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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.

Haphazard pathways: Students’ perceptions of their routes to music study in higher education in the United Kingdom (2018)
Journal Article
Moir, Z., & Stillie, B. (2018). Haphazard pathways: Students’ perceptions of their routes to music study in higher education in the United Kingdom. Journal of Popular Music Education, 2(3), 199-216. https://doi.org/10.1386/jpme.2.3.199_1

This article reports on a qualitative study, which explored perceptions of fourteen first-year undergraduate music students in the United Kingdom regarding their secondary school music education as preparation for undertaking degree-level music study... Read More about Haphazard pathways: Students’ perceptions of their routes to music study in higher education in the United Kingdom.

Promotion anxieties: Jazz promoters within the UK scene (2017)
Journal Article
Medbøe, H., & Moir, Z. (2017). Promotion anxieties: Jazz promoters within the UK scene. Jazz Research Journal, 11(1), 7-27. https://doi.org/10.1558/jazz.32504

Definitions and roles of the promoter within the ecology of the music industries have over recent years become the subject of attention by academics working within the eld of popular music studies. It has become accepted that precise de nitions are... Read More about Promotion anxieties: Jazz promoters within the UK scene.

Reframing popular music composition as performance-centred practice (2015)
Journal Article
Moir, Z., & Medbøe, H. (2015). Reframing popular music composition as performance-centred practice. Journal of Music, Technology and Education, 8(2), 147-161. https://doi.org/10.1386/jmte.8.2.147_1

This article reports on a qualitative study of four undergraduate students specializing in popular music composition, and examines links and overlaps between three related areas: participants’ interpretations and definitions of the term ‘composition’... Read More about Reframing popular music composition as performance-centred practice.

Improvisation in the digital age: New narratives in jazz promotion and dissemination. (2014)
Journal Article
Medbøe, H., & Dias, J. (2014). Improvisation in the digital age: New narratives in jazz promotion and dissemination. First Monday, 19, 1-26. https://doi.org/10.5210/fm.v19i10.5553

Those that create, promote and disseminate jazz are experiencing a period of radical change. The dwindling interest from the major labels in releasing jazz has led to a mushrooming of both traditionally imagined and virtual independent jazz labels, o... Read More about Improvisation in the digital age: New narratives in jazz promotion and dissemination..

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.

La Transmission Perdue et Retrouvee : Le Sampler Comme Outil de Composition et de Decontextualisation de L’Enrigistrement (2012)
Journal Article
Harkins, P. (2012). La Transmission Perdue et Retrouvee : Le Sampler Comme Outil de Composition et de Decontextualisation de L’Enrigistrement. Réseaux, 172, 92. https://doi.org/10.3917/res.172.0092

According to Brian Eno, the recording studio is a composition tool that enables musicians to enjoy a more direct relationship with sound. This article examines the role of the sampler as a technology that is tightly interlinked with the creative proc... Read More about La Transmission Perdue et Retrouvee : Le Sampler Comme Outil de Composition et de Decontextualisation de L’Enrigistrement.

Extending the Term: The Gowers Review and the Campaign to Increase the Length of Copyright in Sound Recordings (2012)
Journal Article
Harkins, P. (2012). Extending the Term: The Gowers Review and the Campaign to Increase the Length of Copyright in Sound Recordings. Popular Music and Society, 35, 629-649. https://doi.org/10.1080/03007766.2012.709664

After the UK government commissioned a review of intellectual property in 2005, a campaign to “Extend the Term” of copyright in sound recordings was orchestrated by trade magazine Music Week on behalf of the recording industry and performing artists.... Read More about Extending the Term: The Gowers Review and the Campaign to Increase the Length of Copyright in Sound Recordings.

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.

Appropriation, Additive Approaches and Accidents: The Sampler as Compositional Tool and Recording Dislocation (2010)
Journal Article
Harkins, P. (2010). Appropriation, Additive Approaches and Accidents: The Sampler as Compositional Tool and Recording Dislocation. Journal of the International Association for the Study of Popular Music, 1(1), 1-19. https://doi.org/10.5429/2079-3871%282010%29v1i2.3en

Brian Eno describes the recording studio as a compositional tool that has enabled composers to enjoy a more direct relationship with sound. This article will explore the use of the digital sampler as one of the studio tools that forms part of this cr... Read More about Appropriation, Additive Approaches and Accidents: The Sampler as Compositional Tool and Recording Dislocation.

Transmission Loss and Found: The Sampler as Compositional Tool (2009)
Journal Article
Harkins, P. (2009). Transmission Loss and Found: The Sampler as Compositional Tool. Journal on the Art of Record Production, 4,

This article explores the use of the digital sampler as one of the studio tools that forms part of this creative process and focuses on interviews with a group of Edinburgh musicians called Found who successfully combine the writing of pop songs with... Read More about Transmission Loss and Found: The Sampler as Compositional Tool.

The transmutation of the ‘Old’ with the ‘New’ in the Modernist vision of Edgard Varèse (2004)
Journal Article
Davismoon, S. (2004). The transmutation of the ‘Old’ with the ‘New’ in the Modernist vision of Edgard Varèse. Contemporary Music Review, 23(1), (45-58). doi:10.1080/0749446042000204527. ISSN 0749-4467

In this paper, certain aspects of Varèse's life and work are discussed that have at times, I feel, been overemphasised, distorted, or even omitted, in order to lend greater weight to the depiction of him as a non-European (non-'Old World', non-tradit... Read More about The transmutation of the ‘Old’ with the ‘New’ in the Modernist vision of Edgard Varèse.

Perspectives on the design of musical auditory interfaces. (1999)
Journal Article
LePlâtre, G., & Brewster, S. A. (1999). Perspectives on the design of musical auditory interfaces. CASYS, 4, 227-239

This paper addresses the issue of music as a communication medium in auditory humancomputer interfaces. So far, psychoacoustics has had a great influence on the development of auditory interfaces, directly and through music cognition. We suggest t... Read More about Perspectives on the design of musical auditory interfaces..