| Title |
Author |
Journal |
Issue |
Published |
ISBN / DOI |
Subjects |
Series |
|
A sonic step closer: Master-tape preservation at the Alexander Turnbull Library
|
Michael Brown |
Popular Music History |
Vol 13 No. 3 (2020)
|
Dec 9, 2020 |
10.1558/pomh.40992
|
Popular Music
|
|
|
(Re-)valuing rock music: Curatorship in the production of garage rock reissue compilation albums
|
José Vicente Neglia |
Popular Music History |
Vol 13 No. 1-2 (2020) Special Issue: Popular Music and Curation
|
Dec 3, 2020 |
10.1558/pomh.39631
|
Popular Music
|
|
|
Billboard’s ‘Hot Country Songs’ chart and the curation of country music culture
|
Jada Watson |
Popular Music History |
Vol 13 No. 1-2 (2020) Special Issue: Popular Music and Curation
|
Dec 3, 2020 |
10.1558/pomh.39428
|
Popular Music
|
|
|
Ektoplazm.com: Psychedelic trance, internet curation and free music distribution
|
Christopher David Charles |
Popular Music History |
Vol 13 No. 1-2 (2020) Special Issue: Popular Music and Curation
|
Dec 3, 2020 |
10.1558/pomh.39424
|
Popular Music
|
|
|
Right time, right place: The British Library’s Punk 1976–78 exhibition
|
J. Mark Percival |
Popular Music History |
Vol 13 No. 1-2 (2020) Special Issue: Popular Music and Curation
|
Dec 3, 2020 |
10.1558/pomh.39677
|
Popular Music
|
|
|
Pick out the jams: Curation and independent record shops
|
Lee Ann Fullington |
Popular Music History |
Vol 13 No. 1-2 (2020) Special Issue: Popular Music and Curation
|
Dec 3, 2020 |
10.1558/pomh.39663
|
Popular Music
|
|
|
Supplementing a typology of curation: Learning from George Harrison and Indian music
|
Michael Lewis Jones |
Popular Music History |
Vol 13 No. 1-2 (2020) Special Issue: Popular Music and Curation
|
Dec 3, 2020 |
10.1558/pomh.42219
|
Popular Music
|
|
|
Negotiating the co-curation of an online community popular music archive
|
Beate Peter |
Popular Music History |
Vol 13 No. 1-2 (2020) Special Issue: Popular Music and Curation
|
Dec 3, 2020 |
10.1558/pomh.39666
|
Popular Music
|
|
|
Continuity and change in popular music curation: Exhibiting the musical past in Liverpool
|
Sara Cohen |
Popular Music History |
Vol 13 No. 1-2 (2020) Special Issue: Popular Music and Curation
|
Dec 3, 2020 |
10.1558/pomh.40022
|
Popular Music
|
|
|
Scene and heard: Collecting the Dunedin Sound
|
Amanda Patricia Mills |
Popular Music History |
Vol 13 No. 1-2 (2020) Special Issue: Popular Music and Curation
|
Dec 3, 2020 |
10.1558/pomh.39400
|
Popular Music
|
|
|
Punk Portugal, 1977–2012: A preliminary genealogy
|
Paula Guerra, Andy Bennett |
Popular Music History |
Vol 13 No. 3 (2020)
|
Nov 1, 2020 |
10.1558/pomh.39660
|
Popular Music
|
|
|
Curating exhausted commodities: A case study of We Buy White Albums
|
Iain A. Taylor |
Popular Music History |
Vol 13 No. 1-2 (2020) Special Issue: Popular Music and Curation
|
Oct 16, 2020 |
10.1558/pomh.39614
|
Popular Music
|
|
|
‘On the programme tonight’: The Old Grey Whistle Test as tastemaker for British AOR audiences in the early 1970s
|
Andy Bennett |
Popular Music History |
Vol 12 No. 3 (2019) Special Issue: Listening again to popular music as history (Part 2)
|
Oct 7, 2020 |
10.1558/pomh.41438
|
Popular Music
|
|
|
Experiential knowledge: Dance as source for popular music historiography
|
Beate Peter |
Popular Music History |
Vol 12 No. 3 (2019) Special Issue: Listening again to popular music as history (Part 2)
|
Sep 30, 2020 |
10.1558/pomh.39678
|
Popular Music
|
|
|
The poetics of recorded time: Listening again to popular music history
|
Paul Long |
Popular Music History |
Vol 12 No. 3 (2019) Special Issue: Listening again to popular music as history (Part 2)
|
Aug 17, 2020 |
10.1558/pomh.42114
|
Popular Music
|
|
|
‘Well-worn grooves’: Music, materiality and biographical memory
|
Iain A. Taylor |
Popular Music History |
Vol 12 No. 3 (2019) Special Issue: Listening again to popular music as history (Part 2)
|
Aug 17, 2020 |
10.1558/pomh.41832
|
Popular Music
|
|
|
‘Let us know you’re locked’: Pirate radio broadcasts as historical and musical artefact
|
Alex de Lacey |
Popular Music History |
Vol 12 No. 2 (2019) Special Issue: Listening again to popular music as history (Part 1)
|
May 15, 2020 |
10.1558/pomh.39638
|
Popular Music
|
|
|
Historical Silences, Musical Noise: Slim Dusty, Country Music and Aboriginal history
|
Toby Martin |
Popular Music History |
Vol 12 No. 2 (2019) Special Issue: Listening again to popular music as history (Part 1)
|
May 15, 2020 |
10.1558/pomh.39715
|
Popular Music
|
|
|
How hard is it to remember Bananarama? The perennial forgetting of girls in music
|
Lucy Robinson |
Popular Music History |
Vol 12 No. 2 (2019) Special Issue: Listening again to popular music as history (Part 1)
|
May 13, 2020 |
10.1558/pomh.40052
|
Popular Music
|
|
|
‘These stories have to be told’: Chicano rap as historical source
|
Dianne Violeta Mausfeld |
Popular Music History |
Vol 12 No. 2 (2019) Special Issue: Listening again to popular music as history (Part 1)
|
May 10, 2020 |
10.1558/pomh.39209
|
Popular Music
|
|