘Hatsune Miku and Japanese virtual idols’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 111–28. New York: Oxford University Press.Google Scholar

Secondary Sources

Baym, Nancy. 2015. Personal Connections in the Digital Age, 2nd edn. Cambridge: Polity.Google Scholar
Bennett, Lucy. 2012. ‘Patterns of listening through social media: Online fan engagement with the live musical experience’. Social Semiotics 22 (5): 545–57.CrossRefGoogle Scholar
Boden, Margaret. 2004. The Creative Mind: Myths and Mechanisms, 2nd edn. London: Routledge.Google Scholar
Bogdanovic, Danijela. 2016. ‘Bands in virtual spaces, social networking, and masculinity’. In The Oxford Handbook of Music and Virtuality, edited by Sheila Whiteley and Shara Rambarran, 428–47. New York: Oxford University Press.Google Scholar
Burgess, Jean and Green, Joshua (with contributions by Jenkins, Henry and Hartley, John). 2009. YouTube: Online Video and Participatory Culture. Cambridge: Polity.Google Scholar
Castells, Manuel. 2001. The Internet Galaxy: Reflections on the Internet, Business, and Society. Oxford: Oxford University Press.Google Scholar
Connor, Thomas. 2016. ‘Hatsune Miku, 2.0Pac, and beyond: Rewinding and fast-forwarding the virtual pop star’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 111–28. New York: Oxford University Press.Google Scholar
Cook, Nicholas. 2013. ‘Video cultures: “Bohemian Rhapsody”, “Wayne’s World” and beyond’. In Representation in Western Music, edited by Walden, Joshua, 7999. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Cook, Nicholas. 2018. Music as Creative Practice. New York: Oxford University Press.Google Scholar
Drott, Eric. 2018. ‘Music as a technology of surveillance’. Journal of the Society for American Music 12(3): 233–67.CrossRefGoogle Scholar
Feldman, David. 1994. ‘Mozart and the transformational imperative’. In On Mozart, edited by Morris, James, 5271. Cambridge: Woodrow Wilson Center Press and Cambridge University Press.Google Scholar
Giesler, Markus and Pohlmann, Mali. 2003. ‘The anthropology of file sharing: Consuming Napster as a gift’. In Advances in Consumer Research, 30, edited by Keller, Anand and Rook, Dennis: 273–9. Valdosta, GA: Association for Consumer Research.Google Scholar
Hartley, John. 2008. Television Truths: Forms of Knowledge in Popular Culture. London: Blackwell.CrossRefGoogle Scholar
Jackson, Louise and Dines, Mike. 2016. ‘Vocaloids and Japanese virtual vocal performance: The cultural heritage and technological futures of vocal puppetry’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 101–10. New York: Oxford University Press.Google Scholar
Jenkins, Henry. 2006. Convergence Culture: Where Old and New Media Collide. New York: New York University Press.Google Scholar
Jenkins, Henry. 2009. ‘What happened before YouTube’. In Burgess, Jean and Green, Joshua (with contributions by Jenkins, Henry and Hartley, John), YouTube: Online Video and Participatory Culture, 109–25. Cambridge: Polity.Google Scholar
Jenkins, Henry, Ford, Sam and Green, Joshua. 2013. Spreadable Media: Creating Value and Meaning in a Networked Culture. New York: New York University Press.Google Scholar
Jenkins, Henry, Ito, Mizuko and boyd, danah. 2016. Participatory Culture in a Networked Era. Cambridge: Polity.Google Scholar
Katz, Mark. 2004. Capturing Sound: How Technology has Changed Music. Berkeley: University of California Press.Google Scholar
Kramer, Lawrence, 2013. ‘Classical music for the posthuman tradition’. In The Oxford Handbook of New Audiovisual Aesthetics, edited by Richardson, John, Gorbman, Claudia and Vernallis, Carol, 3952. New York: Oxford University Press.Google Scholar
Lessig, Lawrence. 2008. Remix: Making Art and Commerce Thrive in the Hybrid Economy. London: Bloomsbury.Google Scholar
Lingel, Jessa and Naaman, Mor. 2011. ‘You should have been there, man: Live music, DIY content and online communities’. New Media and Society 14 (2): 332–49.Google Scholar
Macpherson, Crawford. 2010. The Political Theory of Possessive Individualism from Hobbes to Locke. Oxford: Oxford University Press.Google Scholar
Massanari, Adrienne. 2015. Participatory Culture, Community, and Play: Learning from reddit. New York: Peter Lang.Google Scholar
Michielse, Maarten. 2013. ‘Musical chameleons: Fluency and flexibility in online remix contests’. M/C Journal 16 (4) (http://journal.media-culture.org.au/index.php/mcjournal/article/view/676).Google Scholar
Michielse, Maarten. 2016. ‘A digital recording consciousness: Analysing, mixing and evaluating audio in the mashup community’. Journal of the International Association for the Study of Popular Music 6 (2): 139–53.Google Scholar
Miller, Kiri. 2012. Playing Along: Digital Games, YouTube, and Virtual Performance. Oxford: Oxford University Press.Google Scholar
O’Brien, Benjamin. 2016. ‘Sample sharing: Virtual laptop ensemble communities’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 377–91. New York: Oxford University Press.Google Scholar
Rheingold, Howard. 1993. The Virtual Community: Homesteading on the Electronic Frontier. Reading, MA: Addison-Wesley Publishing Company.Google Scholar
Richardson, John. 2012. An Eye for Music: Popular Music and the Audiovisual Surreal. New York: Oxford University Press.Google Scholar
Shifman, Limor. 2014. Memes in Digital Culture. Cambridge, MA: MIT Press.Google Scholar
Silver, Jeremy. 2016. Blockchain or the Chaingang? Challenges, Opportunities and Hype: The Music Industry and Blockchain Technologies (CREATe Working Paper 2016/05). Glasgow: RCUK Centre for Copyright and New Business Models in the Creative Economy.Google Scholar
Sinnreich, Aram. 2010. Mashed Up: Music, Technology, and the Rise of Configurable Culture. Amherst: University of Massachusetts Press.Google Scholar
Strangelove, Michael. 2010. Watching YouTube: Extraordinary Videos by Ordinary People. Toronto: University of Toronto Press.Google Scholar
Théberge, Paul. 2004. ‘The network studio: Historical and technological paths to a new ideal in music making’. Social Studies of Science 34 (5): 759–81.Google Scholar
Vernallis, Carol. 2013. Unruly Media: YouTube, Music Video, and the New Digital Cinema. New York: Oxford University Press.Google Scholar
Watson, Yoshe. 2017. ‘Virtual Undergrounds: How do People Use Music to Build Subcultures on the Internet?’. MPhil dissertation, University of Cambridge.Google Scholar
Whiteley, Sheila and Rambarran, Shara, eds. 2016. The Oxford Handbook of Music and Virtuality. New York: Oxford University Press.CrossRefGoogle Scholar
Williams, Justin and Wilson, Ross. 2016. ‘Music and crowdfunded websites: Digital patronage and artist-fan interactivity’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 593612. New York: Oxford University Press.Google Scholar
Zaborowski, Rafal. 2016. ‘Hatsune Miku and Japanese virtual idols’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 111–28. New York: Oxford University Press.Google Scholar
Baumol, William J. and Baumol, Hilda. 1994. ‘On the economics of musical composition in Mozart’s Vienna’. Journal of Cultural Economics 18 (3): 171–98.Google Scholar
Benjamin, Walter. 1969. ‘Theses on the philosophy of history’. In Illuminations, translated by Zohn, Harry and edited by Arendt, Hannah, 253–64. New York: Schocken.Google Scholar
Benkler, Yochai. 2006. Wealth of Networks: How Social Production Transforms Markets and Freedoms. New Haven: Yale University Press.Google Scholar
Blum, Jerome. 1978. The End of the Old Order in Rural Europe. Princeton: Princeton University Press.Google Scholar
Clapham, John. 1979. Dvorák. New York: Norton.Google Scholar
Cosentino, Gabrielle. 2006. ‘“Hacking” the iPod: A look inside Apple’s portable music player’. In Cybersounds: Essays on Virtual Music Culture, edited by Ayers, Michael D., 185208. New York: Peter Lang.Google Scholar
Espejo, Roman, ed. 2009. What Is the Future of the Music Industry? Detroit: Greenhaven Press.Google Scholar
Gillespie, Tarlton. 2007. Wired Shut: Copyright and the Shape of Digital Culture. Cambridge, MA: Harvard University Press.Google Scholar
Herman, Edward S. and McChesney, Robert W. 1997. The Global Media: The New Missionaries of Corporate Capitalism. London and Washington: Cassell.Google Scholar
Lanier, Jaron. 2010. You Are Not a Gadget: A Manifesto. New York: Alfred A. Knopf.Google Scholar
LaPlante, Alice. 2009. ‘Digital music is the future of the music industry.’ In What Is the Future of the Music Industry? edited by Espejo, Roman, 2030. Detroit: Greenhaven Press.Google Scholar
Litman, Jessica. 2006. Digital Copyright. New York: Prometheus Books.Google Scholar
Marchand, Roland. 1985. Advertising the American Dream: Making Way for Modernity 1920–1940. Berkeley: University of California Press.Google Scholar
Meinrath, Sascha D., Losey, James W. and Picard, Victor W.. 2011. ‘Digital feudalism: Enclosures and erasures from digital rights management to the digital divide’. Advances in Computers 81: 237–87.Google Scholar
Moore, Julia Virginia. 1987. ‘Beethoven and Musical Economics’. PhD thesis, University of Illinois.Google Scholar
Nimmer, David. 2003. Copyright: Sacred Text, Technology, and the DMCA. The Hague: Kluwer Law International, 2003.Google Scholar
Scherer, F. M. 2004. Quarter Notes and Bank Notes: The Economics of Music Composition in the Eighteenth and Nineteenth Centuries. Princeton: Princeton University Press.Google Scholar
Scherzinger, Martin and Smith, Stephen. 2007. ‘From blatant to latent protest (and back again): On the politics of theatrical spectacle in Madonna’s “American Life”’. Popular Music 26(1): 211–29.Google Scholar
Snickars, Pelle and Vonderau, Patrick, eds. 2009. The YouTube Reader. Stockholm: Mediehistoriskt.Google Scholar
Starr, Paul. 2004. The Creation of the Media: Political Origins of Modern Communications. New York: Basic Books.Google Scholar
Sterne, Jonathan. 2012. MP3: The Meaning of a Format. Durham, NC: Duke University Press.Google Scholar
Suisman, David. 2009. Selling Sounds: The Commercial Revolution in American Music. Cambridge, MA: Harvard University Press.CrossRefGoogle Scholar
Wasko, Janet and Erickson, Mary. 2009. ‘The political economy of YouTube’. In The YouTube Reader, edited by Snickars, Pelle and Vonderau, Patrick, 372–86. Stockholm: Mediehistoriskt.Google Scholar
Witt, Stephen. 2015. How Music Got Free: A Story of Obsession and Invention. New York: Penguin Books.Google Scholar
Wu, Tim. 2003. ‘Net neutrality, broadband discrimination’. Journal of Telecommunications and High Technology Law, 2: 141–75.Google Scholar
Baumol, William J. and Baumol, Hilda. 1994. ‘On the economics of musical composition in Mozart’s Vienna’. Journal of Cultural Economics 18 (3): 171–98.Google Scholar
Benjamin, Walter. 1969. ‘Theses on the philosophy of history’. In Illuminations, translated by Zohn, Harry and edited by Arendt, Hannah, 253–64. New York: Schocken.Google Scholar
Benkler, Yochai. 2006. Wealth of Networks: How Social Production Transforms Markets and Freedoms. New Haven: Yale University Press.Google Scholar
Blum, Jerome. 1978. The End of the Old Order in Rural Europe. Princeton: Princeton University Press.Google Scholar
Clapham, John. 1979. Dvorák. New York: Norton.Google Scholar
Cosentino, Gabrielle. 2006. ‘“Hacking” the iPod: A look inside Apple’s portable music player’. In Cybersounds: Essays on Virtual Music Culture, edited by Ayers, Michael D., 185208. New York: Peter Lang.Google Scholar
Espejo, Roman, ed. 2009. What Is the Future of the Music Industry? Detroit: Greenhaven Press.Google Scholar
Gillespie, Tarlton. 2007. Wired Shut: Copyright and the Shape of Digital Culture. Cambridge, MA: Harvard University Press.Google Scholar
Herman, Edward S. and McChesney, Robert W. 1997. The Global Media: The New Missionaries of Corporate Capitalism. London and Washington: Cassell.Google Scholar
Lanier, Jaron. 2010. You Are Not a Gadget: A Manifesto. New York: Alfred A. Knopf.Google Scholar
LaPlante, Alice. 2009. ‘Digital music is the future of the music industry.’ In What Is the Future of the Music Industry? edited by Espejo, Roman, 2030. Detroit: Greenhaven Press.Google Scholar
Litman, Jessica. 2006. Digital Copyright. New York: Prometheus Books.Google Scholar
Marchand, Roland. 1985. Advertising the American Dream: Making Way for Modernity 1920–1940. Berkeley: University of California Press.Google Scholar
Meinrath, Sascha D., Losey, James W. and Picard, Victor W.. 2011. ‘Digital feudalism: Enclosures and erasures from digital rights management to the digital divide’. Advances in Computers 81: 237–87.Google Scholar
Moore, Julia Virginia. 1987. ‘Beethoven and Musical Economics’. PhD thesis, University of Illinois.Google Scholar
Nimmer, David. 2003. Copyright: Sacred Text, Technology, and the DMCA. The Hague: Kluwer Law International, 2003.Google Scholar
Scherer, F. M. 2004. Quarter Notes and Bank Notes: The Economics of Music Composition in the Eighteenth and Nineteenth Centuries. Princeton: Princeton University Press.Google Scholar
Scherzinger, Martin and Smith, Stephen. 2007. ‘From blatant to latent protest (and back again): On the politics of theatrical spectacle in Madonna’s “American Life”’. Popular Music 26(1): 211–29.Google Scholar
Snickars, Pelle and Vonderau, Patrick, eds. 2009. The YouTube Reader. Stockholm: Mediehistoriskt.Google Scholar
Starr, Paul. 2004. The Creation of the Media: Political Origins of Modern Communications. New York: Basic Books.Google Scholar
Sterne, Jonathan. 2012. MP3: The Meaning of a Format. Durham, NC: Duke University Press.Google Scholar
Suisman, David. 2009. Selling Sounds: The Commercial Revolution in American Music. Cambridge, MA: Harvard University Press.CrossRefGoogle Scholar
Wasko, Janet and Erickson, Mary. 2009. ‘The political economy of YouTube’. In The YouTube Reader, edited by Snickars, Pelle and Vonderau, Patrick, 372–86. Stockholm: Mediehistoriskt.Google Scholar
Witt, Stephen. 2015. How Music Got Free: A Story of Obsession and Invention. New York: Penguin Books.Google Scholar
Wu, Tim. 2003. ‘Net neutrality, broadband discrimination’. Journal of Telecommunications and High Technology Law, 2: 141–75.Google Scholar
Andersen, Birgitte and Frenz, Marion. 2008. ‘The impact of music downloads and P2P file-sharing on the purchase of music in Canada’. DIME Working Papers on Intellectual Human Rights. www.dime-eu.org/files/active/0/WP82-IPR.pdf.Google Scholar
Anderson, Chris. 2008. The Long Tail: Why the Future of Business Is Selling Less of More, rev. edn. New York: Hyperion.Google Scholar
Attali, Jacques. 1985. Noise: The Political Economy of Music. Manchester: Manchester University Press.Google Scholar
Auslander, Philip. 1999. Liveness: Performance in a Mediatized Culture. New York: Routledge.Google Scholar
Barocas, Solon and Selbst, Andrew D.. 2015. ‘Big Data’s disparate impact’. SSRN Scholarly Paper ID 2477899. Rochester, NY: Social Science Research Network.Google Scholar
Beer, David. 2009. ‘Power through the algorithm? Participatory web cultures and the technological unconscious’. New Media & Society 11 (6): 9851002.Google Scholar
Born, Georgina. 2005. ‘On musical mediation: Ontology, technology and creativity’. Twentieth-Century Music 2 (1): 736.Google Scholar
Bucher, Taina. 2012. ‘Want to be on the top? Algorithmic power and the threat of invisibility on Facebook’. New Media & Society 14: 1164–80.Google Scholar
Bustillos, Maria. 2013. ‘Little Brother is watching you’. The New Yorker, May 22. www.newyorker.com/tech/elements/little-brother-is-watching-you.Google Scholar
Camp, Gregory. 2015. ‘Spotify. Https://www.spotify.com/. Retrieved 21 January 2015’. Journal of the Society for American Music 9 (3): 375–8.Google Scholar
Celma, Òscar. 2010. Music Recommendation and Discovery: The Long Tail, Long Fail, and Long Play in the Digital Music Space. Heidelberg: Springer Science & Business Media.Google Scholar
Cook, Nicholas. 2013. Beyond the Score: Music as Performance. New York: Oxford University Press.Google Scholar
Crary, Jonathan. 2013. 24/7: Late Capitalism and the Ends of Sleep. London: Verso Books.Google Scholar
Dean, Katie. 2004. ‘The house that music fans built’. https://www.wired.com/2004/07/the-house-that-music-fans-built/.Google Scholar
DeNora, Tia and Belcher, Sophie. 2000. ‘“When you’re trying something on you picture yourself in a place where they are playing this kind of music”: Musically sponsored agency in the British clothing retail sector’. Sociological Review 48 (1): 80101.Google Scholar
Devine, Kyle. 2015. ‘Decomposed: A political ecology of music’. Popular Music 34(3): 367–89.Google Scholar
Dormehl, Luke. 2014. The Formula: How Algorithms Solve All Our Problems … and Create More. New York: Perigee.Google Scholar
Drott, Eric. 2018. ‘Why the next song matters: streaming, recommendation, scarcity’. Twentieth-Century Music 15 (3): 325–57.CrossRefGoogle Scholar
Drott, Eric A. 2018. ‘Music as a technology of surveillance’. Journal of the Society for American Music 12 (3): 233–67.Google Scholar
Ensmenger, Nathan. 2012. ‘Is chess the drosophila of artificial intelligence? A social history of an algorithm’. Social Studies of Science 42 (1): 530.Google Scholar
Goldberg, David, Nichols, David, Oki, Brian M. and Terry, Douglas. 1992. ‘Using collaborative filtering to weave an information tapestry’. Communications of the ACM 35 (12): 6170.Google Scholar
Goldschmitt, Kariann. 2014. ‘Mobile tactics in the Brazilian independent record industry’. In The Oxford Handbook of Mobile Music Studies, edited by Gopinath, Sumanth and Stanyek, Jason, 1: 496522. New York: Oxford University Press.Google Scholar
Goldschmitt, Kariann. Forthcoming. ‘Bossa Nova and twenty-first century commerce: Ubiquitous music and the branding of a global bourgeoisie’. In Brazil’s Northern Wave: Fifty Years of Bossa Nova in the United States, edited by Jason Stanyek and Frederick Moehn. Oxford University Press.Google Scholar
Goodman, Steve. 2009. Sonic Warfare: Sound, Affect, and the Ecology of Fear. Cambridge, MA: MIT Press.Google Scholar
Granka, Laura A. 2010. ‘The politics of search: A decade retrospective’. The Information Society 26 (5): 364–74.Google Scholar
Hall, Stuart. 1980. ‘Encoding/decoding’. In Culture, Media, Language, edited by Hall, Stuart, Hobson, Dorothy, Lowe, Andrew and Willis, Paul, 128–38. London: Hutchinson.Google Scholar
Hallinan, Blake and Striphas, Ted. 2016. ‘Recommended for you: The Netflix Prize and the production of algorithmic culture’. New Media & Society 18 (1): 117–37.Google Scholar
Hesmondhalgh, David. 2008. ‘Neoliberalism, imperialism, and the media’. In Media and Social Theory, edited by Hesmondhalgh, David and Toynbee, Jason, 95111. New York: Routledge.Google Scholar
Holt, Fabian. 2007. Genre in Popular Music. Chicago: University of Chicago Press.Google Scholar
Hosokawa, Shuhei. 1984. ‘The Walkman effect’. Popular Music 4 (January): 165–80.Google Scholar
Kassabian, Anahid. 2013. Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity. Berkeley: University of California Press.Google Scholar
Katz, Mark. 2004. Capturing Sound. Berkeley: University of California Press.Google Scholar
Keightley, Keir. 1996. ‘“Turn it down!” she shrieked: Gender, domestic space, and high fidelity, 1948–59’. Popular Music 15 (2): 149–77.Google Scholar
Konstan, John and Riedl, Joseph A.. 2012. IEEE Spectrum. ‘Deconstructing recommender systems’. 24 September. spectrum.ieee.org/computing/software/deconstructing-recommender-systems.Google Scholar
Kusek, David and Leonhard, Gerd. 2005. The Future of Music: Manifesto for the Digital Music Revolution. Boston: Berklee Press.Google Scholar
Lanza, Joseph. 2007. Elevator Music: A Surreal History of Muzak, Easy-Listening, and Other Moodsong, rev. edn. Ann Arbor: University of Michigan Press.Google Scholar
Lessig, Lawrence. 2001. The Future of Ideas: The Fate of the Commons in a Connected World. New York: Vintage Books.Google Scholar
Lessig, Lawrence. 2007. Remix: Making Art and Commerce Thrive in the Hybrid Economy. London: Penguin.Google Scholar
Litman, Jessica. 2006. Digital Copyright. New York: Prometheus Books.Google Scholar
Loeb, Shoshana. 1992. ‘Architecting personalized delivery of multimedia information.’ Communications of the ACM 35 (12): 3947.Google Scholar
Loughridge, Dierdre and Patteson, Thomas. 2015. ‘Cat pianos, sound-houses, and other imaginary musical instruments’. The Public Domain Review. publicdomainreview.org/2015/07/15/cat-pianos-sound-houses-and-other-imaginary-musical-instruments/.Google Scholar
Luker, Morgan James. 2010. ‘The managers, the managed, and the unmanageable: Negotiating values at the Buenos Aires International Music Fair’. Ethnomusicology Forum 19 (1): 89113.Google Scholar
MacCormick, John and Bishop, Chris. 2013. Nine Algorithms that Changed the Future: The Ingenious Ideas that Drive Today’s Computers. Princeton: Princeton University Press.Google Scholar
Mager, Astrid. 2012. ‘Algorithmic ideology’. Information, Communication & Society 15 (5): 769–87.Google Scholar
McCracken, Allison. 2015. Real Men Don’t Sing: Crooning in American Culture. Durham, NC: Duke University Press.Google Scholar
Meier, Leslie M. 2011. ‘Promotional ubiquitous musics: Recording artists, brands, and “rendering authenticity”’. Popular Music & Society 34 (4): 399415.Google Scholar
Morris, Jeremy Wade. 2015a. ‘Curation by code: Infomediaries and the data mining of taste’. European Journal of Cultural Studies 18 (4–5): 446–63.Google Scholar
Morris, Jeremy Wade 2015b. Selling Digital Music: Formatting Culture. Berkeley: University of California Press.CrossRefGoogle Scholar
Morris, Jeremy Wade and Powers, Devon. 2015. ‘Control, curation and musical experience in streaming music services’. Creative Industries Journal 8 (2): 106–22.Google Scholar
Negus, Keith. 1999. Music Genres and Corporate Cultures. New York: Routledge.Google Scholar
Pasquale, Frank. 2015. The Black Box Society: The Secret Algorithms That Control Money and Information. Cambridge, MA: Harvard University Press.Google Scholar
Powers, Devon. 2010. ‘Strange powers: The branded sensorium and the intrigue of musical sound’. In Blowing Up the brand: Critical Perspectives on Promotional Culture, edited by Aronczyk, Melissa and Powers, Devon, 285306. New York: Peter Lang Publishing.Google Scholar
Powers, Devon. 2014. ‘Lost in the shuffle: Technology, history, and the idea of musical randomness’. Critical Studies in Media Communication 31 (3): 244–64.Google Scholar
Preston, Paschal and Rogers, Jim. 2013. ‘Convergence, crisis and the digital music economy’. In Media and Convergence Management, edited by Diehl, Sandra and Karmasin, Matthias, 247–60. Berlin: Springer.Google Scholar
Radano, Ronald M. 1989. ‘Interpreting Muzak: Speculations on musical experience in everyday life.’ American Music 7 (4): 448–60.Google Scholar
Ratliff, Ben. 2016. Every Song Ever: Twenty Ways to Listen to Music Now. New York: Penguin Books Limited.Google Scholar
Razlogova, Elena. 2013. ‘The past and future of music listening: Between freeform DJs and recommendation algorithms’. In Radio’s New Wave: Global Sound in the Digital Era, edited by Loviglio, Jason and Hilmes, Michelle, 6276. New York: Routledge.Google Scholar
Resnick, Paul, Iacovou, Neophytos, Suchak, Mitesh, Bergstrom, Peter and Riedl, John. 1994. ‘GroupLens: An open architecture for collaborative filtering of Netnews’. In Proceedings of ACM 1994 Conference on Computer Supported Cooperative Work, 175–86. Chapel Hill: University of North Carolina Press.Google Scholar
Sanjek, Russell. 1996. Pennies from Heaven: The American Popular Music Business in the Twentieth Century. New York: Da Capo Press.Google Scholar
Seaver, Nick. 2011. ‘“This is not a copy”: Mechanical fidelity and the re-enacting piano’. Differences 22 (2–3): 5473.Google Scholar
Seaver, Nick. 2012. ‘Algorithmic recommendations and synaptic functions’. Limn, no. 2 (February 4). https://limn.it/algorithmic-recommendations-and-synaptic-functions/.Google Scholar
Seaver, Nick. 2015. ‘The nice thing about context is that everyone has it’. Media, Culture & Society 37 (7): 1101–9.Google Scholar
Seaver, Nick. 2018. ‘Captivating algorithms: Recommender systems as traps’. Journal of Material Culture. https://doi.org/10.1177/1359183518820366.Google Scholar
Solove, Daniel J. 2001. ‘Privacy and power: Computer databases and metaphors for information privacy’. Stanford Law Journal 53 (July): 1393–462.Google Scholar
Steiner, Christopher. 2012. Automate This: How Algorithms Took Over Our Markets, Our Jobs, and the World. New York: Penguin.Google Scholar
Sterne, Jonathan. 1997. ‘Sounds like the mall of America: Programmed music and the architectonics of commercial space’. Ethnomusicology 14 (1): 2250.Google Scholar
Sterne, Jonathan. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC: Duke University Press.Google Scholar
Sterne, Jonathan. 2012. MP3: The Meaning of a Format. Durham, NC: Duke University Press.Google Scholar
Straw, Will. 2002. ‘Consumption’. In Cambridge Companion to Pop and Rock, edited by Frith, Simon, Straw, Will, and Street, John, 5373. Cambridge: Cambridge University Press.Google Scholar
Striphas, Ted. 2015. ‘Algorithmic culture’. European Journal of Cultural Studies 18 (4–5): 395412.Google Scholar
Suisman, David. 2012. Selling Sounds. Cambridge, MA: Harvard University Press.Google Scholar
Sweeney, Latanya. 2013. ‘Discrimination in online ad delivery’. Queue 11 (3): 10:10–10:29.Google Scholar
Taylor, Timothy D. 2012. The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. Chicago: University of Chicago Press.Google Scholar
Taylor, Timothy D. 2013. ‘Globalized new capitalism and the commodification of taste’. In The Cambridge History of World Music, edited by Bohlman, Philip V., 744–64. Cambridge: Cambridge University Press.Google Scholar
Taylor, Timothy D. 2014. ‘Fields, genres, brands’. Culture, Theory and Critique 55 (2): 159–74.Google Scholar
Taylor, Timothy D. 2016. Music and Capitalism: A History of the Present. Chicago: University of Chicago Press.Google Scholar
Toynbee, Jason. 2000. Making Popular Music: Musicians, Creativity and Institutions. London: Arnold.Google Scholar
Turkle, Sherry. 2011. Alone Together: Why We Expect More from Technology and Less from Each Other. New York: Basic Books.Google Scholar
Van Couvering, Elizabeth. 2007. ‘Is relevance relevant? Market, science, and war: Discourses of search engine quality’. Journal of Computer-Mediated Communication 12 (3): 866–87.Google Scholar
Wald, Elijah. 2009. How The Beatles Destroyed Rock ’n’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press.Google Scholar
Williamson, John and Cloonan, Martin. 2007. ‘Rethinking the music industry’. Popular Music 26 (2): 305–22.Google Scholar
Ziewitz, Malte. 2016. ‘Governing algorithms: Myth, mess, and methods’. Science, Technology & Human Values 41 (1): 316.Google Scholar
Andersen, Birgitte and Frenz, Marion. 2008. ‘The impact of music downloads and P2P file-sharing on the purchase of music in Canada’. DIME Working Papers on Intellectual Human Rights. www.dime-eu.org/files/active/0/WP82-IPR.pdf.Google Scholar
Anderson, Chris. 2008. The Long Tail: Why the Future of Business Is Selling Less of More, rev. edn. New York: Hyperion.Google Scholar
Attali, Jacques. 1985. Noise: The Political Economy of Music. Manchester: Manchester University Press.Google Scholar
Auslander, Philip. 1999. Liveness: Performance in a Mediatized Culture. New York: Routledge.Google Scholar
Barocas, Solon and Selbst, Andrew D.. 2015. ‘Big Data’s disparate impact’. SSRN Scholarly Paper ID 2477899. Rochester, NY: Social Science Research Network.Google Scholar
Beer, David. 2009. ‘Power through the algorithm? Participatory web cultures and the technological unconscious’. New Media & Society 11 (6): 9851002.Google Scholar
Born, Georgina. 2005. ‘On musical mediation: Ontology, technology and creativity’. Twentieth-Century Music 2 (1): 736.Google Scholar
Bucher, Taina. 2012. ‘Want to be on the top? Algorithmic power and the threat of invisibility on Facebook’. New Media & Society 14: 1164–80.Google Scholar
Bustillos, Maria. 2013. ‘Little Brother is watching you’. The New Yorker, May 22. www.newyorker.com/tech/elements/little-brother-is-watching-you.Google Scholar
Camp, Gregory. 2015. ‘Spotify. Https://www.spotify.com/. Retrieved 21 January 2015’. Journal of the Society for American Music 9 (3): 375–8.Google Scholar
Celma, Òscar. 2010. Music Recommendation and Discovery: The Long Tail, Long Fail, and Long Play in the Digital Music Space. Heidelberg: Springer Science & Business Media.Google Scholar
Cook, Nicholas. 2013. Beyond the Score: Music as Performance. New York: Oxford University Press.Google Scholar
Crary, Jonathan. 2013. 24/7: Late Capitalism and the Ends of Sleep. London: Verso Books.Google Scholar
Dean, Katie. 2004. ‘The house that music fans built’. https://www.wired.com/2004/07/the-house-that-music-fans-built/.Google Scholar
DeNora, Tia and Belcher, Sophie. 2000. ‘“When you’re trying something on you picture yourself in a place where they are playing this kind of music”: Musically sponsored agency in the British clothing retail sector’. Sociological Review 48 (1): 80101.Google Scholar
Devine, Kyle. 2015. ‘Decomposed: A political ecology of music’. Popular Music 34(3): 367–89.Google Scholar
Dormehl, Luke. 2014. The Formula: How Algorithms Solve All Our Problems … and Create More. New York: Perigee.Google Scholar
Drott, Eric. 2018. ‘Why the next song matters: streaming, recommendation, scarcity’. Twentieth-Century Music 15 (3): 325–57.CrossRefGoogle Scholar
Drott, Eric A. 2018. ‘Music as a technology of surveillance’. Journal of the Society for American Music 12 (3): 233–67.Google Scholar
Ensmenger, Nathan. 2012. ‘Is chess the drosophila of artificial intelligence? A social history of an algorithm’. Social Studies of Science 42 (1): 530.Google Scholar
Goldberg, David, Nichols, David, Oki, Brian M. and Terry, Douglas. 1992. ‘Using collaborative filtering to weave an information tapestry’. Communications of the ACM 35 (12): 6170.Google Scholar
Goldschmitt, Kariann. 2014. ‘Mobile tactics in the Brazilian independent record industry’. In The Oxford Handbook of Mobile Music Studies, edited by Gopinath, Sumanth and Stanyek, Jason, 1: 496522. New York: Oxford University Press.Google Scholar
Goldschmitt, Kariann. Forthcoming. ‘Bossa Nova and twenty-first century commerce: Ubiquitous music and the branding of a global bourgeoisie’. In Brazil’s Northern Wave: Fifty Years of Bossa Nova in the United States, edited by Jason Stanyek and Frederick Moehn. Oxford University Press.Google Scholar
Goodman, Steve. 2009. Sonic Warfare: Sound, Affect, and the Ecology of Fear. Cambridge, MA: MIT Press.Google Scholar
Granka, Laura A. 2010. ‘The politics of search: A decade retrospective’. The Information Society 26 (5): 364–74.Google Scholar
Hall, Stuart. 1980. ‘Encoding/decoding’. In Culture, Media, Language, edited by Hall, Stuart, Hobson, Dorothy, Lowe, Andrew and Willis, Paul, 128–38. London: Hutchinson.Google Scholar
Hallinan, Blake and Striphas, Ted. 2016. ‘Recommended for you: The Netflix Prize and the production of algorithmic culture’. New Media & Society 18 (1): 117–37.Google Scholar
Hesmondhalgh, David. 2008. ‘Neoliberalism, imperialism, and the media’. In Media and Social Theory, edited by Hesmondhalgh, David and Toynbee, Jason, 95111. New York: Routledge.Google Scholar
Holt, Fabian. 2007. Genre in Popular Music. Chicago: University of Chicago Press.Google Scholar
Hosokawa, Shuhei. 1984. ‘The Walkman effect’. Popular Music 4 (January): 165–80.Google Scholar
Kassabian, Anahid. 2013. Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity. Berkeley: University of California Press.Google Scholar
Katz, Mark. 2004. Capturing Sound. Berkeley: University of California Press.Google Scholar
Keightley, Keir. 1996. ‘“Turn it down!” she shrieked: Gender, domestic space, and high fidelity, 1948–59’. Popular Music 15 (2): 149–77.Google Scholar
Konstan, John and Riedl, Joseph A.. 2012. IEEE Spectrum. ‘Deconstructing recommender systems’. 24 September. spectrum.ieee.org/computing/software/deconstructing-recommender-systems.Google Scholar
Kusek, David and Leonhard, Gerd. 2005. The Future of Music: Manifesto for the Digital Music Revolution. Boston: Berklee Press.Google Scholar
Lanza, Joseph. 2007. Elevator Music: A Surreal History of Muzak, Easy-Listening, and Other Moodsong, rev. edn. Ann Arbor: University of Michigan Press.Google Scholar
Lessig, Lawrence. 2001. The Future of Ideas: The Fate of the Commons in a Connected World. New York: Vintage Books.Google Scholar
Lessig, Lawrence. 2007. Remix: Making Art and Commerce Thrive in the Hybrid Economy. London: Penguin.Google Scholar
Litman, Jessica. 2006. Digital Copyright. New York: Prometheus Books.Google Scholar
Loeb, Shoshana. 1992. ‘Architecting personalized delivery of multimedia information.’ Communications of the ACM 35 (12): 3947.Google Scholar
Loughridge, Dierdre and Patteson, Thomas. 2015. ‘Cat pianos, sound-houses, and other imaginary musical instruments’. The Public Domain Review. publicdomainreview.org/2015/07/15/cat-pianos-sound-houses-and-other-imaginary-musical-instruments/.Google Scholar
Luker, Morgan James. 2010. ‘The managers, the managed, and the unmanageable: Negotiating values at the Buenos Aires International Music Fair’. Ethnomusicology Forum 19 (1): 89113.Google Scholar
MacCormick, John and Bishop, Chris. 2013. Nine Algorithms that Changed the Future: The Ingenious Ideas that Drive Today’s Computers. Princeton: Princeton University Press.Google Scholar
Mager, Astrid. 2012. ‘Algorithmic ideology’. Information, Communication & Society 15 (5): 769–87.Google Scholar
McCracken, Allison. 2015. Real Men Don’t Sing: Crooning in American Culture. Durham, NC: Duke University Press.Google Scholar
Meier, Leslie M. 2011. ‘Promotional ubiquitous musics: Recording artists, brands, and “rendering authenticity”’. Popular Music & Society 34 (4): 399415.Google Scholar
Morris, Jeremy Wade. 2015a. ‘Curation by code: Infomediaries and the data mining of taste’. European Journal of Cultural Studies 18 (4–5): 446–63.Google Scholar
Morris, Jeremy Wade 2015b. Selling Digital Music: Formatting Culture. Berkeley: University of California Press.CrossRefGoogle Scholar
Morris, Jeremy Wade and Powers, Devon. 2015. ‘Control, curation and musical experience in streaming music services’. Creative Industries Journal 8 (2): 106–22.Google Scholar
Negus, Keith. 1999. Music Genres and Corporate Cultures. New York: Routledge.Google Scholar
Pasquale, Frank. 2015. The Black Box Society: The Secret Algorithms That Control Money and Information. Cambridge, MA: Harvard University Press.Google Scholar
Powers, Devon. 2010. ‘Strange powers: The branded sensorium and the intrigue of musical sound’. In Blowing Up the brand: Critical Perspectives on Promotional Culture, edited by Aronczyk, Melissa and Powers, Devon, 285306. New York: Peter Lang Publishing.Google Scholar
Powers, Devon. 2014. ‘Lost in the shuffle: Technology, history, and the idea of musical randomness’. Critical Studies in Media Communication 31 (3): 244–64.Google Scholar
Preston, Paschal and Rogers, Jim. 2013. ‘Convergence, crisis and the digital music economy’. In Media and Convergence Management, edited by Diehl, Sandra and Karmasin, Matthias, 247–60. Berlin: Springer.Google Scholar
Radano, Ronald M. 1989. ‘Interpreting Muzak: Speculations on musical experience in everyday life.’ American Music 7 (4): 448–60.Google Scholar
Ratliff, Ben. 2016. Every Song Ever: Twenty Ways to Listen to Music Now. New York: Penguin Books Limited.Google Scholar
Razlogova, Elena. 2013. ‘The past and future of music listening: Between freeform DJs and recommendation algorithms’. In Radio’s New Wave: Global Sound in the Digital Era, edited by Loviglio, Jason and Hilmes, Michelle, 6276. New York: Routledge.Google Scholar
Resnick, Paul, Iacovou, Neophytos, Suchak, Mitesh, Bergstrom, Peter and Riedl, John. 1994. ‘GroupLens: An open architecture for collaborative filtering of Netnews’. In Proceedings of ACM 1994 Conference on Computer Supported Cooperative Work, 175–86. Chapel Hill: University of North Carolina Press.Google Scholar
Sanjek, Russell. 1996. Pennies from Heaven: The American Popular Music Business in the Twentieth Century. New York: Da Capo Press.Google Scholar
Seaver, Nick. 2011. ‘“This is not a copy”: Mechanical fidelity and the re-enacting piano’. Differences 22 (2–3): 5473.Google Scholar
Seaver, Nick. 2012. ‘Algorithmic recommendations and synaptic functions’. Limn, no. 2 (February 4). https://limn.it/algorithmic-recommendations-and-synaptic-functions/.Google Scholar
Seaver, Nick. 2015. ‘The nice thing about context is that everyone has it’. Media, Culture & Society 37 (7): 1101–9.Google Scholar
Seaver, Nick. 2018. ‘Captivating algorithms: Recommender systems as traps’. Journal of Material Culture. https://doi.org/10.1177/1359183518820366.Google Scholar
Solove, Daniel J. 2001. ‘Privacy and power: Computer databases and metaphors for information privacy’. Stanford Law Journal 53 (July): 1393–462.Google Scholar
Steiner, Christopher. 2012. Automate This: How Algorithms Took Over Our Markets, Our Jobs, and the World. New York: Penguin.Google Scholar
Sterne, Jonathan. 1997. ‘Sounds like the mall of America: Programmed music and the architectonics of commercial space’. Ethnomusicology 14 (1): 2250.Google Scholar
Sterne, Jonathan. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC: Duke University Press.Google Scholar
Sterne, Jonathan. 2012. MP3: The Meaning of a Format. Durham, NC: Duke University Press.Google Scholar
Straw, Will. 2002. ‘Consumption’. In Cambridge Companion to Pop and Rock, edited by Frith, Simon, Straw, Will, and Street, John, 5373. Cambridge: Cambridge University Press.Google Scholar
Striphas, Ted. 2015. ‘Algorithmic culture’. European Journal of Cultural Studies 18 (4–5): 395412.Google Scholar
Suisman, David. 2012. Selling Sounds. Cambridge, MA: Harvard University Press.Google Scholar
Sweeney, Latanya. 2013. ‘Discrimination in online ad delivery’. Queue 11 (3): 10:10–10:29.Google Scholar
Taylor, Timothy D. 2012. The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. Chicago: University of Chicago Press.Google Scholar
Taylor, Timothy D. 2013. ‘Globalized new capitalism and the commodification of taste’. In The Cambridge History of World Music, edited by Bohlman, Philip V., 744–64. Cambridge: Cambridge University Press.Google Scholar
Taylor, Timothy D. 2014. ‘Fields, genres, brands’. Culture, Theory and Critique 55 (2): 159–74.Google Scholar
Taylor, Timothy D. 2016. Music and Capitalism: A History of the Present. Chicago: University of Chicago Press.Google Scholar
Toynbee, Jason. 2000. Making Popular Music: Musicians, Creativity and Institutions. London: Arnold.Google Scholar
Turkle, Sherry. 2011. Alone Together: Why We Expect More from Technology and Less from Each Other. New York: Basic Books.Google Scholar
Van Couvering, Elizabeth. 2007. ‘Is relevance relevant? Market, science, and war: Discourses of search engine quality’. Journal of Computer-Mediated Communication 12 (3): 866–87.Google Scholar
Wald, Elijah. 2009. How The Beatles Destroyed Rock ’n’ Roll: An Alternative History of American Popular Music. New York: Oxford University Press.Google Scholar
Williamson, John and Cloonan, Martin. 2007. ‘Rethinking the music industry’. Popular Music 26 (2): 305–22.Google Scholar
Ziewitz, Malte. 2016. ‘Governing algorithms: Myth, mess, and methods’. Science, Technology & Human Values 41 (1): 316.Google Scholar
Adorno, Theodor. 2009. Current of Music: Elements of a Radio Theory, edited and translated by Hullot-Kentor, Robert. Cambridge: Polity.Google Scholar
Gras, Stéphan-Eloïse. 2018. Machines du goût: l'algorithme au coeur de nos sensibilités. Paris: Hermann.Google Scholar
Szendy, Peter. 1994. ‘Dérives: Adorno, les collections musicales et le nom’. Espaces Temps 55 ‘Arts, l’exception ordinaire’: 127–33.Google Scholar
Adorno, Theodor. 2009. Current of Music: Elements of a Radio Theory, edited and translated by Hullot-Kentor, Robert. Cambridge: Polity.Google Scholar
Gras, Stéphan-Eloïse. 2018. Machines du goût: l'algorithme au coeur de nos sensibilités. Paris: Hermann.Google Scholar
Szendy, Peter. 1994. ‘Dérives: Adorno, les collections musicales et le nom’. Espaces Temps 55 ‘Arts, l’exception ordinaire’: 127–33.Google Scholar
Agazzi, Evandro. 1998. ‘From technique to technology: The role of modern science’. Techné 4(2): 80–5.Google Scholar
Anderson, Chris. 2008. The Long Tail: Why the Future of Business Is Selling Less of More, rev. edn. New York: Hyperion.Google Scholar
Andrejevic, Mark. 2007. ‘Surveillance in the digital enclosure’. The Communication Review 10(4): 295317.Google Scholar
Bergh, Arild and DeNora, Tia. 2009. ‘From wind-up to iPod: Techno-cultures of listening’. In The Cambridge Companion to Recorded Music, edited by Cook, Nicholas, Clark, Eric, Leech-Wilkinson, Daniel and Rink, John, 102–15. Cambridge: Cambridge University Press.Google Scholar
Blue V, Alex. 2017. ‘“Hear what you want”: Sonic politics, blackness, and racism-canceling headphones’. Current Musicology 99–100 (Spring): 87106.Google Scholar
Bode, Lisa. 2017. Making Believe: Screen Performance and Special Effects in Popular Cinema. New Brunswick: Rutgers University Press.Google Scholar
Bollmer, Grant and Guinness, Katherine. 2017. ‘Phenomenology for the selfie’. Cultural Politics 13(2): 156–76.Google Scholar
Bruno, Antony. 2011. ‘Growth by curation’. Billboard, 17 September 2011: 10.Google Scholar
Cavarero, Adriana. 2005. For More than One Voice: Toward a Philosophy of Vocal Expression. Translated by Kottman, Paul A.. Stanford, CA: Stanford University Press.Google Scholar
Chalmers, David J. 1996. The Conscious Mind: In Search of a Fundamental Theory. New York: Oxford University Press.Google Scholar
Cumming, Naomi. 2000. The Sonic Self: Musical Subjectivity and Signification. Bloomington: Indiana University Press.Google Scholar
Deleuze, Gilles and Guattari, Felix. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Massumi, Brian. Minneapolis: University of Minnesota Press.Google Scholar
DeNora, Tia. 1999. ‘Music as a technology of the self ’. Poetics 27(1): 3156.Google Scholar
Drott, Eric. 2018. ‘Music as a technology of surveillance’. Journal of the Society for American Music 12(3): 233–67.Google Scholar
Dureha, Anukriti. 2014. ‘An accurate algorithm for generating a music playlist based on facial expressions’. International Journal of Computer Applications 100/9 (August): 33–9.Google Scholar
Emmerson, Frank. 1979. ‘Behind the sound’. Globe and Mail, Canada, 17 January 1979.Google Scholar
Foucault, Michel. 1988. ‘Technologies of the self ’. In Technologies of the Self: A Seminar with Michel Foucault, edited by Martin, Luther, Gutman, Huck and Hutton, Patrick, 1649. London: Tavistock.Google Scholar
Free, John. 1979. ‘Stereo headphones – New shapes, new designs, new materials’. Popular Science, November 1979: 110–12 and 146.Google Scholar
Frosh, Paul. 2015. ‘The gestural image: The selfie, photography theory, and kinesthetic sociability’. International Journal of Communication 9: 1607–28.Google Scholar
Ghule, Vijaykumar R. et al. 2017. ‘Emotion based music player using facial recognition’. International Journal of Innovative Research in Computer and Communication Engineering 5 (2): 2188–94.Google Scholar
Gladwell, Malcolm. 2005. Blink: The Power of Thinking without Thinking. New York: Little, Brown and Co.Google Scholar
Goffman, Erving. 1967. ‘On face-work: An analysis of ritual elements of social interaction’. In Interaction Ritual: Essays on Face-to-Face Behavior. New York: Anchor Books.Google Scholar
Gopinath, Sumanth. 2013. The Ringtone Dialectic: Economy and Cultural Form. Cambridge, MA: MIT Press.Google Scholar
Gopinath, Sumanth and Stanyek, Jason. 2013. ‘Tuning the human race: Athletic capitalism and the Nike+ sport kit’. In Music, Sound and Space: Transformations of Public and Private Experience, edited by Born, Georgina, 128–48. Cambridge: Cambridge University Press.Google Scholar
Han, Kee Moo et al. 2016. ‘Extraction of audio features for emotion recognition system based on music’. International Journal of Scientific & Technology Research 5–6 (June): 53–6.Google Scholar
Harris, Deonte. 2018. ‘Articulations in the Caribbean Diaspora: London’s Carnival Arts Scene and the Cultural Politics of Space, Place, and Value’. PhD dissertation, University of California, Los Angeles.Google Scholar
Hill, Frank Ernest. 1937. Listen and Learn: 15 Years of Adult Education on the Air. New York: American Association for Adult Education.Google Scholar
iMotions. 2016. Facial Expression Analysis: The Complete Pocket Guide. Boston: iMotions.Google Scholar
Jopling, David A. 2000. Self-Knowledge and the Self. New York: Routledge.Google Scholar
Kelly, Peter. 2016. The Self as Enterprise: Foucault and the Spirit of 21st Century Capitalism. New York: Routledge.Google Scholar
Kim, Youngmoo et al. 2010. ‘Music emotion recognition: A state of the art review’. In Proceedings of the International Conference on Music Information Retrieval.Google Scholar
Kramer, Lawrence. 1995. Classical Music and Postmodern Knowledge. Berkeley: University of California Press.Google Scholar
Lametti, David. 2012. ‘The Cloud: Boundless Digital Potential or Enclosure 3.0?’ ExpressO. Available at: http://works.bepress.com/david_lametti/1/.Google Scholar
Lupton, Deborah. 2016. ‘The diverse domains of quantified selves: Self-tracking modes and dataveillance’. Economy and Society 45(1): 101–22.Google Scholar
Marshall, Wayne. 2014. ‘Treble culture’. In The Oxford Handbook of Mobile Music Studies, vol. 2, edited by Gopinath, Sumanth and Stanyek, Jason, 4376. Oxford: Oxford University Press.Google Scholar
Metcalf, Allan A. 2016. From Skedaddle to Selfie: Words of the Generations. Oxford: Oxford University Press.Google Scholar
Mizroeff, Nick. 2016. How to See the World. London: Pelican.Google Scholar
Morris, Jeremy Wade. 2015. Selling Digital Music, Formatting Culture. Berkeley: University of California Press.Google Scholar
Mosco, Vincent. 2005. The Digital Sublime: Myth, Power, and Cyberspace. Cambridge, Mass: MIT Press.Google Scholar
Patel, Abhishek R. et al. 2016. ‘MoodyPlayer: A mood based music player’. International Journal of Computer Applications 141 (4): 21–5.Google Scholar
Picard, Rosalind. 1997. Affective Computing. Cambridge, MA: MIT Press.Google Scholar
Rivera, Ray. 2009. ‘The best revenge? Being louder: IPOD LEAK’. New York Times. 28 June 2009, CT12.Google Scholar
Rose, Nicholas. 1996. Inventing Ourselves: Psychology, Power and Personhood. New York: Cambridge University Press.Google Scholar
Rosenberg, Erika. 2005. ‘Introduction: The study of spontaneous facial expressions in psychology’. In What the Face Reveals: Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding System (FACS), edited by Ekman, Paul and Rosenberg, Erika, 318. 2nd edn. New York: Oxford University Press.Google Scholar
Schmitt, Bernd H. 1999. Experiential Marketing: How to Get Customers to Sense, Feel, Think, Act and Relate to Your Company and Brands. New York: Simon & Schuster.Google Scholar
Schonberg, Harold. 1953. ‘Records: Play Along’. New York Times, 13 September 1953.Google Scholar
Senft, Theresa M. and Baym, Nancy K.. 2015. ‘What does the selfie say? Investigating a global phenomenon’. International Journal of Communication 9: 1588–606. (Introduction to featured section on ‘Selfies’, 1588–872.)Google Scholar
Sontag, Susan. 2003. Regarding the Pain of Others. New York: Picador.Google Scholar
Spurgeon, Christina. 2008. Advertising and New Media. London: Routledge.Google Scholar
Sterne, Jonathan. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC: Duke University Press.Google Scholar
Taylor, Charles. 1989. Sources of the Self: The Making of the Modern Identity. Cambridge, MA: Harvard University Press.Google Scholar
Turkle, Sherry. 2011. Alone Together: Why We Expect More from Technology and Less from Each Other. New York: Basic Books.Google Scholar
Walden, Joshua. 2018. Musical Portraits: The Composition of Identity in Contemporary and Experimental Music. New York: Oxford University Press.Google Scholar
Wendt, Brooke. 2014. The Allure of the Selfie: Instagram and the New Self Portrait. Amsterdam: Institute of Network Cultures.Google Scholar
Yang, Yi-Hsuan and Chen, Homer H. 2012. ‘Machine recognition of music emotion: A review’. ACM Transactions on Intelligent Systems and Technology 3, 3 (May).Google Scholar
Zahavi, Dan. 2005. Subjectivity and Selfhood: Investigating the First-Person Perspective. Cambridge, MA: MIT Press.Google Scholar
Žižek, Slavoj. 2012. Less Than Nothing: Hegel and the Shadow of Dialectical Materialism. London: Verso.Google Scholar
Agazzi, Evandro. 1998. ‘From technique to technology: The role of modern science’. Techné 4(2): 80–5.Google Scholar
Anderson, Chris. 2008. The Long Tail: Why the Future of Business Is Selling Less of More, rev. edn. New York: Hyperion.Google Scholar
Andrejevic, Mark. 2007. ‘Surveillance in the digital enclosure’. The Communication Review 10(4): 295317.Google Scholar
Bergh, Arild and DeNora, Tia. 2009. ‘From wind-up to iPod: Techno-cultures of listening’. In The Cambridge Companion to Recorded Music, edited by Cook, Nicholas, Clark, Eric, Leech-Wilkinson, Daniel and Rink, John, 102–15. Cambridge: Cambridge University Press.Google Scholar
Blue V, Alex. 2017. ‘“Hear what you want”: Sonic politics, blackness, and racism-canceling headphones’. Current Musicology 99–100 (Spring): 87106.Google Scholar
Bode, Lisa. 2017. Making Believe: Screen Performance and Special Effects in Popular Cinema. New Brunswick: Rutgers University Press.Google Scholar
Bollmer, Grant and Guinness, Katherine. 2017. ‘Phenomenology for the selfie’. Cultural Politics 13(2): 156–76.Google Scholar
Bruno, Antony. 2011. ‘Growth by curation’. Billboard, 17 September 2011: 10.Google Scholar
Cavarero, Adriana. 2005. For More than One Voice: Toward a Philosophy of Vocal Expression. Translated by Kottman, Paul A.. Stanford, CA: Stanford University Press.Google Scholar
Chalmers, David J. 1996. The Conscious Mind: In Search of a Fundamental Theory. New York: Oxford University Press.Google Scholar
Cumming, Naomi. 2000. The Sonic Self: Musical Subjectivity and Signification. Bloomington: Indiana University Press.Google Scholar
Deleuze, Gilles and Guattari, Felix. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Massumi, Brian. Minneapolis: University of Minnesota Press.Google Scholar
DeNora, Tia. 1999. ‘Music as a technology of the self ’. Poetics 27(1): 3156.Google Scholar
Drott, Eric. 2018. ‘Music as a technology of surveillance’. Journal of the Society for American Music 12(3): 233–67.Google Scholar
Dureha, Anukriti. 2014. ‘An accurate algorithm for generating a music playlist based on facial expressions’. International Journal of Computer Applications 100/9 (August): 33–9.Google Scholar
Emmerson, Frank. 1979. ‘Behind the sound’. Globe and Mail, Canada, 17 January 1979.Google Scholar
Foucault, Michel. 1988. ‘Technologies of the self ’. In Technologies of the Self: A Seminar with Michel Foucault, edited by Martin, Luther, Gutman, Huck and Hutton, Patrick, 1649. London: Tavistock.Google Scholar
Free, John. 1979. ‘Stereo headphones – New shapes, new designs, new materials’. Popular Science, November 1979: 110–12 and 146.Google Scholar
Frosh, Paul. 2015. ‘The gestural image: The selfie, photography theory, and kinesthetic sociability’. International Journal of Communication 9: 1607–28.Google Scholar
Ghule, Vijaykumar R. et al. 2017. ‘Emotion based music player using facial recognition’. International Journal of Innovative Research in Computer and Communication Engineering 5 (2): 2188–94.Google Scholar
Gladwell, Malcolm. 2005. Blink: The Power of Thinking without Thinking. New York: Little, Brown and Co.Google Scholar
Goffman, Erving. 1967. ‘On face-work: An analysis of ritual elements of social interaction’. In Interaction Ritual: Essays on Face-to-Face Behavior. New York: Anchor Books.Google Scholar
Gopinath, Sumanth. 2013. The Ringtone Dialectic: Economy and Cultural Form. Cambridge, MA: MIT Press.Google Scholar
Gopinath, Sumanth and Stanyek, Jason. 2013. ‘Tuning the human race: Athletic capitalism and the Nike+ sport kit’. In Music, Sound and Space: Transformations of Public and Private Experience, edited by Born, Georgina, 128–48. Cambridge: Cambridge University Press.Google Scholar
Han, Kee Moo et al. 2016. ‘Extraction of audio features for emotion recognition system based on music’. International Journal of Scientific & Technology Research 5–6 (June): 53–6.Google Scholar
Harris, Deonte. 2018. ‘Articulations in the Caribbean Diaspora: London’s Carnival Arts Scene and the Cultural Politics of Space, Place, and Value’. PhD dissertation, University of California, Los Angeles.Google Scholar
Hill, Frank Ernest. 1937. Listen and Learn: 15 Years of Adult Education on the Air. New York: American Association for Adult Education.Google Scholar
iMotions. 2016. Facial Expression Analysis: The Complete Pocket Guide. Boston: iMotions.Google Scholar
Jopling, David A. 2000. Self-Knowledge and the Self. New York: Routledge.Google Scholar
Kelly, Peter. 2016. The Self as Enterprise: Foucault and the Spirit of 21st Century Capitalism. New York: Routledge.Google Scholar
Kim, Youngmoo et al. 2010. ‘Music emotion recognition: A state of the art review’. In Proceedings of the International Conference on Music Information Retrieval.Google Scholar
Kramer, Lawrence. 1995. Classical Music and Postmodern Knowledge. Berkeley: University of California Press.Google Scholar
Lametti, David. 2012. ‘The Cloud: Boundless Digital Potential or Enclosure 3.0?’ ExpressO. Available at: http://works.bepress.com/david_lametti/1/.Google Scholar
Lupton, Deborah. 2016. ‘The diverse domains of quantified selves: Self-tracking modes and dataveillance’. Economy and Society 45(1): 101–22.Google Scholar
Marshall, Wayne. 2014. ‘Treble culture’. In The Oxford Handbook of Mobile Music Studies, vol. 2, edited by Gopinath, Sumanth and Stanyek, Jason, 4376. Oxford: Oxford University Press.Google Scholar
Metcalf, Allan A. 2016. From Skedaddle to Selfie: Words of the Generations. Oxford: Oxford University Press.Google Scholar
Mizroeff, Nick. 2016. How to See the World. London: Pelican.Google Scholar
Morris, Jeremy Wade. 2015. Selling Digital Music, Formatting Culture. Berkeley: University of California Press.Google Scholar
Mosco, Vincent. 2005. The Digital Sublime: Myth, Power, and Cyberspace. Cambridge, Mass: MIT Press.Google Scholar
Patel, Abhishek R. et al. 2016. ‘MoodyPlayer: A mood based music player’. International Journal of Computer Applications 141 (4): 21–5.Google Scholar
Picard, Rosalind. 1997. Affective Computing. Cambridge, MA: MIT Press.Google Scholar
Rivera, Ray. 2009. ‘The best revenge? Being louder: IPOD LEAK’. New York Times. 28 June 2009, CT12.Google Scholar
Rose, Nicholas. 1996. Inventing Ourselves: Psychology, Power and Personhood. New York: Cambridge University Press.Google Scholar
Rosenberg, Erika. 2005. ‘Introduction: The study of spontaneous facial expressions in psychology’. In What the Face Reveals: Basic and Applied Studies of Spontaneous Expression Using the Facial Action Coding System (FACS), edited by Ekman, Paul and Rosenberg, Erika, 318. 2nd edn. New York: Oxford University Press.Google Scholar
Schmitt, Bernd H. 1999. Experiential Marketing: How to Get Customers to Sense, Feel, Think, Act and Relate to Your Company and Brands. New York: Simon & Schuster.Google Scholar
Schonberg, Harold. 1953. ‘Records: Play Along’. New York Times, 13 September 1953.Google Scholar
Senft, Theresa M. and Baym, Nancy K.. 2015. ‘What does the selfie say? Investigating a global phenomenon’. International Journal of Communication 9: 1588–606. (Introduction to featured section on ‘Selfies’, 1588–872.)Google Scholar
Sontag, Susan. 2003. Regarding the Pain of Others. New York: Picador.Google Scholar
Spurgeon, Christina. 2008. Advertising and New Media. London: Routledge.Google Scholar
Sterne, Jonathan. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC: Duke University Press.Google Scholar
Taylor, Charles. 1989. Sources of the Self: The Making of the Modern Identity. Cambridge, MA: Harvard University Press.Google Scholar
Turkle, Sherry. 2011. Alone Together: Why We Expect More from Technology and Less from Each Other. New York: Basic Books.Google Scholar
Walden, Joshua. 2018. Musical Portraits: The Composition of Identity in Contemporary and Experimental Music. New York: Oxford University Press.Google Scholar
Wendt, Brooke. 2014. The Allure of the Selfie: Instagram and the New Self Portrait. Amsterdam: Institute of Network Cultures.Google Scholar
Yang, Yi-Hsuan and Chen, Homer H. 2012. ‘Machine recognition of music emotion: A review’. ACM Transactions on Intelligent Systems and Technology 3, 3 (May).Google Scholar
Zahavi, Dan. 2005. Subjectivity and Selfhood: Investigating the First-Person Perspective. Cambridge, MA: MIT Press.Google Scholar
Žižek, Slavoj. 2012. Less Than Nothing: Hegel and the Shadow of Dialectical Materialism. London: Verso.Google Scholar
Born, Georgina and Haworth, Christopher. 2017. ‘Mixing it: Digital ethnography and online research methods – a tale of two global digital music genres’. In The Routledge Companion to Digital Ethnography, edited by Hjorth, Larissa, Horst, Heather, Galloway, Anne and Bell, Genevieve, 7086. New York: Routledge.Google Scholar
Dolan, Emily. 2010. ‘“… This little ukulele tells the truth”: Indie pop and kitsch authenticity’. Popular Music 29 (3): 457–69.Google Scholar
Glitsos, Laura. 2018. ‘Vaporwave, or music optimised for abandoned malls’. Popular Music 37 (1): 100–18.Google Scholar
Harper, Adam. 2017. ‘How internet music is frying your brain’. Popular Music 36 (1): 8697.Google Scholar
Powers, William. 2010. Hamlet’s Blackberry: A Practical Philosophy for Building a Good Life in the Digital Age. Victoria: Scribe.Google Scholar
Roszak, Theodore. 1969. The Making of a Counter Culture: Reflections on the Technocratic Society and Its Youthful Opposition. Garden City, NY: Doubleday.Google Scholar
Sousa, John Philip. 1906. ‘The menace of mechanical music’. Appleton’s Magazine 8 (September): 278–84.Google Scholar
Taylor, Astra. 2014. The People’s Platform: Taking Back Power and Culture in the Digital Age. London: Fourth Estate.Google Scholar
Taylor, Timothy D. 2001. ‘Technostalgia’. In Strange Sounds: Music, Technology, and Culture, 96116. New York: Routledge.Google Scholar
Trainer, Adam. 2016. ‘From hypnagogia to distroid: postironic musical renderings of personal memory’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 409–27. New York: Oxford University Press.Google Scholar
Waugh, Michael. 2017. ‘“My laptop is an extension of my memory and self”: Post-Internet identity, virtual intimacy and digital queering in online popular music’. Popular Music 36 (2): 233–51.Google Scholar
Born, Georgina and Haworth, Christopher. 2017. ‘Mixing it: Digital ethnography and online research methods – a tale of two global digital music genres’. In The Routledge Companion to Digital Ethnography, edited by Hjorth, Larissa, Horst, Heather, Galloway, Anne and Bell, Genevieve, 7086. New York: Routledge.Google Scholar
Dolan, Emily. 2010. ‘“… This little ukulele tells the truth”: Indie pop and kitsch authenticity’. Popular Music 29 (3): 457–69.Google Scholar
Glitsos, Laura. 2018. ‘Vaporwave, or music optimised for abandoned malls’. Popular Music 37 (1): 100–18.Google Scholar
Harper, Adam. 2017. ‘How internet music is frying your brain’. Popular Music 36 (1): 8697.Google Scholar
Powers, William. 2010. Hamlet’s Blackberry: A Practical Philosophy for Building a Good Life in the Digital Age. Victoria: Scribe.Google Scholar
Roszak, Theodore. 1969. The Making of a Counter Culture: Reflections on the Technocratic Society and Its Youthful Opposition. Garden City, NY: Doubleday.Google Scholar
Sousa, John Philip. 1906. ‘The menace of mechanical music’. Appleton’s Magazine 8 (September): 278–84.Google Scholar
Taylor, Astra. 2014. The People’s Platform: Taking Back Power and Culture in the Digital Age. London: Fourth Estate.Google Scholar
Taylor, Timothy D. 2001. ‘Technostalgia’. In Strange Sounds: Music, Technology, and Culture, 96116. New York: Routledge.Google Scholar
Trainer, Adam. 2016. ‘From hypnagogia to distroid: postironic musical renderings of personal memory’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 409–27. New York: Oxford University Press.Google Scholar
Waugh, Michael. 2017. ‘“My laptop is an extension of my memory and self”: Post-Internet identity, virtual intimacy and digital queering in online popular music’. Popular Music 36 (2): 233–51.Google Scholar
Alexander, Elizabeth. 1994. ‘Can you be BLACK and look at this? Reading the Rodney King video(s)’. Public Culture 7 (1): 7794.Google Scholar
Als, Hilton. 2016. ‘Beywatch: Beyoncé’s reformation’. The New Yorker 92 (16) (30 May): 66–9.Google Scholar
Belson, Ken. 2017. ‘Kaepernick, in grievance, accuses owners of colluding to shun him’. The New York Times 16 October: D4.Google Scholar
Beyoncé [Knowles]. 2016a. ‘Formation’. Lemonade. Melina Matsoukas, director. Columbia Records. Premiered 6 February online. Music video.Google Scholar
Beyoncé [Knowles]. 2016b. Lemonade. Kahlil Joseph and Beyoncé Knowles Carter, directors. Columbia Records. Premiered 23 April, Home Box Office (HBO). Visual album.Google Scholar
Blanchette, Aimee. 2016. ‘The good, the bad, the repulsive’. Star Tribune, 9 June: 1E.Google Scholar
Bosman, Julie and Smith, Mitch. 2017. ‘Experts weigh in on dashboard video of Minnesota shooting’. The New York Times. 22 June. A19.Google Scholar
Burgess, Jean and Green, Joshua. 2012. YouTube, 2nd edn. Cambridge: Polity.Google Scholar
Caramanica, Jon, Morris, Wesley and Wortham, Jenna. 2016. ‘Beyoncé in charge (of course)’. The New York Times. 6 February, page C1.Google Scholar
Chang, Jeff. 2016. ‘Making Lemonade’. In We Gon’ Be Alright: Notes on Race and Resegregation, 159–68. New York: Picador.Google Scholar
Cook, Nicholas. 1998. Analysing Musical Multimedia. Oxford: Clarendon Press.Google Scholar
Crawley, Ashon. 2017. Blackpentecostal Breath: The Aesthetics of Possibility. New York: Fordham University Press.Google Scholar
Daughtry, J. Martin. 2003. ‘Russia’s new anthem and the negotiation of national identity’. Ethnomusicology 47 (1): 4267.Google Scholar
DeLong, Matt and Braunger, Dave. 2017. ‘Breaking down the dashcam: The Philando Castile shooting timeline’. Star Tribune, 21 June. www.startribune.com/castile-shooting-timeline/429678313/.Google Scholar
Floyd-Thomas, Stacey M. 2016. ‘A field of study as a field of dreams: The contours of Black church studies’. In The Black Church Studies Reader, edited by Pollard, Alton B. III and Duncan, Carol B., 5967. New York: Palgrave Macmillan.Google Scholar
Frosh, Paul. 2015. ‘The gestural image: The selfie, photography theory, and kinesthetic sociability’. International Journal of Communication 9: 1607–28.Google Scholar
Frosh, Paul and Pinchevksi, Amit. 2009. Media Witnessing: Testimony in the Age of Mass Communication. Basingstoke: Palgrave Macmillan.Google Scholar
Guy, Nancy. 2002. ‘“Republic of China national anthem” on Taiwan: One anthem, one performance, multiple realities’. Ethnomusicology 46 (1): 96119.Google Scholar
Hahn, Tomie. 2007. Sensational Knowledge: Embodying Culture through Japanese Dance. Middletown, CT: Wesleyan University Press.Google Scholar
Jennings, Tom. 2017. The Lost Tapes: LA Riots. The Smithsonian Channel, 23 April. TV movie.Google Scholar
Jones, James T. IV. 1989. ‘The big rap attack’. USA Today, 22 August: 1D.Google Scholar
Kirschenbaum, Matthew. 2008. Mechanisms: New Media and the Forensic Imagination. Cambridge, MA: MIT Press.Google Scholar
Kittler, Friedrich. 1987. ‘Weltatem: Über Wagners Medientechnologie’. In Diskursanalysen, Bd. 1: Medien, edited by Kittler, Friedrich, Schneider, Manfred and Weber, Samuel, 94107. Opladen: Westdeutscher Verlag.Google Scholar
Kittler, Friedrich. 1999. Gramophone, Film, Typewriter. Translated by Winthrop-Young, Geoffrey and Wutz, Michael. Stanford: Stanford University Press.Google Scholar
Krämer, Sybille. 2015. Medium, Messenger, Transmission: An Approach to Media Philosophy. Translated by Epps, Anthony. Amsterdam: University of Amsterdam Press.Google Scholar
Krämer, Sybille and Weigel, Sigrid, eds. 2017. Testimony/Bearing Witness: Epistemology, Ethics, History and Culture. London: Rowman & Littlefield International.Google Scholar
Lamar, Kendrick. 2015. ‘Alright’. Directed by Colin Tilley. Aftermath/Interstellar. Music video.Google Scholar
Laughland, Oliver, Epstein, Kayla and Glenza, Jessica. 2014. ‘Eric Garner protests continue in cities across America through second night’. The Guardian, 5 December. www.theguardian.com/us-news/2014/dec/05/eric-garner-case-new-york-protests-continue-through-second-night.Google Scholar
Mannix, Andy. 2016. ‘Audio: He looks like “our suspect”’. Star Tribune. 12 July. 1A.Google Scholar
Mathias, Christopher. 2016. ‘He filmed the death of Eric Garner. Now he’s getting ready to spend 4 years in prison’. Huffington Post, 1 September. www.huffingtonpost.com/entry/ramsey-orta-eric-garner_us_57a9edbde4b0aae2a5a15142.Google Scholar
McFadden, Syreeta. 2016. ‘Beyoncé’s Lemonade is #blackgirlmagic at its most potent’. The Guardian. 24 April. www.theguardian.com/music/2016/apr/24/beyonce-lemonade-album-video-black-girl-magic-womanhood-america.Google Scholar
Monson, Ingrid. 2008. ‘Hearing, seeing, and perceptual agency’. Critical Inquiry 34, suppl. (Winter): S36S58.Google Scholar
Moon, Angela and Volz, Dustin. 2016. ‘Facebook Live streaming of shooting spotlights ethical, legal policies’. Reuters. www.reuters.com/article/us-minnesota-police-facebook/facebook-live-streaming-of-shooting-spotlights-ethical-legal-policies-idUSKCN0ZN2MN.Google Scholar
Moten, Fred. 2003. In the Break: The Aesthetics of the Black Radical Tradition. Minneapolis: University of Minnesota Press.Google Scholar
Pareles, Jon. 2016. ‘Making “Lemonade” out of strife’. The New York Times, 25 April: C1.Google Scholar
Peters, John Durham. 2001. ‘Witnessing’. Media, Culture & Society 23: 707–23.Google Scholar
Peters, John Durham. 2015. The Marvelous Clouds: Toward a Philosophy of Elemental Media. Chicago: University of Chicago Press.Google Scholar
Peterson, James. 2016. ‘25 years after Rodney King, video still isn’t enough to stop police brutality’. Los Angeles Times, 3 March. www.latimes.com/opinion/op-ed/la-oe-0303-peterson-king-holliday-blm-20160303-story.html.Google Scholar
Pettman, Dominic. 2017. Sonic Intimacy: Voice, Species, Technics (or, How to Listen to the World). Stanford: Stanford University Press.Google Scholar
Ramsey County. 2017a. ‘Diamond Reynolds July 6, 2016 Facebook Live Video (WARNING: Graphic content).’ YouTube. 20 June. www.youtube.com/watch?v=6DUfa4LTgOs.Google Scholar
Ramsey County. 2017b. ‘Squad dashcam video – Yanez case (WARNING: Graphic content).’ YouTube. 20 June. www.youtube.com/watch?v=z1ac7Zblqyk.Google Scholar
Rentschler, Carrie. 2004. ‘Witnessing: US citizenship and the vicarious experience of suffering’. Media, Culture & Society 26: 296304.Google Scholar
Reynolds, Lavish [Diamond Reynolds]. 2016. Video, Facebook Live stream. Aftermath of Philando Castile shooting, Minneapolis, Minnesota. Facebook Live. 6 July.Google Scholar
Roberts, Jeff John. 2016. ‘When tragedy strikes who should cash in on viral video?’ Fortune, 18 July. fortune.com/2016/07/18/who-should-cash-in-on-viral-video/.Google Scholar
Ronell, Avital. 1994. ‘Video/television/Rodney King: Twelve steps beyond the pleasure principle’. In Culture on the Brink: Ideologies of Technology, edited by Bender, Gretchen and Druckrey, Timothy, 277303. Seattle: Bay Press.Google Scholar
Ross, Rosetta E. 2003. Witnessing and Testifying: Black Women, Religion, and Civil Rights. Minneapolis: Augsburg Fortress.Google Scholar
Rys, Dan. 2016. ‘Beyoncé lifts a rising Tidal’. Billboard, 7 May. 128 (12): 1112.Google Scholar
Taibbi, Matt. 2017. I Can’t Breathe: A Killing on Bay Street. New York: Spiegel & Grau.Google Scholar
Tinsley, Omise’eke Natasha. 2016. ‘Beyoncé’s Lemonade is black woman magic’. Time, 25 April. time.com/4306316/beyonce-lemonade-black-woman-magic/.Google Scholar
Turino, Thomas. 1999. ‘Signs of imagination, identity, and experience: A Peircian semiotic theory for music’. Ethnomusicology 43 (2): 221–55.Google Scholar
van Dijck, José. 2013. The Culture of Connectivity: A Critical History of Social Media. Oxford: Oxford University Press.Google Scholar
Vernallis, Carol. 2013. Unruly Media: YouTube, Music Video, and the New Digital Cinema. New York: Oxford University Press.Google Scholar
Vernallis, Carol. 2016. ‘Beyoncé’s Lemonade, avant-garde aesthetics, and music video: “The past and the future merge to meet us here”’. Film Criticism 40 (3). DOI: dx.doi.org/10.3998/fc.13761232.0040.315.Google Scholar
Witt, Stephen. 2016. ‘What Beyoncé’s “Lemonade” can (and can’t) do for Tidal’. The New Yorker, 27 April. www.newyorker.com/business/currency/what-beyonces-lemonade-can-and-cant-do-for-tidal.Google Scholar
Xiong, Chao and Mannix, Andy. 2017. ‘Yanez dashcam video: “Don’t pull it out”’. Star Tribune, 21 June. 1A. Also published online: www.startribune.com/case-file-in-philando-castile-shooting-to-be-made-public-today/429659263/.Google Scholar
Yanez, Jeronimo. 2016. Video, dashboard camera. Philando Castile shooting, Minneapolis, Minnesota. 6 July.Google Scholar
Young, Ryan. 2017. ‘The viral video that set a city on fire’. CNN News, 28 April. www.cnn.com/videos/us/2017/04/28/rodney-king-la-riots-25th-anniversary-viral-tape-orig-nccorig.cnn.Google Scholar
Alexander, Elizabeth. 1994. ‘Can you be BLACK and look at this? Reading the Rodney King video(s)’. Public Culture 7 (1): 7794.Google Scholar
Als, Hilton. 2016. ‘Beywatch: Beyoncé’s reformation’. The New Yorker 92 (16) (30 May): 66–9.Google Scholar
Belson, Ken. 2017. ‘Kaepernick, in grievance, accuses owners of colluding to shun him’. The New York Times 16 October: D4.Google Scholar
Beyoncé [Knowles]. 2016a. ‘Formation’. Lemonade. Melina Matsoukas, director. Columbia Records. Premiered 6 February online. Music video.Google Scholar
Beyoncé [Knowles]. 2016b. Lemonade. Kahlil Joseph and Beyoncé Knowles Carter, directors. Columbia Records. Premiered 23 April, Home Box Office (HBO). Visual album.Google Scholar
Blanchette, Aimee. 2016. ‘The good, the bad, the repulsive’. Star Tribune, 9 June: 1E.Google Scholar
Bosman, Julie and Smith, Mitch. 2017. ‘Experts weigh in on dashboard video of Minnesota shooting’. The New York Times. 22 June. A19.Google Scholar
Burgess, Jean and Green, Joshua. 2012. YouTube, 2nd edn. Cambridge: Polity.Google Scholar
Caramanica, Jon, Morris, Wesley and Wortham, Jenna. 2016. ‘Beyoncé in charge (of course)’. The New York Times. 6 February, page C1.Google Scholar
Chang, Jeff. 2016. ‘Making Lemonade’. In We Gon’ Be Alright: Notes on Race and Resegregation, 159–68. New York: Picador.Google Scholar
Cook, Nicholas. 1998. Analysing Musical Multimedia. Oxford: Clarendon Press.Google Scholar
Crawley, Ashon. 2017. Blackpentecostal Breath: The Aesthetics of Possibility. New York: Fordham University Press.Google Scholar
Daughtry, J. Martin. 2003. ‘Russia’s new anthem and the negotiation of national identity’. Ethnomusicology 47 (1): 4267.Google Scholar
DeLong, Matt and Braunger, Dave. 2017. ‘Breaking down the dashcam: The Philando Castile shooting timeline’. Star Tribune, 21 June. www.startribune.com/castile-shooting-timeline/429678313/.Google Scholar
Floyd-Thomas, Stacey M. 2016. ‘A field of study as a field of dreams: The contours of Black church studies’. In The Black Church Studies Reader, edited by Pollard, Alton B. III and Duncan, Carol B., 5967. New York: Palgrave Macmillan.Google Scholar
Frosh, Paul. 2015. ‘The gestural image: The selfie, photography theory, and kinesthetic sociability’. International Journal of Communication 9: 1607–28.Google Scholar
Frosh, Paul and Pinchevksi, Amit. 2009. Media Witnessing: Testimony in the Age of Mass Communication. Basingstoke: Palgrave Macmillan.Google Scholar
Guy, Nancy. 2002. ‘“Republic of China national anthem” on Taiwan: One anthem, one performance, multiple realities’. Ethnomusicology 46 (1): 96119.Google Scholar
Hahn, Tomie. 2007. Sensational Knowledge: Embodying Culture through Japanese Dance. Middletown, CT: Wesleyan University Press.Google Scholar
Jennings, Tom. 2017. The Lost Tapes: LA Riots. The Smithsonian Channel, 23 April. TV movie.Google Scholar
Jones, James T. IV. 1989. ‘The big rap attack’. USA Today, 22 August: 1D.Google Scholar
Kirschenbaum, Matthew. 2008. Mechanisms: New Media and the Forensic Imagination. Cambridge, MA: MIT Press.Google Scholar
Kittler, Friedrich. 1987. ‘Weltatem: Über Wagners Medientechnologie’. In Diskursanalysen, Bd. 1: Medien, edited by Kittler, Friedrich, Schneider, Manfred and Weber, Samuel, 94107. Opladen: Westdeutscher Verlag.Google Scholar
Kittler, Friedrich. 1999. Gramophone, Film, Typewriter. Translated by Winthrop-Young, Geoffrey and Wutz, Michael. Stanford: Stanford University Press.Google Scholar
Krämer, Sybille. 2015. Medium, Messenger, Transmission: An Approach to Media Philosophy. Translated by Epps, Anthony. Amsterdam: University of Amsterdam Press.Google Scholar
Krämer, Sybille and Weigel, Sigrid, eds. 2017. Testimony/Bearing Witness: Epistemology, Ethics, History and Culture. London: Rowman & Littlefield International.Google Scholar
Lamar, Kendrick. 2015. ‘Alright’. Directed by Colin Tilley. Aftermath/Interstellar. Music video.Google Scholar
Laughland, Oliver, Epstein, Kayla and Glenza, Jessica. 2014. ‘Eric Garner protests continue in cities across America through second night’. The Guardian, 5 December. www.theguardian.com/us-news/2014/dec/05/eric-garner-case-new-york-protests-continue-through-second-night.Google Scholar
Mannix, Andy. 2016. ‘Audio: He looks like “our suspect”’. Star Tribune. 12 July. 1A.Google Scholar
Mathias, Christopher. 2016. ‘He filmed the death of Eric Garner. Now he’s getting ready to spend 4 years in prison’. Huffington Post, 1 September. www.huffingtonpost.com/entry/ramsey-orta-eric-garner_us_57a9edbde4b0aae2a5a15142.Google Scholar
McFadden, Syreeta. 2016. ‘Beyoncé’s Lemonade is #blackgirlmagic at its most potent’. The Guardian. 24 April. www.theguardian.com/music/2016/apr/24/beyonce-lemonade-album-video-black-girl-magic-womanhood-america.Google Scholar
Monson, Ingrid. 2008. ‘Hearing, seeing, and perceptual agency’. Critical Inquiry 34, suppl. (Winter): S36S58.Google Scholar
Moon, Angela and Volz, Dustin. 2016. ‘Facebook Live streaming of shooting spotlights ethical, legal policies’. Reuters. www.reuters.com/article/us-minnesota-police-facebook/facebook-live-streaming-of-shooting-spotlights-ethical-legal-policies-idUSKCN0ZN2MN.Google Scholar
Moten, Fred. 2003. In the Break: The Aesthetics of the Black Radical Tradition. Minneapolis: University of Minnesota Press.Google Scholar
Pareles, Jon. 2016. ‘Making “Lemonade” out of strife’. The New York Times, 25 April: C1.Google Scholar
Peters, John Durham. 2001. ‘Witnessing’. Media, Culture & Society 23: 707–23.Google Scholar
Peters, John Durham. 2015. The Marvelous Clouds: Toward a Philosophy of Elemental Media. Chicago: University of Chicago Press.Google Scholar
Peterson, James. 2016. ‘25 years after Rodney King, video still isn’t enough to stop police brutality’. Los Angeles Times, 3 March. www.latimes.com/opinion/op-ed/la-oe-0303-peterson-king-holliday-blm-20160303-story.html.Google Scholar
Pettman, Dominic. 2017. Sonic Intimacy: Voice, Species, Technics (or, How to Listen to the World). Stanford: Stanford University Press.Google Scholar
Ramsey County. 2017a. ‘Diamond Reynolds July 6, 2016 Facebook Live Video (WARNING: Graphic content).’ YouTube. 20 June. www.youtube.com/watch?v=6DUfa4LTgOs.Google Scholar
Ramsey County. 2017b. ‘Squad dashcam video – Yanez case (WARNING: Graphic content).’ YouTube. 20 June. www.youtube.com/watch?v=z1ac7Zblqyk.Google Scholar
Rentschler, Carrie. 2004. ‘Witnessing: US citizenship and the vicarious experience of suffering’. Media, Culture & Society 26: 296304.Google Scholar
Reynolds, Lavish [Diamond Reynolds]. 2016. Video, Facebook Live stream. Aftermath of Philando Castile shooting, Minneapolis, Minnesota. Facebook Live. 6 July.Google Scholar
Roberts, Jeff John. 2016. ‘When tragedy strikes who should cash in on viral video?’ Fortune, 18 July. fortune.com/2016/07/18/who-should-cash-in-on-viral-video/.Google Scholar
Ronell, Avital. 1994. ‘Video/television/Rodney King: Twelve steps beyond the pleasure principle’. In Culture on the Brink: Ideologies of Technology, edited by Bender, Gretchen and Druckrey, Timothy, 277303. Seattle: Bay Press.Google Scholar
Ross, Rosetta E. 2003. Witnessing and Testifying: Black Women, Religion, and Civil Rights. Minneapolis: Augsburg Fortress.Google Scholar
Rys, Dan. 2016. ‘Beyoncé lifts a rising Tidal’. Billboard, 7 May. 128 (12): 1112.Google Scholar
Taibbi, Matt. 2017. I Can’t Breathe: A Killing on Bay Street. New York: Spiegel & Grau.Google Scholar
Tinsley, Omise’eke Natasha. 2016. ‘Beyoncé’s Lemonade is black woman magic’. Time, 25 April. time.com/4306316/beyonce-lemonade-black-woman-magic/.Google Scholar
Turino, Thomas. 1999. ‘Signs of imagination, identity, and experience: A Peircian semiotic theory for music’. Ethnomusicology 43 (2): 221–55.Google Scholar
van Dijck, José. 2013. The Culture of Connectivity: A Critical History of Social Media. Oxford: Oxford University Press.Google Scholar
Vernallis, Carol. 2013. Unruly Media: YouTube, Music Video, and the New Digital Cinema. New York: Oxford University Press.Google Scholar
Vernallis, Carol. 2016. ‘Beyoncé’s Lemonade, avant-garde aesthetics, and music video: “The past and the future merge to meet us here”’. Film Criticism 40 (3). DOI: dx.doi.org/10.3998/fc.13761232.0040.315.Google Scholar
Witt, Stephen. 2016. ‘What Beyoncé’s “Lemonade” can (and can’t) do for Tidal’. The New Yorker, 27 April. www.newyorker.com/business/currency/what-beyonces-lemonade-can-and-cant-do-for-tidal.Google Scholar
Xiong, Chao and Mannix, Andy. 2017. ‘Yanez dashcam video: “Don’t pull it out”’. Star Tribune, 21 June. 1A. Also published online: www.startribune.com/case-file-in-philando-castile-shooting-to-be-made-public-today/429659263/.Google Scholar
Yanez, Jeronimo. 2016. Video, dashboard camera. Philando Castile shooting, Minneapolis, Minnesota. 6 July.Google Scholar
Young, Ryan. 2017. ‘The viral video that set a city on fire’. CNN News, 28 April. www.cnn.com/videos/us/2017/04/28/rodney-king-la-riots-25th-anniversary-viral-tape-orig-nccorig.cnn.Google Scholar
Becker, Judith O. 2004. Deep Listeners: Music, Emotion, and Trancing. Bloomington: Indiana University Press.Google Scholar
Bell, Catherine. 2009 [1997.] Ritual: Perspectives and Dimensions. New York: Oxford University Press.Google Scholar
Bellah, Robert and Madsen, Richard. 1985. Habits of the Heart: Individualism and Commitment in American Life. Berkeley: University of California Press.Google Scholar
Brasher, Brenda E. 2001. Give Me That Online Religion. San Franscisco: Jossey-Bass.Google Scholar
Burton, Justin. 2014. ‘Dancing silhouettes: The mobile freedom of iPod commercials’. In The Oxford Handbook of Mobile Music Studies, vol. 2, edited by Gopinath, Sumanth and Stanyek, Jason, 311–36. Oxford and New York: Oxford University Press.Google Scholar
Campbell, Heidi. 2005. Exploring Religious Community Online: We Are One in the Network. New York: Peter Lang.Google Scholar
Campbell, Heidi. 2010. When Religion Meets New Media. London: Routledge.Google Scholar
Campbell, Heidi. 2013. ‘Introduction: The rise of the study of digital religion’. In Digital Religion: Understanding Religious Practice in New Media Worlds, edited by Campbell, Heidi A., 121. London: Routledge.Google Scholar
Cheong, Pauline Hope, Fischer-Nielsen, Peter, Gelfgren, Stefan and Ess, Charles, eds. 2012. Digital Religion, Social Media and Culture: Perspectives, Practices and Futures. New York: Peter Lang.Google Scholar
Connelly, Louise. 2013. ‘Virtual Buddhism: Buddhist ritual in Second Life’. In Digital Religion: Understanding Religious Practice in New Media Worlds, edited by Campbell, Heidi A., 128–35. London: Routledge.Google Scholar
Dawson, Lorne L. and Cowan, Douglas E.. 2004. Religion Online: Finding Faith on the Internet. New York: Routledge.Google Scholar
Derrickson, Krystina. 2008. ‘Second Life and the sacred: Islamic space in a virtual world’. In Digital Islam, edited by Vit Sisler. Available online: www.digitalislam.eu/article.do?articleId=1877.Google Scholar
Durkheim, Emile. 2001 [1912]. The Elementary Forms of Religious Life. Translated by Cosman, Carol. Oxford: Oxford University Press.Google Scholar
Echchaibi, Nabil. 2013. ‘Islam, mediation, and technology’. In The Handbook of Communication History, edited by Simonson, Peter, Peck, Janice, Craig, Robert T. and Jackson, John, 440–52. New York: Routledge.Google Scholar
Engelhardt, Jeffers. 2018. ‘Listening and the sacramental life: Degrees of mediation in Greek Orthodox Christianity’. In Praying with the Senses: Contemporary Orthodox Christian Spirituality in Practice, edited by Luehrmann, Sonja, 5879. Bloomington: Indiana University Press.Google Scholar
Engelke, Matthew. 2010. ‘Religion and the media turn: A review essay’. American Ethnologist 37 (2): 371–9.Google Scholar
Garaci, Robert M. 2014. Virtually Sacred: Myth and Meaning in World of Warcraft and Second Life. New York: Oxford University Press.Google Scholar
Hagedorn, Katherine. 2006. ‘“From this one song alone, I consider him to be a holy man”: Ecstatic religion, musical affect, and the global consumer’. Journal for the Scientific Study of Religion 45 (4): 489–96.Google Scholar
Helland, Christopher. 2000. ‘Online-religion/religion-online and virtual communities’. In Religion on the Internet: Research Prospects and Promises, edited by Hadden, J. K. and Cowan, D. E., 205–33. New York: JAI Press.Google Scholar
Helland, Christopher. 2013. ‘Ritual’. In Digital Religion: Understanding Religious Practice in New Media Worlds, edited by Campbell, Heidi A., 2540. New York: Routledge.Google Scholar
Hill-Smith, Connie. 2011. ‘Cyberpilgrimage: The (virtual) reality of online pilgrimage experience’. Religion Compass 5 (6): 236–46.Google Scholar
Hirschkind, Charles. 2006. The Ethical Soundscape: Cassette Sermons and Islamic Counterpublics. New York: Columbia University Press.Google Scholar
Hoover, Stewart. 2006. Religion in the Media Age. New York: Routledge.Google Scholar
Hoover, Stewart. 2013. ‘Concluding thoughts: Imagining the religious in and through the digital’. In Digital Religion: Understanding Religious Practice in New Media Worlds, edited by Campbell, Heidi A., 266–8. New York and London: Routledge.Google Scholar
Hutchings, Tim. 2013. ‘Considering religious community through online churches’. In Digital Religion: Understanding Religious Practice in New Media Worlds, edited by Campbell, Heidi A., 164–72. New York and London: Routledge.Google Scholar
Ingalls, Monique M. 2016. ‘Worship on the web: Broadcasting devotion through worship music videos on YouTube’. In Music and the Broadcast Experience: Performance, Production, and Audiences, edited by Baade, Christina and Deaville, James, 293308. New York: Oxford University Press.Google Scholar
Ingalls, Monique M. 2018. Singing the Congregation: How Contemporary Worship Music Forms Evangelical Community. New York: Oxford University Press.Google Scholar
Jacobs, Stephen. 2007. ‘Virtually sacred: The performance of asynchronous cyber-rituals in online spaces’. Journal of Computer-Mediated Communication 12: 1103–21.Google Scholar
Jenkins, Henry. 2006. Convergence Culture: Where Old and New Media Collide. New York: New York University Press.Google Scholar
Jenkins, Simon. 2008. ‘Rituals and pixels: Experiments in online church’. Heidelberg Journal of Religions on the Internet 3 (1): 95115.Google Scholar
Kluver, Randy and Chen, Yanli. 2008. ‘The church of fools: Virtual ritual and material faith’. Heidelberg Journal of Religions on the Internet 3 (1): 116–43.Google Scholar
Larkin, Brian. 2010. ‘Islamic renewal, radio and the surface of things’. In Aesthetic Formations: Media, Religion and the Senses, edited by Meyer, Birgit, 117–36. New York: Palgrave McMillan.Google Scholar
Lofton, Kathryn. 2011. Oprah: The Gospel of an Icon. Berkeley: University of California Press.Google Scholar
Lynch, Gordon. 2007. Between Sacred and Profane: Researching Religion and Popular Culture. London: I. B. Tauris.Google Scholar
Lynch, Gordon, Mitchell, Jolyon and Strhan, Anna. 2012. “Introduction”. In Religion, Media, and Culture: A Reader, edited by Lynch, Gordon and Mitchell, Jolyon, 110. London: Routledge.Google Scholar
MacWilliams, Mark. 2004. ‘Virtual pilgrimage to Ireland’s Croagh Patrick’. In Religion Online: Finding Faith on the Internet, edited by Dawson, Lorne L. and Cowan, Douglas, 223–37. London: Routledge.Google Scholar
Mall, Andrew. 2012. ‘“The Stars Are Underground”: Undergrounds, Mainstreams, and Christian Popular Music’. PhD dissertation, University of Chicago.Google Scholar
Manuel, Peter. 1993. Cassette Culture: Popular Music and Technology in North India. Chicago: University of Chicago Press.Google Scholar
Meyer, Birgit. 2009. ‘Introduction: From imagined communities to aesthetic formations: Religious mediations, sensational forms, and styles of binding’. In Aesthetic Formations: Media, Religion, and the Senses, edited by Meyer, Birgit, 130. New York: Palgrave Macmillan.Google Scholar
Miczek, Nadja. 2008. ‘Online rituals in virtual worlds: Christian online services between dynamics and stability’. Heidelberg Journal of Religions on the Internet 3 (1): 144–73.Google Scholar
Morgan, David. 1996. ‘“Would Jesus have sat for a portrait?” The likeness of Christ in popular reception of Sallman’s art.’ In Icons of American Protestantism: The Art of Warner Sallman, edited by Morgan, David, 181206. New Haven, CT: Yale University Press.Google Scholar
Partridge, Christopher. 2014. The Lyre of Orpheus: Popular Music, the Sacred, and the Profane. Oxford and New York: Oxford University Press.Google Scholar
Radde-Antweiler, Kerstin. 2008. ‘Virtual religion: An approach to a religious and ritual topography of Second Life’. Heidelberg Journal of Religions on the Internet 3 (1): 174211.Google Scholar
Rouget, Gilbert. 1985 [1980]. Music and Trance: A Theory of the Relations between Music and Possession. Chicago: The University of Chicago Press.Google Scholar
Ryan, Marie-Laure. 2003. Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media. Baltimore: Johns Hopkins University Press.Google Scholar
Schofield Clark, Lynn. 2006. ‘Introduction to a forum on religion, popular music, and globalization’. Journal for the Scientific Study of Religion 45 (4): 475–9.Google Scholar
Schofield Clark, Lynn, ed. 2007. Religion, Media, and the Marketplace. New Brunswick: Rutgers University Press.Google Scholar
Summit, Jeffrey A. 2016. Singing God’s Words: The Performance of Biblical Chant in Contemporary Judaism. Oxford and New York: Oxford University Press.Google Scholar
Trouillot, Michel-Rolph. 2003. Global Transformations: Anthropology and the Modern World. New York: Palgrave Macmillan.Google Scholar
Vekemans, Tine. 2014. ‘Double-clicking the temple bell – Devotional aspects of Jainism online’. Heidelberg Journal of Religions on the Internet 6 (1): 126–43.Google Scholar
Wagner, Rachel. 2012. Godwired: Religion, Ritual, and Virtual Reality. London: Routledge.Google Scholar
Weston, Donna and Bennett, Andy. 2013. Pop Pagans: Paganism and Popular Music. Durham, UK: Acumen.Google Scholar
Wilson, Len. 1999. The Wired Church. Nashville: Abingdon Press.Google Scholar
Becker, Judith O. 2004. Deep Listeners: Music, Emotion, and Trancing. Bloomington: Indiana University Press.Google Scholar
Bell, Catherine. 2009 [1997.] Ritual: Perspectives and Dimensions. New York: Oxford University Press.Google Scholar
Bellah, Robert and Madsen, Richard. 1985. Habits of the Heart: Individualism and Commitment in American Life. Berkeley: University of California Press.Google Scholar
Brasher, Brenda E. 2001. Give Me That Online Religion. San Franscisco: Jossey-Bass.Google Scholar
Burton, Justin. 2014. ‘Dancing silhouettes: The mobile freedom of iPod commercials’. In The Oxford Handbook of Mobile Music Studies, vol. 2, edited by Gopinath, Sumanth and Stanyek, Jason, 311–36. Oxford and New York: Oxford University Press.Google Scholar
Campbell, Heidi. 2005. Exploring Religious Community Online: We Are One in the Network. New York: Peter Lang.Google Scholar
Campbell, Heidi. 2010. When Religion Meets New Media. London: Routledge.Google Scholar
Campbell, Heidi. 2013. ‘Introduction: The rise of the study of digital religion’. In Digital Religion: Understanding Religious Practice in New Media Worlds, edited by Campbell, Heidi A., 121. London: Routledge.Google Scholar
Cheong, Pauline Hope, Fischer-Nielsen, Peter, Gelfgren, Stefan and Ess, Charles, eds. 2012. Digital Religion, Social Media and Culture: Perspectives, Practices and Futures. New York: Peter Lang.Google Scholar
Connelly, Louise. 2013. ‘Virtual Buddhism: Buddhist ritual in Second Life’. In Digital Religion: Understanding Religious Practice in New Media Worlds, edited by Campbell, Heidi A., 128–35. London: Routledge.Google Scholar
Dawson, Lorne L. and Cowan, Douglas E.. 2004. Religion Online: Finding Faith on the Internet. New York: Routledge.Google Scholar
Derrickson, Krystina. 2008. ‘Second Life and the sacred: Islamic space in a virtual world’. In Digital Islam, edited by Vit Sisler. Available online: www.digitalislam.eu/article.do?articleId=1877.Google Scholar
Durkheim, Emile. 2001 [1912]. The Elementary Forms of Religious Life. Translated by Cosman, Carol. Oxford: Oxford University Press.Google Scholar
Echchaibi, Nabil. 2013. ‘Islam, mediation, and technology’. In The Handbook of Communication History, edited by Simonson, Peter, Peck, Janice, Craig, Robert T. and Jackson, John, 440–52. New York: Routledge.Google Scholar
Engelhardt, Jeffers. 2018. ‘Listening and the sacramental life: Degrees of mediation in Greek Orthodox Christianity’. In Praying with the Senses: Contemporary Orthodox Christian Spirituality in Practice, edited by Luehrmann, Sonja, 5879. Bloomington: Indiana University Press.Google Scholar
Engelke, Matthew. 2010. ‘Religion and the media turn: A review essay’. American Ethnologist 37 (2): 371–9.Google Scholar
Garaci, Robert M. 2014. Virtually Sacred: Myth and Meaning in World of Warcraft and Second Life. New York: Oxford University Press.Google Scholar
Hagedorn, Katherine. 2006. ‘“From this one song alone, I consider him to be a holy man”: Ecstatic religion, musical affect, and the global consumer’. Journal for the Scientific Study of Religion 45 (4): 489–96.Google Scholar
Helland, Christopher. 2000. ‘Online-religion/religion-online and virtual communities’. In Religion on the Internet: Research Prospects and Promises, edited by Hadden, J. K. and Cowan, D. E., 205–33. New York: JAI Press.Google Scholar
Helland, Christopher. 2013. ‘Ritual’. In Digital Religion: Understanding Religious Practice in New Media Worlds, edited by Campbell, Heidi A., 2540. New York: Routledge.Google Scholar
Hill-Smith, Connie. 2011. ‘Cyberpilgrimage: The (virtual) reality of online pilgrimage experience’. Religion Compass 5 (6): 236–46.Google Scholar
Hirschkind, Charles. 2006. The Ethical Soundscape: Cassette Sermons and Islamic Counterpublics. New York: Columbia University Press.Google Scholar
Hoover, Stewart. 2006. Religion in the Media Age. New York: Routledge.Google Scholar
Hoover, Stewart. 2013. ‘Concluding thoughts: Imagining the religious in and through the digital’. In Digital Religion: Understanding Religious Practice in New Media Worlds, edited by Campbell, Heidi A., 266–8. New York and London: Routledge.Google Scholar
Hutchings, Tim. 2013. ‘Considering religious community through online churches’. In Digital Religion: Understanding Religious Practice in New Media Worlds, edited by Campbell, Heidi A., 164–72. New York and London: Routledge.Google Scholar
Ingalls, Monique M. 2016. ‘Worship on the web: Broadcasting devotion through worship music videos on YouTube’. In Music and the Broadcast Experience: Performance, Production, and Audiences, edited by Baade, Christina and Deaville, James, 293308. New York: Oxford University Press.Google Scholar
Ingalls, Monique M. 2018. Singing the Congregation: How Contemporary Worship Music Forms Evangelical Community. New York: Oxford University Press.Google Scholar
Jacobs, Stephen. 2007. ‘Virtually sacred: The performance of asynchronous cyber-rituals in online spaces’. Journal of Computer-Mediated Communication 12: 1103–21.Google Scholar
Jenkins, Henry. 2006. Convergence Culture: Where Old and New Media Collide. New York: New York University Press.Google Scholar
Jenkins, Simon. 2008. ‘Rituals and pixels: Experiments in online church’. Heidelberg Journal of Religions on the Internet 3 (1): 95115.Google Scholar
Kluver, Randy and Chen, Yanli. 2008. ‘The church of fools: Virtual ritual and material faith’. Heidelberg Journal of Religions on the Internet 3 (1): 116–43.Google Scholar
Larkin, Brian. 2010. ‘Islamic renewal, radio and the surface of things’. In Aesthetic Formations: Media, Religion and the Senses, edited by Meyer, Birgit, 117–36. New York: Palgrave McMillan.Google Scholar
Lofton, Kathryn. 2011. Oprah: The Gospel of an Icon. Berkeley: University of California Press.Google Scholar
Lynch, Gordon. 2007. Between Sacred and Profane: Researching Religion and Popular Culture. London: I. B. Tauris.Google Scholar
Lynch, Gordon, Mitchell, Jolyon and Strhan, Anna. 2012. “Introduction”. In Religion, Media, and Culture: A Reader, edited by Lynch, Gordon and Mitchell, Jolyon, 110. London: Routledge.Google Scholar
MacWilliams, Mark. 2004. ‘Virtual pilgrimage to Ireland’s Croagh Patrick’. In Religion Online: Finding Faith on the Internet, edited by Dawson, Lorne L. and Cowan, Douglas, 223–37. London: Routledge.Google Scholar
Mall, Andrew. 2012. ‘“The Stars Are Underground”: Undergrounds, Mainstreams, and Christian Popular Music’. PhD dissertation, University of Chicago.Google Scholar
Manuel, Peter. 1993. Cassette Culture: Popular Music and Technology in North India. Chicago: University of Chicago Press.Google Scholar
Meyer, Birgit. 2009. ‘Introduction: From imagined communities to aesthetic formations: Religious mediations, sensational forms, and styles of binding’. In Aesthetic Formations: Media, Religion, and the Senses, edited by Meyer, Birgit, 130. New York: Palgrave Macmillan.Google Scholar
Miczek, Nadja. 2008. ‘Online rituals in virtual worlds: Christian online services between dynamics and stability’. Heidelberg Journal of Religions on the Internet 3 (1): 144–73.Google Scholar
Morgan, David. 1996. ‘“Would Jesus have sat for a portrait?” The likeness of Christ in popular reception of Sallman’s art.’ In Icons of American Protestantism: The Art of Warner Sallman, edited by Morgan, David, 181206. New Haven, CT: Yale University Press.Google Scholar
Partridge, Christopher. 2014. The Lyre of Orpheus: Popular Music, the Sacred, and the Profane. Oxford and New York: Oxford University Press.Google Scholar
Radde-Antweiler, Kerstin. 2008. ‘Virtual religion: An approach to a religious and ritual topography of Second Life’. Heidelberg Journal of Religions on the Internet 3 (1): 174211.Google Scholar
Rouget, Gilbert. 1985 [1980]. Music and Trance: A Theory of the Relations between Music and Possession. Chicago: The University of Chicago Press.Google Scholar
Ryan, Marie-Laure. 2003. Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media. Baltimore: Johns Hopkins University Press.Google Scholar
Schofield Clark, Lynn. 2006. ‘Introduction to a forum on religion, popular music, and globalization’. Journal for the Scientific Study of Religion 45 (4): 475–9.Google Scholar
Schofield Clark, Lynn, ed. 2007. Religion, Media, and the Marketplace. New Brunswick: Rutgers University Press.Google Scholar
Summit, Jeffrey A. 2016. Singing God’s Words: The Performance of Biblical Chant in Contemporary Judaism. Oxford and New York: Oxford University Press.Google Scholar
Trouillot, Michel-Rolph. 2003. Global Transformations: Anthropology and the Modern World. New York: Palgrave Macmillan.Google Scholar
Vekemans, Tine. 2014. ‘Double-clicking the temple bell – Devotional aspects of Jainism online’. Heidelberg Journal of Religions on the Internet 6 (1): 126–43.Google Scholar
Wagner, Rachel. 2012. Godwired: Religion, Ritual, and Virtual Reality. London: Routledge.Google Scholar
Weston, Donna and Bennett, Andy. 2013. Pop Pagans: Paganism and Popular Music. Durham, UK: Acumen.Google Scholar
Wilson, Len. 1999. The Wired Church. Nashville: Abingdon Press.Google Scholar
Partridge, Christopher. 2004. The Re-Enchantment of the West: Alternative Spiritualities, Sacralization and Popular Culture and Occulture. 2 vols. London: T & T Clark International.Google Scholar
St John, Graham. 2012. Global Tribe: Technology, Spirituality and Psytrance. Sheffield: Equinox Publishing.Google Scholar
St John, Graham. 2013a. ‘Writing the vibe: Arts of representation in electronic dance music culture’. Dancecult: Journal of Electronic Dance Music Culture 5 (1): https://dj.dancecult.net/index.php/dancecult/article/view/357/362.Google Scholar
St John, Graham. 2013b. ‘Aliens are us: Cosmic liminality, remixticism and Alienation in psytrance.’ Journal of Religion and Popular Culture 25 (2): 186204.Google Scholar
St John, Graham. 2015a. ‘Electronic dance music events’. In The Routledge Companion to Religion and Popular Culture, edited by Lyden, John and Mazur, Eric Michael, 336–55. New York: Routledge.Google Scholar
St John, Graham. 2015b. Mystery School in Hyperspace: A Cultural History of DMT. Berkeley, CA: North Atlantic Books/Evolver.Google Scholar
St John, Graham. 2017. ‘Electronic dance music: Trance and techno-shamanism’. In Bloomsbury Handbook of Religion and Popular Music, edited by Partridge, Christopher and Moberg, Marcus, 421–32. London: Bloomsbury.Google Scholar
Partridge, Christopher. 2004. The Re-Enchantment of the West: Alternative Spiritualities, Sacralization and Popular Culture and Occulture. 2 vols. London: T & T Clark International.Google Scholar
St John, Graham. 2012. Global Tribe: Technology, Spirituality and Psytrance. Sheffield: Equinox Publishing.Google Scholar
St John, Graham. 2013a. ‘Writing the vibe: Arts of representation in electronic dance music culture’. Dancecult: Journal of Electronic Dance Music Culture 5 (1): https://dj.dancecult.net/index.php/dancecult/article/view/357/362.Google Scholar
St John, Graham. 2013b. ‘Aliens are us: Cosmic liminality, remixticism and Alienation in psytrance.’ Journal of Religion and Popular Culture 25 (2): 186204.Google Scholar
St John, Graham. 2015a. ‘Electronic dance music events’. In The Routledge Companion to Religion and Popular Culture, edited by Lyden, John and Mazur, Eric Michael, 336–55. New York: Routledge.Google Scholar
St John, Graham. 2015b. Mystery School in Hyperspace: A Cultural History of DMT. Berkeley, CA: North Atlantic Books/Evolver.Google Scholar
St John, Graham. 2017. ‘Electronic dance music: Trance and techno-shamanism’. In Bloomsbury Handbook of Religion and Popular Music, edited by Partridge, Christopher and Moberg, Marcus, 421–32. London: Bloomsbury.Google Scholar
Aaron, Sam and Blackwell, Alan. 2013. ‘From Sonic Pi to Overtone: Creative musical experiences with domain-specific and functional languages’. Proceedings of the first ACM SIGPLAN Workshop on Functional Art, Music, Modeling & Design, 35–46.Google Scholar
Blackwell, Alan. 2014. ‘Palimpsest: A layered language for exploratory image processing’. Journal of Visual Languages and Computing 25 (5): 545–71.Google Scholar
Blackwell, Alan and Aaron, Sam. 2015. ‘Craft practices of live coding language design’. In Proc. First International Conference on Live Coding. Zenodo. http://doi.org/10.5281/zenodo.19318.Google Scholar
Aaron, Sam and Blackwell, Alan. 2013. ‘From Sonic Pi to Overtone: Creative musical experiences with domain-specific and functional languages’. Proceedings of the first ACM SIGPLAN Workshop on Functional Art, Music, Modeling & Design, 35–46.Google Scholar
Blackwell, Alan. 2014. ‘Palimpsest: A layered language for exploratory image processing’. Journal of Visual Languages and Computing 25 (5): 545–71.Google Scholar
Blackwell, Alan and Aaron, Sam. 2015. ‘Craft practices of live coding language design’. In Proc. First International Conference on Live Coding. Zenodo. http://doi.org/10.5281/zenodo.19318.Google Scholar
Collins, Nick and McLean, Alex. 2014. ‘Algorave: A survey of the history, aesthetics and technology of live performance of algorithmic electronic dance music’. Proceedings of the International Conference on New Interfaces for Musical Expression 14: 355–8.Google Scholar
Csikszentmihalyi, Mihalyi. 2008. Flow: The Psychology of Optimal Experience. New York: HarperCollins.Google Scholar
Ingold, Tim. 2010. ‘The textility of making’. Cambridge Journal of Economics 34 (1): 91102.Google Scholar
Nash, Chris and Blackwell, Alan. 2011. ‘Tracking virtuosity and flow in computer music’. In Proceedings of International Computer Music Conference 2011, 575–82.Google Scholar
Parkinson, Adam and McLean, Alex. 2014. ‘Interfacing with the night’. In Proceedings of the 2nd International Conference on Live Interfaces.Google Scholar
Small, Christopher. 1998. Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press.Google Scholar
Turkle, Sherry and Papert, Seymour. 1992. ‘Epistemological pluralism and the revaluation of the concrete’. Journal of Mathematical Behavior 11 (1): 333.Google Scholar
Collins, Nick and McLean, Alex. 2014. ‘Algorave: A survey of the history, aesthetics and technology of live performance of algorithmic electronic dance music’. Proceedings of the International Conference on New Interfaces for Musical Expression 14: 355–8.Google Scholar
Csikszentmihalyi, Mihalyi. 2008. Flow: The Psychology of Optimal Experience. New York: HarperCollins.Google Scholar
Ingold, Tim. 2010. ‘The textility of making’. Cambridge Journal of Economics 34 (1): 91102.Google Scholar
Nash, Chris and Blackwell, Alan. 2011. ‘Tracking virtuosity and flow in computer music’. In Proceedings of International Computer Music Conference 2011, 575–82.Google Scholar
Parkinson, Adam and McLean, Alex. 2014. ‘Interfacing with the night’. In Proceedings of the 2nd International Conference on Live Interfaces.Google Scholar
Small, Christopher. 1998. Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press.Google Scholar
Turkle, Sherry and Papert, Seymour. 1992. ‘Epistemological pluralism and the revaluation of the concrete’. Journal of Mathematical Behavior 11 (1): 333.Google Scholar
Aguilar, Ananay. 2014. ‘Negotiating liveness: Technology, economics, and the artwork in LSO Live’. Music and Letters 95 (2): 251–72.Google Scholar
Ashby, Arved. 2010. Absolute Music, Mechanical Reproduction. Berkeley: University of California Press.Google Scholar
Auslander, Philip. 2002. ‘Live from cyberspace: Or, I was sitting at my computer this guy appeared he thought I was a bot’. PAJ: A Journal of Performance and Art 24 (1): 1621.Google Scholar
Auslander, Philip. 2005. ‘At the Listening Post, or, do machines perform?International Journal of Performance Arts and Digital Media 1 (1): 510.Google Scholar
Auslander, Philip. 2008. Liveness: Performance in a Mediatized Culture, 2nd edn. London: Routledge.Google Scholar
Balme, Christopher. 2008. ‘Surrogate stages: Theatre, performance and the challenge of new media’. Performance Research 13 (2): 8091.Google Scholar
Barker, Martin. 2013. Live to your Local Cinema: The Remarkable Rise of Livecasting. Houndmills: Palgrave Macmillan.Google Scholar
Beaudoin, Richard. 2014. The Artist and His Model VI: La fille dérivée, for sextet. Amherst, MA: Edition Casavespa.Google Scholar
Beaudoin, Richard. 2015. New York Mikrophon, for quartet. Unpublished score. Available by request from www.richardbeaudoin.com/new-york-mikrophon.Google Scholar
Bowen, José A. 1993. ‘The history of remembered innovation: Tradition and its role in the relationship between musical works and their performances’. Journal of Musicology 11 (2): 139–73.Google Scholar
Brown, Kevin. 2010. ‘Liveness anxiety: Karaoke and the performance of class’. Popular Entertainment Studies 1 (2): 6177.Google Scholar
Collins, Karen. 2013. Playing with Sound: A Theory of Interacting with Sound and Music in Video Games. Cambridge, MA: The MIT Press.Google Scholar
Cook, Nicholas. 2001. ‘Between process and product: Music and/as performance’. Music Theory Online 7, no. 2 (April). http://www.mtosmt.org/issues/mto.01.7.2/mto.01.7.2.cook.html.Google Scholar
Cook, Nicholas. 2003. ‘Music as performance’. In The Cultural Study of Music: A Critical Introduction, edited by Clayton, Martin, Herbert, Trevor and Middleton, Richard, 204–14. London: Routledge.Google Scholar
Cook, Nicholas. 2013. Beyond the Score: Music as Performance. New York: Oxford University Press.Google Scholar
Croft, John. 2007. ‘Theses on liveness’. Organised Sound 12 (1): 5966.Google Scholar
Deleuze, Gilles. 1988. Bergsonism. New York: Zone Books.Google Scholar
Dixon, Steve. 2007. Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Cambridge, MA: The MIT Press.Google Scholar
Echard, William. 2006. ‘Sensible virtual selves: Bodies, instruments, and the becoming-concrete of music’. Contemporary Music Review 25 (1–2): 716.Google Scholar
Emmerson, Simon. 1994. ‘“Live” versus “real-time”’. Contemporary Music Review 10 (2): 95101.Google Scholar
Emmerson, Simon. 2000. ‘“Losing touch?”: The human performer and electronics’. In Music, Electronic Media and Culture, edited by Emmerson, Simon, 194216. Aldershot: Ashgate.Google Scholar
Emmerson, Simon. 2007. Living Electronic Music. Aldershot: Ashgate.Google Scholar
Emmerson, Simon. 2012. ‘Live electronic music or living electronic music?’ In Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity, edited by Peters, Deniz, Eckel, Gerhard and Dorschel, Andreas, 152–62. New York: Routledge.Google Scholar
Fischer-Lichte, Erika. 2008. The Transformative Power of Performance: A New Aesthetics. Translated by Jain, Saskya Iris. New York: Routledge.Google Scholar
Gagen, Justin and Cook, Nicholas. 2016. ‘Performing live in Second Life’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara. New York: Oxford University Press.Google Scholar
Goehr, Lydia. 1992. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Oxford University Press.Google Scholar
Goehr, Lydia. 1998. ‘Conflicting ideals of performance: Perfection in an imperfect practice’. In The Quest for Voice: Music, Politics, and the Limits of Philosophy, 132–73. Berkeley: University of California Press.Google Scholar
Harvey, Trevor S. 2016. ‘Avatar rockstars: Constructing musical personae in virtual worlds’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 171–89. New York: Oxford University Press.Google Scholar
Hayles, N. Katherine. 1999. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: University of Chicago Press.Google Scholar
Leloup, Jean-Yves. 2010. Digital Magma: From the Utopia of Rave Parties to the iPod Generation. Translated by Buck, Paul and Petit, Catherine. New York: Lukas & Sternberg.Google Scholar
Miller, Paul D. 2004. Rhythm Science. Cambridge, MA: MIT Press.Google Scholar
Phelan, Peggy. 1993. ‘The ontology of performance: Representation without reproduction’. In Unmarked: The Politics of Performance, 146–66. London: Routledge.Google Scholar
Sanden, Paul. 2013. Liveness in Modern Music: Musicians, Technology, and the Perception of Performance. New York: Routledge.Google Scholar
Shields, Rob. 2003. The Virtual. London: Routledge.Google Scholar
Sousa, John Philip. 1906. ‘The menace of mechanical music’. Appleton’s Magazine 8: 278–84. www.phonozoic.net/n0155.htm.Google Scholar
Thornton, Sarah. 1995. Club Cultures: Music, Media and Subcultural Capital. Cambridge: Polity Press, 1995.Google Scholar
Trottier, Danick. 2013. ‘Conceiving musical photorealism: An interview with Richard Beaudoin’. Perspectives of New Music 51 (1): 174–95.Google Scholar
Aguilar, Ananay. 2014. ‘Negotiating liveness: Technology, economics, and the artwork in LSO Live’. Music and Letters 95 (2): 251–72.Google Scholar
Ashby, Arved. 2010. Absolute Music, Mechanical Reproduction. Berkeley: University of California Press.Google Scholar
Auslander, Philip. 2002. ‘Live from cyberspace: Or, I was sitting at my computer this guy appeared he thought I was a bot’. PAJ: A Journal of Performance and Art 24 (1): 1621.Google Scholar
Auslander, Philip. 2005. ‘At the Listening Post, or, do machines perform?International Journal of Performance Arts and Digital Media 1 (1): 510.Google Scholar
Auslander, Philip. 2008. Liveness: Performance in a Mediatized Culture, 2nd edn. London: Routledge.Google Scholar
Balme, Christopher. 2008. ‘Surrogate stages: Theatre, performance and the challenge of new media’. Performance Research 13 (2): 8091.Google Scholar
Barker, Martin. 2013. Live to your Local Cinema: The Remarkable Rise of Livecasting. Houndmills: Palgrave Macmillan.Google Scholar
Beaudoin, Richard. 2014. The Artist and His Model VI: La fille dérivée, for sextet. Amherst, MA: Edition Casavespa.Google Scholar
Beaudoin, Richard. 2015. New York Mikrophon, for quartet. Unpublished score. Available by request from www.richardbeaudoin.com/new-york-mikrophon.Google Scholar
Bowen, José A. 1993. ‘The history of remembered innovation: Tradition and its role in the relationship between musical works and their performances’. Journal of Musicology 11 (2): 139–73.Google Scholar
Brown, Kevin. 2010. ‘Liveness anxiety: Karaoke and the performance of class’. Popular Entertainment Studies 1 (2): 6177.Google Scholar
Collins, Karen. 2013. Playing with Sound: A Theory of Interacting with Sound and Music in Video Games. Cambridge, MA: The MIT Press.Google Scholar
Cook, Nicholas. 2001. ‘Between process and product: Music and/as performance’. Music Theory Online 7, no. 2 (April). http://www.mtosmt.org/issues/mto.01.7.2/mto.01.7.2.cook.html.Google Scholar
Cook, Nicholas. 2003. ‘Music as performance’. In The Cultural Study of Music: A Critical Introduction, edited by Clayton, Martin, Herbert, Trevor and Middleton, Richard, 204–14. London: Routledge.Google Scholar
Cook, Nicholas. 2013. Beyond the Score: Music as Performance. New York: Oxford University Press.Google Scholar
Croft, John. 2007. ‘Theses on liveness’. Organised Sound 12 (1): 5966.Google Scholar
Deleuze, Gilles. 1988. Bergsonism. New York: Zone Books.Google Scholar
Dixon, Steve. 2007. Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Cambridge, MA: The MIT Press.Google Scholar
Echard, William. 2006. ‘Sensible virtual selves: Bodies, instruments, and the becoming-concrete of music’. Contemporary Music Review 25 (1–2): 716.Google Scholar
Emmerson, Simon. 1994. ‘“Live” versus “real-time”’. Contemporary Music Review 10 (2): 95101.Google Scholar
Emmerson, Simon. 2000. ‘“Losing touch?”: The human performer and electronics’. In Music, Electronic Media and Culture, edited by Emmerson, Simon, 194216. Aldershot: Ashgate.Google Scholar
Emmerson, Simon. 2007. Living Electronic Music. Aldershot: Ashgate.Google Scholar
Emmerson, Simon. 2012. ‘Live electronic music or living electronic music?’ In Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity, edited by Peters, Deniz, Eckel, Gerhard and Dorschel, Andreas, 152–62. New York: Routledge.Google Scholar
Fischer-Lichte, Erika. 2008. The Transformative Power of Performance: A New Aesthetics. Translated by Jain, Saskya Iris. New York: Routledge.Google Scholar
Gagen, Justin and Cook, Nicholas. 2016. ‘Performing live in Second Life’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara. New York: Oxford University Press.Google Scholar
Goehr, Lydia. 1992. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Oxford University Press.Google Scholar
Goehr, Lydia. 1998. ‘Conflicting ideals of performance: Perfection in an imperfect practice’. In The Quest for Voice: Music, Politics, and the Limits of Philosophy, 132–73. Berkeley: University of California Press.Google Scholar
Harvey, Trevor S. 2016. ‘Avatar rockstars: Constructing musical personae in virtual worlds’. In The Oxford Handbook of Music and Virtuality, edited by Whiteley, Sheila and Rambarran, Shara, 171–89. New York: Oxford University Press.Google Scholar
Hayles, N. Katherine. 1999. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: University of Chicago Press.Google Scholar
Leloup, Jean-Yves. 2010. Digital Magma: From the Utopia of Rave Parties to the iPod Generation. Translated by Buck, Paul and Petit, Catherine. New York: Lukas & Sternberg.Google Scholar
Miller, Paul D. 2004. Rhythm Science. Cambridge, MA: MIT Press.Google Scholar
Phelan, Peggy. 1993. ‘The ontology of performance: Representation without reproduction’. In Unmarked: The Politics of Performance, 146–66. London: Routledge.Google Scholar
Sanden, Paul. 2013. Liveness in Modern Music: Musicians, Technology, and the Perception of Performance. New York: Routledge.Google Scholar
Shields, Rob. 2003. The Virtual. London: Routledge.Google Scholar
Sousa, John Philip. 1906. ‘The menace of mechanical music’. Appleton’s Magazine 8: 278–84. www.phonozoic.net/n0155.htm.Google Scholar
Thornton, Sarah. 1995. Club Cultures: Music, Media and Subcultural Capital. Cambridge: Polity Press, 1995.Google Scholar
Trottier, Danick. 2013. ‘Conceiving musical photorealism: An interview with Richard Beaudoin’. Perspectives of New Music 51 (1): 174–95.Google Scholar
Jensenius, Alexander Refsum and Lyons, Michael J., eds. 2017. A NIME Reader: Fifteen Years of New Interfaces for Musical Expression. New York: Springer.Google Scholar
McPherson, Andrew and Kim, Youngmoo E.. 2012. ‘The problem of the second performer: building a community around an augmented piano’. Computer Music Journal 36 (4): 1027.Google Scholar
McPherson, Andrew, Gierakowski, Adrian and Stark, Adam M.. 2013. ‘The space between the notes: adding expressive pitch control to the piano keyboard’. In Proceedings of the ACM SIGCHI Conference on Human Factors in Computing Systems, 2195–204.Google Scholar
McPherson, Andrew, Morreale, Fabio and Harrison, Jacob. 2019 . ‘Musical instruments for novices: Comparing NIME, HCI and crowdfunding approaches’. In New Directions in Music and Human-Computer Interaction, edited by Holland, Simon, Mudd, Tom, Wilkie-McKenna, Katie, McPherson, Andrew and Wanderley, Marcelo. London: Springer.Google Scholar
Robjohns, Hugh. 2014. ‘The TouchKeys Project’. Sound on Sound Magazine, June. www.soundonsound.com/people/touchkeys-project.Google Scholar
Jensenius, Alexander Refsum and Lyons, Michael J., eds. 2017. A NIME Reader: Fifteen Years of New Interfaces for Musical Expression. New York: Springer.Google Scholar
McPherson, Andrew and Kim, Youngmoo E.. 2012. ‘The problem of the second performer: building a community around an augmented piano’. Computer Music Journal 36 (4): 1027.Google Scholar
McPherson, Andrew, Gierakowski, Adrian and Stark, Adam M.. 2013. ‘The space between the notes: adding expressive pitch control to the piano keyboard’. In Proceedings of the ACM SIGCHI Conference on Human Factors in Computing Systems, 2195–204.Google Scholar
McPherson, Andrew, Morreale, Fabio and Harrison, Jacob. 2019 . ‘Musical instruments for novices: Comparing NIME, HCI and crowdfunding approaches’. In New Directions in Music and Human-Computer Interaction, edited by Holland, Simon, Mudd, Tom, Wilkie-McKenna, Katie, McPherson, Andrew and Wanderley, Marcelo. London: Springer.Google Scholar
Robjohns, Hugh. 2014. ‘The TouchKeys Project’. Sound on Sound Magazine, June. www.soundonsound.com/people/touchkeys-project.Google Scholar
Egan, Jennifer. 2010. A Visit from the Goon Squad. New York: Knoff.Google Scholar