Bibliography


Adorno, T.W. 1941 (2002). On Popular Music. In Essays on Music. Berkeley: University of California Press.

———. 1956 (2002). Music, Language, and Composition. In Essays on Music. Berkeley: University of California Press.

———. 1967. A Portrait of Walter Benjamin. In Prisms. London: Neville Spearman Limited.

———. 1973. Philosophy of Modern Music. New York: Seabury Press.

Adorno, T.W., and W. Benjamin. 1999. The Complete Correspondence, 1928-1940 / Theodor W. Adorno and Walter Benjamin. Cambridge: Harvard University Press.

Alvesson, Mats, and Kaj Skoldberg. 2000. Reflexive Methodology: New Vistas for Qualitative Research. Sage Publications Ltd.

Arendt, H. 1969. Walter Benjamin: 1892-1940. In Illuminations. New York: Shocken.

Arkette, S. 2004. Sounds Like City. Theory, Culture and Society 21, no. 1: 159-168.

Art of Noise, The. 1984. Close (To The Edit). From (Who's Afraid of?) The Art of Noise! Island Records. (Audio Recording).

Atkinson, P. 1992. Understanding Ethnographic Texts. New York: Sage Publications.

Bassett, C. 2006. 'How Many Movements?' Mobile Telephones and Transformations in Urban Space. Open 9: Sound. Amsterdam.

Behar, R. 1995. Rage and Redemption: Reading the Life Story of a Mexican Marketing Woman. In The Dialogic Emergence of Culture. Urbana: University of Illinois Press.

Benjamin, Walter. 1969a. On Unpacking My Library: A talk about book collecting. In Illuminations. New York: Shocken.

———. 1969b. The Work of Art in the Age of Mechanical Reproduction. In Illuminations, 217-235. New York: Shocken.

———. 1969c. The Task of the Translator. In Illuminations, 69-82. New York: Shocken.

———. 1986a. The Author as Producer. In Reflections, 220-238. New York: Shocken.

———. 1986b. On Language as Such and on the Language of Man. In Reflections, 314-332. New York: Shocken.

———. 1986c. On the Mimetic Faculty. In Reflections, 333-336. New York: Schocken.

———. 1986d. Paris, Capital of the Nineteenth Century. In Reflections, 146-162. New York: Schocken.

———. 1999. Reply: 9 December 1938, In The Complete Correspondence, 1928-1940 / Theodor W. Adorno and Walter Benjamin. Cambridge: Harvard University Press.

———. 2002. The Arcades Project. Belknap Press.

Blomster, W. 1977. Electronic Music. Telos. no. 32

Blow, Kurtis. 1985. If I Ruled The World. 12 inch Single. Mercury Records. (Audio Recording).

Bosma, Hannah. 2006. Musical Washing Machines, Composer-Performers, and Other Blurring Boundaries: How Women Make A Difference in Electroacoustic Music. Intersections: Canadian Journal of Music 26, no. 2: 97-117.

Braun, H.-J. 2002. Music and Technology in the 20th Century. Baltimore, MD: John Hopkins University Press.

Cascone, K. 2002. Laptop Music: Counterfeiting aura in the age of infinite reproduction. Parachute, Fall.

Chambers, I. 2001. A Voice in the Dark, A Map of Memory. In After Humanism: History, culture, subjectivity. New York: Routledge.

Chapman, Owen. 2001. Mixing with Records. M/C: A journal of media and culture, 4 no. 2. http://www.media-culture.org.au/0104/records.html.

———. 2003. Remixing My Library: A talk about record collecting. Presented in completion of the requirements for the Joint PhD in Communicaiton Studies 'Forum Doctoral', Concordia UniversityApril 15.

———. 2005. The Affect of Selection in Digital Sound Art. M/C Journal 8, no. 3. http://journal.media-culture.org.au/0507/03-chapman.php.

———. 2007. Selected Sounds: A collective investigation into the practice of sample-based music (Audio CD). Pivot: An Interdisciplinary Graduate Journal of Visual Culture, 1 no. 1.

Chapman, Owen, and Anna Friz. 2003. Too Big For Their Beats?: Questions for the microsound revolution. Graduate Researcher: Journal for the arts, sciences and technology 1, no. 2.

Chapman, Owen, and Andra McCartney. Forthcoming. Ephemeral Sound Practices.

Charman, Sue, and Michael Holloway. 2006. Copyright in a Collaborative Age. M/C Journal 9, no. 2 (May). http://journal.media-culture.org.au/0605/02-charmanholloway.php.

Clemens, Justin, and Dominic Pettman. 2004. Avoiding the Subject: Media, Culture and the Object. Amsterdam University Press.

Coldcut. 1998. More Beats and Pieces Volumes 1 and 2. Ninjatune Records. (Audio Recording).

Collins, Steve. 2005. Good Copy, Bad Copy. M/C Journal 8, no. 3 (July). http://journal.media-culture.org.au/0507/02-collins.php.

Crabtree, B.F. 1992. Doing Qualitative Research. New York: Sage Publications.

de Certeau, M. 1984. The Practice of Everyday Life. Berkeley: University of California Press.

De Jong, Alex, and Schuilenberg, Mark. 2006. The Audio-Hallucinatory Spheres of the CityOpen 9: Sound. Amsterdam.

de Mann, P. 1986. Conclusions: Walter Benjamin's 'The Task of the Translator'. In The Resistance to Theory. Minneapolis: University of Minnesota Press.

Denora, Tia. 2006. Music and Self Identity. In The Popular Music Studies Reader. New York: Routledge.

Denzin, N.K. 1997. Interpretive Ethnography: Ethnographic Practices for the 21st Century. Thousand Oaks, California: Sage Publications.

Dewalt, K.D. 2002. Participant Observation: A Guide for Fieldworkers. New York: Altamira Press.

Diamond, Beverley and Moisala, Pirkko . 2000. Introduction: Music and Gender - Negotiating Shifting Worlds. In Music and Gender, ed. Beverley Diamond and Pirkko Moisala, 1-19. Urbana: University of Illinois Press.

Diamond, Beverley. 2006. Media as Social Action: Native American Musicians in the Recording Studio. In Wired for Sound: Engineering and Technologies in Sonic Cultures, ed. Thomas Porcello and Paul D. Greene, 118-137. Middletown: Wesleyan University Press.

Dix, N. 2003. Kid Koala: Speaks with his hands. Exclaim!,(October).

DJ Shadow. 1996. Building Steam With A Grain Of Salt. From Endtroducing. Mowax Records. (Audio Recording)

Drobnick, Jim. 2004. Afterword. In Aural Cultures, ed. Jim Drobnick. Toronto: YYZ Books.

Eisenberg, E. 1987. The Recording Angel: Music, Records and Culture from Aristotle to Zappa. New York: McGraw-Hill.

Eshun, K. 1998. More Brilliant than the Sun. London: Quartet Books.

Evans, A. 2005. Sound Ideas: Music, Machines and Experience. Minneapolis: University of Minnesota Press.

Feld, S. 1997. Pygmy Pop: A Genealogy of Schizophonic Mimesis. Yearbook for Traditional Music 28:1-35.

Finnegan, R. 1998. Tales of the City: A study of narrative and urban life. Cambridge: Cambridge University Press.

———. 1989. Communication Technology. Language and Communication 9, no. 2.

Franklin, U. 1992. The Real World of Technology. Concord, Ontario: House of Anansi Press Limited.

Grandmaster Flash. 1981. The Amazing Adventures of Grandmaster Flash on The Wheels of Steel. 12 inch Single. Sugarhill Records. (Audio Recording).

Grenier, L., and J. Guilbault. 1992. Authority Revisited: The other in Anthropology and popular music studies". In Canadian Music: Issues of hegemony and identity. Toronto: Canadian Scholars Press.

Hammersley, M., and P. Atkinson. 1995. Ethnography. London: Routledge.

Heidegger, M. 1971. The Origin of the Work of Art. In Poetry, Language, Thought, 15-88. New York: Harper and Row, Publishers, Inc.

———. 1977. The Question Concerning Technology. In The Question Concerning Technology and Other Essays, 3-35. New York: Harper and Row, Publishers, Inc.

Jones, S. 1992. Rock Formation: Music, technology and mass communication. Newbury Park, Calif.: Sage.

———. 2002. Music That Moves: Popular music, distribution and network technologies. Cultural Studies 16, no. 2: 213-232.

Kasemets, Udo. 2006. Time to Speak Up! Musicworks 94, (Spring): 11-12.

Keil, Charles, and Feld, Steven. 1994. Music Grooves. Fenestra Books.

Kroker, A. 2002. Hyper-Heidegger. CTheory. www.ctheory.net/text_file?pick=348.

Kuzel, A.J. 1992. Sampling in Qualitative Inquiry. In Doing Qualitative Research. London: Sage Publications.

Lacoue-Labarthe, P. 1994. Musica Ficta: Figures of Wagner. Stanford, California: Stanford University Press.

Lysloff, R.T. 2003. Music and technoculture. Middletown, Conn.: Wesleyan University Press.

Manovich, Lev. 2005. Remixing and Remixability. October. http://64.233.167.104/search?q=cache:Q6Kq1Ntz2QoJ:www.manovich.net/DOCS/Remix_modular.doc+manovich+modular&hl=en&ct=clnk&cd=3&gl=ca&client=firefox-a (accessed June 27, 2007).

Massumi, B. 2002. Parables for the Virtual: Movement, affect, sensation. Durham: Duke University Press.

McCallum, David. 2006. Editorial. Musicworks 95, (Summer).

McCartney, Andra. 2000. Sounding Places with Hildegard Westerkamp. Electronic Music Foundation Institute Site. http://www.emf.org/artists/mccartney00/text.html.

———. 2004. Soundscape Works, Listening, and the Touch of Sound. In Aural Cultures, 179-185. Toronto: YYZ Books.

———. 2006. Gender, Genre and Electroacoustic Soundmaking Practices. Intersections: Canadian Journal of Music 26, no. 2: 20-48.

Meyer, A. 2004. "Gleaning" the Passion of Agnes Varda: Agnes Varda. indieWIRE (Website), January 15. http://www.indiewire.com/people/int_Varda_Agnes_010308.html.

Miller, Paul D. 1996. Catridge Music: Of Palimpsests and Parataxis, or How to Make a Mix. Parkett 46.

———. 2004. Rhythm Science. New York: Mediawork.

Mudede, C. 2003. The Turntable. ctheory, no. 126 (April 24). http://www.ctheory.net/articles.aspx?id=382.

Oram, Daphne. 1971. An Individual Note of Music, Sound and Electronics. Norfolk: Galliard.

——— 2007. Oramics Paradigm Discs. (Audio CD).

Ostroff, J. 2002. Amon Tobin: The in sound from way out there. Exclaim!, (October).

OutKast (feat. Sleepy Brown). 2003. I Like the Way You Move. From Speakerboxxx/The Love Below. LaFace Records. (Audio Recording).

Pagely, K. and Caputo, V. 1994. Growing Up Female(s): Retrospective Thoughts on Musical Preferences and Meanings. In Queering the Pitch: The New Gay and Lesbian Musicology, ed. Philip Brett, Elizabeth Wood, and Gary Thomas, New York: Routledge.

Pearson, G. 1993. Talking a Good Fight: Authenticity and Distance in the Ethnographer's Craft. In Interpreting the Field. Oxford: Oxford University Press.

Peyser, J. 1995. The Music of My Time. White Plains, N.Y. PB -: Pro/AM Music Resources Inc.

Pinch, T., and Bijsterveld. K. 2003. "Should One Applaud?" Breaches and Boundaries in the Reception of New Technology in Music. Technology and Culture 44, no. 3 (July): 536-559.

Porcello, Thomas. 1991. The Ethics of Digital Audio Sampling: engineer's discourse. Popular Music 10, no. 1: 69-84.

———. Afterword. In Wired for Sound: Engineering and Technologies in Sonic Cultures, ed. Thomas Porcello and Paul D. Greene, 118-137. Middletown: Wesleyan University Press.

Prochak, T.M. 2001. How To Get the Sound You Want. London: Sanctuary Publishing Limited.

Public Enemy. 1988. Bring the Noise. From It Takes a Nation of Millions to Hold Us Back. Def Jam Records. (Audio Recording).

Reynolds, S. 1998. Generation Ecstasy. New York: Routledge.

Rodgers, Tara. 2003. On the Process and Aesthetics of Sampling in Electronic Music Production. Organised Sound 8, no. 3: 313-20.

———. (Under Contract). Pink Noises: Women on Electronic Music and Sound . Duke University Press.

Rose, T. 1994. Black Noise. Hanover, NH: Wesleyan University Press : Published by University Press of New England.

Schafer, R.M. 1977. The Tuning of the World. Toronto: McClelland and Stewart Limited.

Schloss, Joseph G. 2004. Making Beats: The Art of Sample-Based Hip-Hop. University of British Columbia Press.

Schaeffer, Pierre. 1967 (1998). Le Solfège De L'objet Sonore. (Audio CD with Text).

Spradley, J.P. 1980. Participant Observation. New York: Holt, Rinehard and Winston.

Sterne, J. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Durham and London: Duke University Press.

Stewart, Garrett. 1998. Modernism's Sonic Waver. In Sound States: Innovative Poetics and Acoustical Technologies. ed. Adelaide Morris. The University of North Carolina Press.

Straw, W. 1997a. Organized Disorder: The changing space of the record shop. In The Clubcultures Reader, ed. S. Redhead, D. Wynne, J. O'Conner, 57-65. Malden, MA: Blackwell.

———. 1997b. Sizing Up Record Collections: Gender and connoisseurship in rock music culture. In Sexing the Groove: Popular music and gender. New York: Routledge.

Szepanski, Achim. 2003. A Mille-Plateaux Manifesto. http://www.synesthesie.com/heterophonies/theories/Szepan-1000ptxt.html (Accessed July 1st, 2007)

Taylor, Tim. 2001. Strange Sounds: Music, technology and culture. New York: Routledge.

Théberge, Paul. 1997. Any Sound You Can Imagine: Making music/consuming technology. Hanover, NH: University Press of New England.

———. 1999. Technology. In Key Terms in Popular Music and Culture, 209-224. Malden, Massachusetts: Blackwell Publishers Ltd.

Thornton, S. 1996. Club Cultures: music, media, and subcultural capital. Hanover: University Press of New England.

Thorton, S., K. Gelder, and eds. 1997. The Subcultures Reader. New York: Routledge.

Tillmann-Healy, Lisa. 2003. Friendship as Method. Qualitative Inquiry 9, no. 5 (May): 729-749.

Toop, D. 2000. Rap Attack 3. London: Serpent's Tail.

Trocco, Frank, and Trevor Pinch. 2002. Analog Days: The Invention and Impact of the Moog Synthesizer. Harvard University Press.

Varda, Agnes. 2002. Les Glaneurs et la glaneuse. France: C.N.P.D. (Documentary Film).

Westerkamp, Hildegard. 1988. Moments of Laughter. Audio Recording with Accompanying Text and Musical Score.

———. 1999. Say Something About Music. In Site of Sound: Of architecture and the ear, 17-25. Los Angeles, CA: Errant Bodies Press.

———. 2002. Linking Soundscape Composition and Acoustic Ecology. Organised Sound 7, no. 1: 51-56.

Wittgenstein, Ludwig. 1999. Philosophical Investigations. Prentice Hall.

Young, G. 1989. The Sackbut Blues: Hugh Le Caine Pioneer in Electronic Music. Canada: Young, Gayle.