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

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

  1. Maas, Georg, and Hartmut Reszel. 1998. "Whatever happened to . . . ?": The decline and renaissance of rock in the former GDR. Popular Music 17(3): 267-277.
  2. Mabey, Richard. 1971. The pop process, 2d ed. London: Hutchinson Educational.
  3. Macaw, Heather. 1993. A comparison of the use and appeal of karaoke in Japan and Australia: How has karaoke adapted to the Asutralian culture? In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 201-203. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  4. MacFarland, David T. 1972. The development of the top 40 radio format. New York: Arno.
  5. Mackay, Robin. 1997. Capitalism and Schizophrenia: Wildstyle in full effect. In Deleuze and philosophy: The difference engineer, ed. Keith Ansell Pearson, 247-269. New York: Routledge.
  6. Mackey-Kallis, Susan. 1990. "How long to sing this song?": The rhetorical vision of U2's "holy" community. Popular Music and Society 14(3): 51-58.
  7. MacLeod, Dewar. 1996. I know, it's only rock 'n' roll, but I teach it. Radical History Review 66: 203-209.
  8. Madeira, Angelica. 1991. Rhythm and irreverence (notes about the rock music movement in Brasilia). Popular Music and Society 15(4): 57-70.
  9. Mahabir, Cynthia. 1996. Wit and popular music: The calypso and the blues. Popular Music 15: 55-81.
  10. Makay, John J., and Alberto Gonzalez. 1987. Dylan's biographical rhetoric and the myth of the outlaw-hero. Southern Speech Communication Journal 52: 165-180.
  11. Mäki-Kulmala, Airi. 1993. Subculture, rock music, and gender. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 205-207. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  12. Malm, Krister. 1982. Phonograms and cultural policy in Sweden. In The phonogram in cultural communication, ed. Kurt Blaukopf, 43-73. New York: Springer-Verlag.
  13. Malmros, A. (1974). "Organisational Set-Up and Politico-Cultural Aspects of Beat in Copenhagen." In Irmgard Bontinck (ed.), New Patterns of Musical Behaviour of the Young Generation in Industrial Societies (pp. 114-118). Vienna: Universal Edition.
  14. Malone, Bill C. 1979. Elvis, country music, and the South. In Elvis: Images and fancies, ed. Jac L. Tharpe, 123-134. Jackson: University Press of Mississippi.
  15. Malone, Bill C. 1982. "Honky Tonk: The Music of the Southern Working Class." In William R. Ferris & M.L. Hart (eds.), Folk Music and Modern Sound (pp. 119-128). Jackson: University Press of Mississippi.
  16. Malone, Bill C. 1985. Country music U.S.A., rev. ed. Austin: University of Texas Press.
  17. Malone, Bill. 1997. Country Elvis. In In search of Elvis: Music, race, art, religion, ed. Vernon Chadwick, 3-18. Boulder, CO: Westview Press.
  18. Mandziuk, Roseanne M. 1992. Feminist politics & postmodern seductions: Madonna and the struggle for political articulation. In The Madonna connection: Representational politics, subcultural identities, and cultural theory, ed. Cathy Schwichtenberg, 167-187. Boulder, CO: Westview Press.
  19. Manley, Roger. 1997. "It ain't no hound dog, maybe, but I believe it's some kinda critter anyway": Elvis and Southern self-taught art as storytelling. In In search of Elvis: Music, race, art, religion, ed. Vernon Chadwick, 123-141. Boulder, CO: Westview Press.
  20. Manuel, Peter. 1989. Rock music and cultural ideology in revolutionary Cuba. In World music, politics and social change: Papers from the International Association for the Study of Popular Music, ed. Simon Frith, 161-166. New York: Manchester University Press.
  21. Manuel, Peter. 1995. Music as symbol, music as simulacrum: Postmodern, pre-modern, and modern aesthetics in subcultural popular musics. Popular Music 14: 227-260.
  22. Marchetti, G.F. (1982). "Documenting Punk: A Subcultural Investigation," Film Reader, 5, pp. 269-284.
  23. Marcus, Greil, ed. 1969. Rock and roll will stand. Boston: Beacon.
  24. Marcus, Greil, ed. 1979. Stranded: Rock and roll for a desert island. New York: Alfred A. Knopf.
  25. Marcus, Greil. 1981. Liliput at the Cabaret Voltaire. Triquarterly 52: 264-277.
  26. Marcus, Greil. 1985. The dead and the quick. Artforum 23(6): 66-71.
  27. Marcus, Greil. 1986a. Critical response. Critical Studies in Mass Communication 3: 77-81.
  28. Marcus, Greil. 1986b. Martian genes. The Threepenny Review 26: pp. 22-23.
  29. Marcus, Greil. 1988. Silent warnings. In Media USA: Process and effect, ed. Arthur Asa Berger, 305-310. New York: Longman.
  30. Marcus, Greil. 1989a. Lipstick traces: A secret history of the twentieth century. Cambridge, MA: Harvard University Press.
  31. Marcus, Greil. 1989b. We are the world? In Zoot suits and second-hand dresses: An anthology of fashion and music, ed. Angela McRobbie, 276-282. Boston: Unwin Hyman.
  32. Marcus, Greil. 1990. Still dead: Elvis Presley without music. Artforum 29(1): 117-123.
  33. Marcus, Greil. 1991. Dead Elvis: A chronicle of a cultural obsession. New York: Doubleday.
  34. Marcus, Greil. 1993. Ranters & crowd-pleasers: Punk in pop music, 1977-92. New York: Doubleday.
  35. Marcus, Greil. 1997a. Invisible republic: Bob Dylan's basement tapes. New York: Henry Holt and Company.
  36. Marcus, Greil. 1997b. Mystery train: Images of America in rock 'n' roll music, 4th rev. ed. New York: Plume.
  37. Marcus, Greil. 2000. Double trouble: Bill Clinton and Elvis Presley in a land of no alternatives. New York: Henry Holt and Company.
  38. Marcus, J.H. (1991). "Don't Stop That Funky Beat: The Essentiality of Digital Sampling to Rap Music," Comm/Ent, 13, pp. 767-790.
  39. Marion, J., & McLarty, L. (1984). "Rock Video's Message," Canadian Forum, 740, pp. 28-29ff.
  40. Mark, D. (1983). "Pop and Folk as a Going Concern for Sociological Research," International Review of the Aesthetics and Sociology of Music, 14, pp. 93-98.
  41. Markson, S.L. (1990). "Claims-Making, Quasi-Theories, and the Social Construction of the Rock 'n' Roll Menace." In C.R. Sanders (ed.), Marginal Conventions: Popular Culture, Mass Media and Social Deviance (pp. 29-40). Bowling Green, OH: Bowling Green State University Popular Press.
  42. Marling, Karal Ann. 1996. Graceland: Going home with Elvis. Camrbidge, MA: Harvard University Press.
  43. Maróthy, J. (1983). "Bridging the Gaps: Folk, Jazz, Pop, Rock, Avant-Garde Versus Academic Music Education," International Society for Music Education Yearbook, 10, pp. 71-74.
  44. Marsh, Dave. 1985. Fortunate son: The best of Dave Marsh; criticism and journalism by America's best-known rock writer. New York: Random House.
  45. Marsh, Dave. 1989. The heart of rock and soul: The 1001 greatest singles ever made. New York: Plume.
  46. Marsh, Dave, Lee Ballinger, Sandra Choron, Wendy Smith, and Daniel Wolff, eds. 1985. The first Rock & roll confidential report: Inside the real world of rock & roll. New York: Pantheon.
  47. Marsh, P. (1977). "Dole-Queue Rock," New Society, 39, pp. 112-114.
  48. Marshall, G. (1969). "Taking the Beatles Seriously: Problems of Text," Journal of Popular Culture, 3, pp. 28-34.
  49. Martens, James. 1990. "Where have all the good times gone?": The Kinks, an inquiry into the debate on taste. Popular Music and Society 14(4): 77-88.
  50. Martin, B. (1979). "The Sacralization of Disorder: Symbolism in Rock Music," Sociological Analysis, 40, pp. 87-124.
  51. Martin, B. (1982). "Rock Music as Quasi-Religious Ritual," Media Development, 1, pp. 3-6.
  52. Martin, Christopher. 1993. Traditional criticism of popular music and the making of a lip-synching scandal. Popular Music and Society 17(4): 63-81.
  53. Martin, Denis-Constant. 1992. Music beyond apartheid? In Rockin' the boat: Mass music and mass movements, ed. Reebee Garofalo, 195-207. Boston: South End Press.
  54. Martin, Linda, and Kerry Segrave. 1988. Anti-rock: The opposition to rock 'n' roll. Hamden, CT: Archon Books.
  55. Mashkin, K.B., & Volgy, T.J. (1975). "Socio-Political Attitudes and Music Preferences," Social Science Quarterly, 56, pp. 450-459.
  56. Maultsby, Portia K. 1983. Soul music: Its sociological and political significance in American popular culture. Journal of Popular Culture 17(2): 51-60.
  57. Maurer, W. (1974). "Music of Contrasts: Report on the Contests of Austrian Beat Groups." In Irmgard Bontinck (ed.), New Patterns of Musical Behaviour of the Young Generation in Industrial Societies (pp. 129-134). Vienna: Universal Edition.
  58. Mayer, G. (1984). "Popular Music in the GDR," Journal of Popular Culture, 18(3), pp. 145-158.
  59. Mazzarella, Sharon R. 1995. The voice of Generation X?: Media coverage of the suicide of Kurt Cobain. Popular Music and Society 19(2): 49-68.
  60. McCann, Sean. 1996. Why I'll never teach rock 'n' roll again. Radical History Review 66: 191-202.
  61. McClary, Susan. 1989/90. This is not a story my people tell: Musical time and space according to Laurie Anderson. Discourse 12(1): 104-128.
  62. McClary, Susan. 1990a. Feminine endings: Music, gender, and sexuality. Minneapolis: University of Minnesota Press.
  63. McClary, Susan. 1990b. Living to tell: Madonna's resurrection of the fleshly. Genders 7: 1-21.
  64. McClary, Susan. 1990c. Towards a feminist criticism of music. Canadian University Music Review 10(2): 9-17.
  65. McClary, Susan. 1994. Same as it ever was: Youth culture and music. In Microphone fiends: Youth music and youth culture, ed. Andrew Ross and Tricia Rose, 29-40. New York: Routledge.
  66. McClary, Susan, and Robert Walser. 1990. Start making sense!: Musicology wrestles with rock. In On record: Rock, pop, and the written word, ed. Simon Frith and Andrew Goodwin, 277-292. New York: Pantheon.
  67. McConnell, F.D. (1971). "Rock and the Politics of Frivolity," The Massachusetts Review, 12, pp. 119-134.
  68. McCourt, Tom. 1983. Bright lights, big city: A brief history of rhythm and blues 1945-1957. Popular Music and Society 9(2): 1-18.
  69. McDonald, James R. 1987. Suicidal rage: An analysis of hardcore punk lyrics. Popular Music and Society 11(3): 91-102.
  70. McDonald, James R. 1988. Censoring rock lyrics: A historical analysis of the debate. Youth and Society 19: 294-313.
  71. McDonald, James R. 1989. White bluesman: The influence and career of Paul Butterfield. Popular Music and Society 13(2): 39-45.
  72. McDonald, James R. 1992. Rock and roll and the working class. In America's musical pulse: Popular music in twentieth-century society, ed. Kenneth J. Bindas 83-90. Westport, CT: Greenwood Press.
  73. McDonald, James R. 1993. Rock and memory: A search for meaning. Popular Music and Society 17(3): 1-17.
  74. McDonald, Paul. 1997. Feeling and fun: Romance, dance and the performing male body in the Take That videos. In Sexing the groove: Popular music and gender, ed. Sheila Whiteley, 277-294. New York: Routledge.
  75. McDonnell, Evelyn, and Ann Powers, eds. 1995. Rock she wrote: Women write about rock, pop, and rap. New York: Delta.
  76. McGregor, Craig. 1984. Pop goes the culture. London: Pluto.
  77. McGuire, M. (1984). "'Darkness on the Edge of Town': Bruce Springsteen's Rhetoric of Optimism and Despair." In M.J. Medhurst & T.W. Benson (eds.), Rhetorical Dimensions in Media: A Critical Casebook (pp. 233-250). Dubuque: Kendall-Hunt.
  78. McIlwraith, Robert D., and Wendy L. Josephson. 1985. Movies, books, music, and adult fantasy life. Journal of Communication 35(2): 167-179.
  79. McKeen, William. 1989. The Beatles: A bio-bibliography. New York: Greenwood.
  80. McLaren, Malcolm, Richard Hell, Stephen Sprouse, Greil Marcus, Jon Savage, and Paul Taylor. 1990. Punk and history. In Discourses: Conversations in postmodern art and culture, ed. Russell Ferguson, William Olander, Marcia Tucker, and Karen Fiss, 224-245. Cambridge, MA: The MIT Press.
  81. McLean, Polly E. 1997. Age ain't nothing but a number: A cross-cultural reading of popular music in the age of sexual expression among at-risk adolescents. Popular Music and Society 21(2): 1-16.
  82. McLeod, Kembrew. 2001. Genres, subgenres, sub-subgenres, and more: Musical and social differentiation within electronic/dance music communities. Journal of Popular Music Studies 13(1): 59-75.
  83. McRae, Gay. 1979. Notes of a fan-atic. In Elvis: Images and fancies, ed. Jac L. Tharpe, 173-179. Jackson: University Press of Mississippi.
  84. McRobbie, Angela. 1980. Settling accounts with subcultures: A feminist critique. Screen Education 34: 37-49.
  85. McRobbie, Angela. 1984. Dance and social fantasy. In Gender and generation, ed. Angela McRobbie and Mica Nava, 130-161. London: Macmillan.
  86. McRobbie, Angela, ed. 1989. Zoot suits and second-hand dresses: An anthology of fashion and music. Boston: Unwin Hyman.
  87. McRobbie, Angela. 1991. Dance narratives and fantasies of achievement. In Feminism and youth culture: From Jackie to Just seventeen, 189-219. Boston: Unwin Hyman.
  88. McSwain, Rebecca. 1995. The power of the electric guitar. Popular Music and Society 19(4): 21-40.
  89. Meade, M. (1971). "The Degradation of Women." Reprinted (1972) in R. Serge Denisoff & Richard A. Peterson (eds.), The Sounds of Social Change: Studies in Popular Culture (pp. 173-177). Chicago: Rand McNally.
  90. Medhurst, Andy. 1995. It sort of happened here: The strange, brief life of the British pop film. In Celluloid jukebox: Popular music and the movies since the 50s, ed. Jonathan Romney and Adrian Wootton, 60-70. London: British Film Institute.
  91. Medovoi, Leerom. 1991/2. Mapping the rebel image: Postmodernism and the masculinist politics of rock in the U.S.A. Cultural Critique, Winter: 153-188.
  92. Meintjes, Louise. 1990. Paul Simon's Graceland, South Africa, and the mediation of musical meaning. Ethnomusicology 34: 37-73.
  93. Mellers, Wilfred. 1976. Twilight of the gods: The Beatles in retrospect. London: Faber.
  94. Mellers, Wilfred. 1981. God, modality and meaning in some recent songs of Bob Dylan. Popular Music 1: 143-157.
  95. Melly, George. 1971. Revolt into style: The pop arts. Garden City, NY: Doubleday.
  96. Melton, G.W. (1991). "An Examination of the Bootleg Record Industry and Its Impact Upon Popular Music Consumption," Tracking: Popular Music Studies, 4(1), pp. 16-25.
  97. Melton, Gary W., and Mary-Lou Galician. 1987. A sociological approach to the pop music phenomenon: Radio and music video utilization for expectation, motivation and satisfaction. Popular Music and Society 11(3): 35-46.
  98. Meltzer, R. 1987. The aesthetics of rock. New York: Da Capo. Original edition, New York: Something Else Press, 1970.
  99. Mercer, Kobena. 1986. Monster metaphors: Notes on Michael Jackson's "Thriller." Screen 27(1): 26-43.
  100. Mercer-Taylor, Peter. 1998. Songs from the bell jar: Autonomy and the resistance in the music of the Bangles. Popular Music 17(2): 187-204.
  101. Merton, R. (1970). "Comment," New Left Review, 59, pp. 88-96.
  102. Meyer, Donald C. 1995. The real cooking is done in the studio: Toward a context for rock criticism. Popular Music and Society 19(1): 1-15.
  103. Michaels, Eric. 1987. My essay on postmodernity. Art and Text 25: 86-91.
  104. Michel, P. (1974). "On Physical and Psychological Acceleration: Effects on the Musical Development During Childhood and Adolescence." In Irmgard Bontinck (ed.), New Patterns of Musical Behaviour of the Young Generation in Industrial Societies (pp. 183-191). Vienna: Universal Edition.
  105. Middleton, Richard. 1972. Pop music and the blues: A study of the relationship and its significance. London: Victor Gollancz.
  106. Middleton, Richard. 1979. All shook up?: Innovation and continuity in Elvis Presley's vocal style. In Elvis: Images and fancies, ed. Jac L. Tharpe, 151-161. Jackson: University Press of Mississippi.
  107. Middleton, Richard. 1983. "Play it again, Sam": Some notes on the productivity of repetition in popular music. Popular Music 3: 235-270.
  108. Middleton, Richard. 1985a. Articulating musical meaning/re-constructing musical history/locating the "popular." Popular Music 5: 5-43.
  109. Middleton, Richard. 1985b. Popular music, class conflict and the music-historical field. Popular Music Perspectives 2: 24-46.
  110. Middleton, Richard. 1986. In the groove, or blowing your mind?: The pleasures of musical repetition. In Popular culture and social relations, ed. Tony Bennett, Colin Mercer, and Janet Woollacott, 159-176. Philadelphia: Open University Press.
  111. Middleton, Richard. 1990. Studying popular music. Philadelphia: Open University Press.
  112. Middleton, Richard. 1993. Popular music analysis and musicology: Bridging the gap. Popular Music 12: 177-194.
  113. Middleton, Richard. 1995. Authorship, gender and the construction of meaning in the Eurythmics' hit recordings. Cultural Studies 9(3): 465-485.
  114. Middleton, Richard. 1999. Form. In Key terms in popular music and culture, ed. Bruce Horner and Thomas Swiss, 141-155. Malden, MA: Blackwell.
  115. Miles, Cressida. 1997. Spatial politics: A gendered sense of place. In The clubcultures reader: Readings in popular cultural studies, ed. Steve Redhead, Derek Wynne, and Justin O’Connor, 66-78. Oxford: Blackwell Publishers Ltd.
  116. Milestone, Katie. 1997. Love factory: The sites, practices and media relationships of Northern Soul. In The clubcultures reader: Readings in popular cultural studies, ed. Steve Redhead, Derek Wynne, and Justin O’Connor, 152-167. Oxford: Blackwell Publishers Ltd.
  117. Miller, Mark Crispin. 1988. Rock music: A success story. In Boxed in: The culture of TV, 171-201. Evanston, IL: Northwestern University Press.
  118. Miller, Richard E. 1987. The music of our sphere: Apocalyptic visions in popular music of the eighties. Popular Music and Society 11(3): 75-90.
  119. Mills, Peter. 1994. Into the mystic: The aural poetry of Van Morrison. Popular Music 13: 91-103.
  120. Mitchell, T. (1989). "Performance and the Postmodern in Pop Music," Theatre Journal, 41, pp. 273-293.
  121. Mitchell, Tony. 1995. Questions of style: Notes on Italian hip-hop. Popular Music 14: 333-348.
  122. Mitchell, Tony. 1997. Flat city sounds: A cartography of the Christchurch music scene. Popular Music and Society 21(3): 83-105.
  123. Mizerski, Richard, Marya J. Pucely, Pamela Perrewe, and Lori Baldwin. 1988. An experimental evaluation of music involvement measures and their relationship with consumer purchasing behavior. Popular Music and Society 12(3): 79-96.
  124. Mockus, Martha. 1994. Queer thoughts on country music and k.d. lang. In Queering the pitch: The new gay and lesbian musicology, ed. Philip Brett, Elizabeth Wood, and Gary C. Thomas, 257-271. New York: Routledge.
  125. Mohan, Amy B., and Jean Malone. Popular music as "social cement": A content analysis of social criticism and alienation in alternative-music song titles. In Adolescents and their music: If it’s too loud, you’re too old, ed. Jonathan S. Epstein, 283-300. New York: Garland Publishing, Inc.
  126. Mondak, Jeffery J. 1988. Protest music as political persuasion. Popular Music and Society 12(3): 25-38.
  127. Mondak, Jeffery J. 1989. Cultural heterogeneity in capitalist society: In defense of repetition on the Billboard Hot 100. Popular Music and Society 13(3): 45-58.
  128. Monteiro, G. (1974). "Dylan in the Sixties," South Atlantic Quarterly, 73, pp. 160-172.
  129. Mooney, H.F. (1968). "Popular Music Since the 1920s: The Significance of Shifting Taste," American Quarterly, 20, pp. 67-85.
  130. Mooney, H.F. (1972). "Rock as an Historical Phenomenon," Popular Music and Society, 1, pp. 129-143.
  131. Mooney, Hugh. 1974. Just before rock: Pop music 1950-1953, reconsidered. Popular Music and Society 3: 65-108.
  132. Mooney, Hugh. 1980a. Disco: A music for the 1980s? Popular Music and Society 7: 84-94.
  133. Mooney, Hugh. 1980b. Twilight of the age of Aquarius?: Popular music in the 1970s. Popular Music and Society 7: 182-198.
  134. Moore, Allan. 1995. The so-called "flattened seventh" in rock. Popular Music 14: 185-201.
  135. Moore, M.C., Skipper, J.K., & Willis, C.L. (1979). "Rock and Roll: Arousal Music or a Reflection of Changing Sexual Mores?" In M. Cook & G. Wilson (eds.), Love and Attraction: An International Conference (pp. 481-486). New York: Pergamon.
  136. Moore, S. (1985). "The Recording Studio as a Musical Instrument," Ré Records Quarterly, 1(1), pp. 32-33.
  137. Moore, S. (1988). "Getting a Bit of the Other: The Pimps of Postmodernism." In R. Chapman & J. Rutherford (eds.), Male Order: Unwrapping Masculinity (pp. 165-192). London: Lawrence & Wishart.
  138. Morse, Margaret. 1985. Rock video: Synchronizing rock music and television. Fabula 5: 154-171.
  139. Morse, Margaret. 1986. Postsynchronizing rock music and television. Journal of Communication Inquiry 10(1): 15-28.
  140. Morton, Melanie. 1992. Don't go for second sex, baby! In The Madonna connection: Representational politics, subcultural identities, and cultural theory, ed. Cathy Schwichtenberg, 213-235. Boulder, CO: Westview Press.
  141. Mosher, Harold F., Jr. 1972. The lyrics of American pop music: A new poetry. Popular Music and Society 1: 167-176.
  142. Mowitt, John. 1987. The sound of music in the era of its electronic reproducibility. In Music and society: The politics of composition, performance and reception, ed. Richard Leppert and Susan McClary, 173-197. New York: Cambridge University Press.
  143. Mowitt, John. 1990. Performance theory as the work of Laurie Anderson. Discourse 12(2): 48-65.
  144. Muggleton, Dave. 1997. The post-subculturalist. In The clubcultures reader: Readings in popular cultural studies, ed. Steve Redhead, Derek Wynne, and Justin O’Connor, 185-203. Oxford: Blackwell Publishers Ltd.
  145. Muikku, Jari. 1990. On the role and tasks of a record producer. Popular Music and Society 14(1): 25-33.
  146. Muikku, Jari. 1993. Money for nothing?: The future of copyright remuneration for the use of phonograms in radio and the blank tape levy/fee. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 211-214. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  147. Mungham, G. (1976). "Youth in Pursuit of Itself." In G. Pearson & G. Mungham (eds.), Working-Class Youth Culture (pp. 82-104). Boston: Routledge & Kegan Paul.
  148. Murdock, G., & Phelps, G. (1972). "Responding to Popular Music: Criteria of Classification and Choice Among English Teenagers," Popular Music and Society, 1, pp. 144-151.
  149. Murphey, T. (1989). "The When, Where, and Who of Pop Lyrics: The Listener's Prerogative," Popular Music, 8, pp. 185-193.
  150. Murray, R.S. (1979). "From Memphis to Motown: Some Geographical Implications of the Origin and Diffusion of Rock 'n' Roll Music." In G.O. Carney (ed.), The Sounds of People and Places: Readings in the Geography of Music (pp. 233-247). Washington, DC: University Press of America.
  151. Musto, Michael. 1995. Immaculate Connection. In Out in culture: Gay, lesbian and queer essays on popular culture, ed. Corey K. Creekmur and Alexander Doty, 427-436. Durham, NC: Duke University Press.
  152. Muto, Jan. 1995. He was the woman of his dreams: Identity, gender, and Kurt Cobain. Popular Music and Society 19(2): 69-85.
  153. Mutsaers, L. (1990). "Indorock: An Early Eurorock Style," Popular Music, 9, pp. 307-320.
    N

  154. Nakayama, Thomas K., and Lisa N. Peñaloza. 1992. Madonna t/races: Music videos through the prism of color. In The Madonna connection: Representational politics, subcultural identities, and cultural theory, ed. Cathy Schwichtenberg, 39-55. Boulder, CO: Westview Press.
  155. Nanry, Charles, ed. 1972. American music: From Storyville to Woodstock. New Brunswick, NJ: Transaction Books.
  156. Nash, P.H. (1975). "Music and Environment: An Investigation of Some of the Spatial Aspects of Production, Diffusion, and Consumption of Music," Canadian Association of University Schools of Music Journal, 5(1), pp. 42-71.
  157. Nazareth, Peter. 1997. Elvis as anthology. In In search of Elvis: Music, race, art, religion, ed. Vernon Chadwick, 37-72. Boulder, CO: Westview Press.
  158. Neal, Mark Anthony. 1997. Sold out on soul: The corporate annexation of black popular music. Popular Music and Society 21(3): 117-135
  159. Negativland. 1995. Fair use: The story of the letter u and the numeral 2. Concord, CA: Seeland.
  160. Negus, Keith. 1993a. Plugging and programming: Pop radio and record promotion in Britain and the United States. Popular Music 12: 57-68.
  161. Negus, Keith. 1993b. Producing pop: Culture and conflict in the popular music industry. New York: Routledge.
  162. Negus, Keith. 1993c. Sinead O'Connor: Miniature portrait of the artist as an angry young woman. In Popular music -- style and identity, ed. Will Straw, Stacey Johnson, Rebecca Sullivan, and Paul Friedlander, 221-224. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions.
  163. Negus, Keith. 1996. Popular music in theory: An introduction. Hanover, NH: Wesleyan University Press.
  164. Negus, Keith. 1997. Sinéad O'Connor -- musical mother. In Sexing the groove: Popular music and gender, ed. Sheila Whiteley, 178-190. New York: Routledge.
  165. Nehring, Neil. 1989/90. The shifting relations of literature and popular music in postwar England. Discourse 12(1): 78-103.
  166. Nelson, Angela Spence. 1991. Theology in the hip-hop of Public Enemy and Kool Moe Dee. Black Sacred Music 5(1): 51-59.
  167. Neumann, Mark, and Timothy A. Simpson. 1997. Smuggled sound: Bootleg recording and the pursuit of popular memory. Symbolic Interaction 29(4): 319-341.
  168. Neustadter, Roger. 1994. The obvious child: The symbolic use of childhood in contemporary popular music. Popular Music and Society 18(1): 51-67.
  169. Nexica, Irene J. 1997. Music marketing: Tropes of hybrids, crossovers, and cultural dialogue through music. Popular Music and Society 21(3): 61-82.
  170. Nicholls, M. (1980). "Running an 'Open' Music Department." In G. Vulliamy & E. Lee (eds.), Pop Music in School (revised edition, pp. 123-140). Cambridge: Cambridge University Press.
  171. Niemann, K. (1974). "Mass Media -- New Ways of Approach to Music and New Patterns of Musical Behaviour." In Irmgard Bontinck (ed.), New Patterns of Musical Behaviour of the Young Generation in Industrial Societies (pp. 44-53). Vienna: Universal Edition.
  172. Niketta, Reiner. 1998. Rock musicians in Germany and ideas for their promotion. Popular Music 17(3): 311-325.
  173. North, Adrian C., and David J. Hargreaves. 1995. Eminence in pop music. Popular Music and Society 19(4): 41-66.
  174. Norwood, Jennifer. 1987. Lyrics, listening and good sense. Popular Music and Society 11(2): 91-94.
  175. Noys, Benjamin. 1995. Into the "Jungle." Popular Music 14: 321-332.
  176. Nugent, Stephen L. 1985. Essay Review. Popular Music 5: 235-244.
  177. Nugent, Stephen L. 1986. Critical response. Critical Studies in Mass Communication 3: 82-85.
  178. Numminen, M.A. (1974). "An Inside View of Pop Music in Finland." In Irmgard Bontinck (ed.), New Patterns of Musical Behaviour of the Young Generation in Industrial Societies (pp. 60-65). Vienna: Universal Edition.
    O

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