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.

Continental Drift: 50 years of jazz from Europe (2017)
Conference Proceeding
Medboe, H., Bares, W., Webster, E., Frost Fadnes, P., Inglis, C., Kahr, M., …Heyman, M. (2017). Continental Drift: 50 years of jazz from Europe. In Z. Moir, & C. Atton (Eds.), Continental Drift: 50 years of jazz from Europe - Conference Proceedings. , (v-vi)

Following popular exposure in France to the proto-jazz of James Reese Europe and his 369th “Harlem Hellfighters” Infantry Regiment during the latter years of WW1, the jazz bug took hold and, in the period that followed, spread throughout Europe. This... Read More about Continental Drift: 50 years of jazz from Europe.

Between the avant-garde and the popular: the discursive economy of Brian Eno’s musical practices (2016)
Book Chapter
Atton, C. (2016). Between the avant-garde and the popular: the discursive economy of Brian Eno’s musical practices. In S. Albiez, & D. Pattie (Eds.), Brian Eno: Oblique Music, (69-83). Bloomsbury Publishing

No abstract available.

Writing about popular music: continuity, change and convergence in a digital age. (2015)
Book Chapter
Atton, C. (2015). Writing about popular music: continuity, change and convergence in a digital age. In F. Trumpi, & S. Obert (Eds.), Musikkritik: Historische Zugänge und systematische Perspektiven, (11-32). Mille Tre Verlag

No abstract available.

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, 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.

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.

Big noise, little worlds: genre and the cultural politics of territory in the live experience of “extreme” music. (2011)
Presentation / Conference
Atton, C. (2011, March). Big noise, little worlds: genre and the cultural politics of territory in the live experience of “extreme” music. Paper presented at The business of live music, University of Edinburgh

In search of cultural politics in a Fall fanzine. (2010)
Book Chapter
Atton, C. (2010). In search of cultural politics in a Fall fanzine. In M. Goddard, & B. Halligan (Eds.), Mark E. Smith and the Fall: Art, Music and Politics (169-180). Ashgate Publishing

Review of "Progressive Rock Reconsidered" (2002)
Journal Article
Atton, C. (2002). Review of "Progressive Rock Reconsidered". Popular Music, 21, 386-388. doi:10.1017/S026114300226225X,

Herein(g) the Sonic Arts Union: an anthology of transformations. (1999)
Journal Article
Atton, C. (1999). Herein(g) the Sonic Arts Union: an anthology of transformations. The Sound Projector, (28-30)

Improvised music: some answers to some questions. (1988)
Journal Article
Atton, C. (1987). Improvised music: some answers to some questions. Contact. . . 13-17. . ISSN 0308-5066.

Some answers to some questions about improvised music. (1988)
Journal Article
Atton, C. (1988). Some answers to some questions about improvised music. Improvisor. . . 32-40. . .