Category Archives: Lecture materials

Week 11 Lecture A Digital disruption the music industry



Jacques Attali (1977) Noise: The Political Economy of Music, University of Minnesota Press [link], [alt link]

IFPI (2016) Global Music Report 2016 [link]

Yngvat Kjus (2015) ‘Reclaiming the music: The power of local and physical music distribution in the age of global online services’, New Media & Society, pp.1-17 [link]

Mark Mulligan (2015) Awakening: The Music Industry in the Digital Age, MIDiA Research [link]

Jim Roger (2013) Death and Life of the Music Industry in the Digital Age, Bloomsbury Academic [link]

Stephen Witt (2015) How Music Got Free, Vintage Digital [link]



Week 11 Lecture B: Glamorous indie rock and roll?



Matthew Bannister (2006) ‘”Loaded”: indie guitar rock, canonism, white masculinities’, Popular Music, Vol 25, Iss 1,

Matthew Bannister (2006) White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock, Aldershot: Ashgate [Google Books link]

Samantha Bennett (2014) ‘Explainer: indie music’, The Conversation 

Stuart Borthwick and Ron Moy (2004) Popular Music Genres: An Introduction, Edinburgh: Edinburgh University Press (especially chapter 10) [Google Books link]

Wendy Fonarow (2006) Empire of Dirt: The Aesthetics and Rituals of British Indie Music, Middletown: Wesleyan University Press (especially chapter 1) [Google Books link]

David Hesmondhalgh (1999) ‘Indie: The Institutional Politics and Aesthetics of a Popular Music Genre’, Cultural Studies, Vol 13, Iss 1,

Ryan Hibbett (2005) ‘What is Indie Rock and Roll?’, Popular Music and Society, Vol 28, Iss 1, [alt link .pdf]




Week 12 (2014) Lecture B materials: Folk and Englishness

This week’s session was hosted by Dr Trish Winter and was based on her research into contemporary folk music. You can find a pdf version of the lecture slides here: med332 folk music lecture online


Get Folked screenshot

First broadcast: 12am Sat 7th Dec 2013



Get Folked: The Great Folk Revival – Channel 4 On Demand link



Trish Winter & Simon Keegan-Phipps (2010) ‘Performing Englishness in New English Folk Music and Dance’, Research Project Closing Report 19th Jan 2010. Available here

Winter, T and Keegan-Phipps, S. (2013) Performing Englishness: identity and politics in a contemporary folk resurgence. Manchester: Manchester University Press

Week 11: Britpop


Live Forever: The Rise and Fall of Brit Pop – In Italiano from Jack83 on Vimeo.


Don’t Look Back in Anger: The Story of Britpop – Part 1 Britain Strikes Back

Don’t Look Back in Anger: The Story of Britpop – Part 2 Cool Britannia

Don’t Look Back in Anger: The Story of Britpop – Part 3 Oasis vs Blur

Don’t Look Back in Anger: The Story of Britpop – Part 4 The Party’s Over



Andy Bennett (1997) ‘“Village greens and terraced streets”: Representations of “Britishness” in Britpop’, Young: Nordic Journal of Youth Research, 5(4): 20-33.

Andy Bennett and Jon Stratton [eds] (2010) Britpop and the English Music Tradition, Farnham: Ashgate Publishing [intro .pdf]

John Harris (2003/2010) The Last Party: Britpop, Blair and the Demise of English Rock, London: Harper Perennial

David Hesmondhalgh (2001) “British Popular Music and National Identity”, in David Morley and Kevin Robins [eds.], British Cultural Studies. Oxford and New York: Oxford University Press. 273-286

Week 10 Lecture B materials: Dance music cultures

MAC351 Dance music culture – moral panics, hegemony and raving from Rob Jewitt




Andy Bennett (2001) Cultures of Popular Music, Buckingham: Open University Press. Chapter 8

J. Gilbert & E. Pearson, 1999, Discographies: dance music, culture, and the politics of sound, London: Routledge.

T. Glover, 2003, ‘Regulating the Rave Scene: Exploring the Policy Alternatives of Government’, in Leisure Sciences, Vol 25 Issue 3: p307 – 325 (only available vie request through inter-library loan)

S. Reynolds, 1998, Energy Flash: A Journey Through Rave Music and Dance Culture, London: Picador.

H. Rietveld, 1998, ‘Repetitive beats: free parties and the politics of contemporary DiY dance culture in Britain’ in G. McKay (ed.), DiY Culture: Party and Protest in Nineties Britain, London: Verso.

S. Thornton, 1995, Club Cultures: Music, Media and Subcultural Capital, Cambridge: Polity Press.

C. Critcher, 2003, Moral Panics and the Media, Buckingham: Open University Press (especially chapter 4).

K. Murji, 1998, ‘The Agony and the Ecstasy: Drugs, Media and Morality’ in R. Coomber (ed.), The Control of Drugs and Drug Users: Reason or Reaction?, Harwood Academic Publishers (

Week 10 Lecture A materials: Electronic Music Production


Copyright Criminals (2009) on Vimeo.



Shiga, John (2007) ‘Copy-and-Persist: The Logic of Mash-Up Culture’, Critical Studies in Media Communication, Vol. 24, Iss 2, pp.93-114

Lawrence, Tim (2008) ‘Disco madness: Walter Gibbons and the legacy of turntablism and remixology’, Journal of Popular Music Studies, Vol. 20: 276–329
— also available here:

Borschke, Margie (2010) ‘Disco edits and their discontents: The persistence of the analog in a digital era’, New Media & Society, Vol 13, No 6, pp.924-944
— also available here:

Fink, Robert (2005). ‘The story of ORCH5, or, the classical ghost in the hip-hop machine.’ Popular Music, Vol 24, No 3, pp 339-356

M/C Journal – (2011) special issue: ‘remix’

Fact Mag (2016) ‘The 14 pieces of software that shaped modern music’ 

Week 9 Lecture B materials: Rap, authenticity, commerce and capitalism



Regina N. Bradley (2014) ‘Kanye West’s Sonic [Hip-hop] Cosmopolitanism’ in Julius Bailey (ed), The Cultural Impact of Kanye West, Palgrave

Akilah N. Folami (2007) ‘From Habermas to “Get Rich or Die Tryin”: Hip Hop, the Telecommunications Act of 1996, and the Black Public Sphere’, Michigan Journal of Race and the Law, Vol 12: 235

Jon Caramonica (2013) ‘Behind Kanye’s Mask’, New York Times

Stephanie Convery (2014) ‘In defence of Iggy Azalea: on racism, naivety and a twisted cluster of exploitation’, The Guardian

Margaret Hunter (2011) ‘Shake it, Baby, Shake it: Consumption and the New Gender Relation in Hip-Hop’, Sociological Perspectives, Vol  54, No. 1, pp. 15-36, [alt link]

Andrew Marantz,  (2014) ‘Old School: The d.j. Peter Rosenberg, hip-hop’s reigning purist.’ New Yorker

Jason Rodriquez (2006) ‘Color-Blind Ideology and the Cultural Appropriation of Hip-Hop’, Journal of Contemporary Ethnography 2, Vol 35, No 6, p645-668

Week 7 Lecture B materials: The birth of hip hop




Alridge, Derrick P. (2005) ‘From Civil Rights to Hip Hop: Toward a Nexus of Ideas’ in The Journal of African American History, Vol. 90, No. 3, pp. 226-252

Bennett, A (2001) Cultures of Popular Music, Open University Press, Chapter 6

Decker, Jeffrey Louis (1993) ‘The State of Rap: Time and Place in Hip Hop Nationalism’, Social Text, No. 34, pp. 53-84

Demers, Joanna (2003) ‘Sampling the 1970s in hip-hop’, in Popular Music, Vol 22, Iss 1, pp.41-56

Dimitriadis, Greg (1996) ‘Hip hop: from live performance to mediated narrative’, Popular Music, Vol 15, Iss 2, pp.179-194

George, N. 1993. ‘Hip-Hop’s Founding Fathers Speak the Truth’, The Source, November, pp. 44-5

Hess, Mickey (2005) ‘Metal Faces, Rap Masks: Identity and Resistance in Hip Hop’s Persona Artist’, in Popular Music and Society, Vol. 28, No. 3, pp.297-311

Hess, Mickey (2006) ‘Hip-hop Realness and the White Performer’ in  Critical Studies in Media Communication, Vol 22, No. 5, pp. 372-389, 

Keyes, C.L (1991) ‘Rappin’ to the beat: rap music as street culture among African Americans’, Doctoral thesis, Ann Arbor, MI: University Microfilms International