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All Outputs (102)

Activating and Developing Free Improvisational Creativities in Higher Education: Contesting Authority, Exploring Creativities, Stimulating Dialogue (2022)
Book Chapter
Atton, C., Cowan, M., Docherty, H., Farnish, K., Moir, Z., & Pattie, E. (2022). Activating and Developing Free Improvisational Creativities in Higher Education: Contesting Authority, Exploring Creativities, Stimulating Dialogue. In C. Randles, & P. Burnar

This chapter explores the concept of improvisational creativities in higher education and the ways in which such an approach to music education is beneficial. We report on a collaborative autoethnography, conducted by the authors, in which we explore... Read More about Activating and Developing Free Improvisational Creativities in Higher Education: Contesting Authority, Exploring Creativities, Stimulating Dialogue.

Counter-culture and underground (2019)
Book Chapter
Atton, C. (2019). Counter-culture and underground. In A. Nash, C. Squires, & I. R. Willison (Eds.), Cambridge History of the Book in Britain, Volume 7: The Twentieth Century and Beyond. Cambridge: Cambridge University Press

Abstract not available.

The Absent Presence of Progressive Rock in the British Music Press, 1968-1974 (2019)
Journal Article
Anderton, C., & Atton, C. (2020). The Absent Presence of Progressive Rock in the British Music Press, 1968-1974. Rock Music Studies, 7(1), 8-22. https://doi.org/10.1080/19401159.2019.1651521

The upsurge of academic interest in the genre known as progressive rock has taken much for granted. In particular, little account has been taken of how discourses surrounding progressive rock were deployed in popular culture in the past, especially... Read More about The Absent Presence of Progressive Rock in the British Music Press, 1968-1974.

Challenging authenticity: fakes and forgeries in rock music (2019)
Journal Article
Atton, C. (2019). Challenging authenticity: fakes and forgeries in rock music. Popular Music, 38(2), 204-218. https://doi.org/10.1017/S0261143019000084

Authenticity is a key concept in the evaluation of rock music by critics and fans. The production of fakes challenges the means by which listeners evaluate the authentic, by questioning central notions of integrity and sincerity. This paper examine... Read More about Challenging authenticity: fakes and forgeries in rock music.

The Routledge companion to alternative and community media (2015)
Book
Atton, C. (Ed.). (2015). The Routledge companion to alternative and community media. Abingdon: Routledge

The Routledge Companion to Alternative and Community Media provides an authoritative and comprehensive examination of the diverse forms, practices and philosophies of alternative and community media across the world. The volume offers a multiplicity... Read More about The Routledge companion to alternative and community media.

Curating popular music: authority and history, aesthetics and technology (2014)
Journal Article
Atton, C. (2014). Curating popular music: authority and history, aesthetics and technology. Popular Music, 33(3), 413-427. https://doi.org/10.1017/s026114301400035x

The practice of curation in popular music may be seen as a form of historical enquiry that works in a similar way to the critical projects of the ‘new museology’. Self-curation can be employed by musicians to re-present their work as a historiograph... Read More about Curating popular music: authority and history, aesthetics and technology.

What can we learn from ‘unpopular’ music and its audiences? (2014)
Presentation / Conference Contribution
Atton, C. (2014, April). What can we learn from ‘unpopular’ music and its audiences?. Paper presented at Studying Music: An International Conference in Honour of Simon Frith, University of Edinburgh

The sociology of popular music has tended to eschew conventional musicological approaches and instead to locate the listening experience as one rooted in social uses and pleasures. Where musicological analysis is employed, it tends to reinforce the... Read More about What can we learn from ‘unpopular’ music and its audiences?.

Cultures of Listening: The popular aesthetics of 'difficult music'. (2013)
Presentation / Conference Contribution
Atton, C. (2013, October). Cultures of Listening: The popular aesthetics of 'difficult music'

Difficulty and complexity are values most often associated with a modernist avant-garde of ‘serious’ music. Their presence in popular music tends to attract the opprobrium of critics who seek to maintain a purity for popular music founded on values... Read More about Cultures of Listening: The popular aesthetics of 'difficult music'..

Alternative media, performance and power in cultures of technology. (2013)
Presentation / Conference Contribution
Atton, C. (2013, May). Alternative media, performance and power in cultures of technology. Presented at Cyberspace, Alternative Media and Activism Symposium, University of Liverpool

If, as Michel de Certeau argued, space is a practiced place, then what social practices enable what we might term an activist geography of cyberspace? Alternative media have a key role to play in online activism, particularly when they are understoo... Read More about Alternative media, performance and power in cultures of technology..

Listening to 'difficult albums': specialist music fans and the popular avant-garde (2012)
Journal Article
Atton, C. (2012). Listening to 'difficult albums': specialist music fans and the popular avant-garde. Popular Music, 31, 347-361. https://doi.org/10.1017/S0261143012000281

Difficulty is most often associated, not with popular music, but with the avant-garde. How do popular music listeners listen to albums that present compositional, performance or conceptual elements from the avant-garde? This paper explores where di... Read More about Listening to 'difficult albums': specialist music fans and the popular avant-garde.