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Final Appendices Bibliography ADORNO, THEODOR W (1941). ‘On Popular Music’. On Record: Rock, Pop and the Written Word (ed. S Frith & A Goodwin, 1990): 301-314. London: Routledge (1publ. in Philosophy of Social Sci- ence, 9. 1941, New York: Institute of Social Research: 17-48). —— (1970). Om musikens fetischkaraktär och lyssnandets regression. Göteborg: Musikvetenskapliga in- stitutionen [On the fetish character of music and the regression of listening]. —— (1971). Sociologie de la musique. Musique en jeu, 02: 5-13. —— (1976a). Introduction to the Sociology of Music. New York: Seabury. —— (1976b) Musiksociologi – 12 teoretiska föreläsningar (tr. H Apitzsch). Kristianstad: Cavefors [The Sociology of Music – 12 theoretical lectures]. —— (1977). Letters to Walter Benjamin: ‘Reconciliation under Duress’ and ‘Commitment’. Aesthetics and Politics (ed. E Bloch et al.): 110-133. London: New Left Books. ADVIS, LUIS; GONZÁLEZ, JUAN PABLO (eds., 1994). Clásicos de la Música Popular Chilena 1900-1960. Santiago: Sociedad Chilena del Derecho de Autor. ADVIS, LUIS; CÁCERES, EDUARDO; GARCÍA, FERNANDO; GONZÁLEZ, JUAN PABLO (eds., 1997). Clásicos de la música popular chilena, volumen II, 1960-1973: raíz folclórica - segunda edición. Santia- go: Ediciones Universidad Católica de Chile. AHARONIÁN, CORIúN (1969a). Boom-Tac, Boom-Tac. Marcha, 1969-05-30. —— (1969b) Mesomúsica y educación musical. Educación artística para niños y adolescentes (ed. Tomeo). 1969, Montevideo: Tauro (pp. 81-89). —— (1985) ‘A Latin-American Approach in a Pioneering Essay’. Popular Music Perspectives (ed. D Horn). Göteborg & Exeter: IASPM (pp. 52-65). —— (1992a) ‘Music, Revolution and Dependency in Latin America’. 1789-1989. Musique, Histoire, Dé- mocratie. Colloque international organisé par Vibrations et l’IASPM, Paris 17-20 juillet (ed. A Hennion. Paris: Éditions de la Maison des Sciences de l’Homme (pp. 181-190). —— (1992b)‘A manera de epílogo: el largo silenciamiento de Carlos Vega y Lauro Ayestarán’. Conversa- ciones sobre música, cultura e identidad. Montevideo: Ombú (pp. 121-130). —— (2000) ‘Some relationships between revolutionary movements in Latin America and popular music creators’. Musikwissenschaftlicher Paradigmenwechsel? Zum Stellenwert marxistischer An- sätze in der Musikforschung (ed. W M Stroh & G Mayer. Oldenburg: Bibliotheks- und Infor- mationssystem der Universität Oldenburg (pp. 222-227) ALEKSEEV, EDUARD Y (1986). ‘Fol’klor v gorodye’. Muzikalni khorizonti, 1986/9 [Folklore in the city]. ANDERSON, GILLIAN B (1988). Music for Silent Films 1894-1929. Washington: Library of Congress. ALENCAR PINTO, GUILHERME DE (1985). Análisis: ‘Deus lhe pague’. La del taller, 2/1985:19-26. ARETZ, ISABEL & LLOYD, A L (eds. 1965) Folk Songs of the Americas. See LLOYD & ARETZ. ASSAFIEV, BORIS (1976). Die musikalische Form als Prozeß. Berlin: Verlag neue Musik. (English trans- lation ‘Musical Form as a Process’, Columbus: Ohio State University Press, 1976). ATKINSON, MAX (1984). Our Masters’ Voices – The Language and Body-Language of Politics. London: Routledge. AYESTERÁN, LAURO & F. DE M. R. DE (1965). El minue montonero - danzas, canciones e instrumentos del pueblo del Uruguay. Montevideo. BACH, CARL PHILIPP E MMANUEL (1974). Essay on the True Art of Playing Keyboard Instruments. London: Eulenburg. (Original: Versuch über die wahre Art das Clavier zu spielen, Berlin: 1753, 1762; facs. ed. Leipzig: Breitkopf & Härtel, 1978). BACH-DOKUMENTE II, ed. Neumann & Schulze. Leipzig/Kassel (1969). BAMERT, MATTHEW (2003) The Circus Parade – Resource Notes. Perth: WASO Youth Education & Development Programme (17 pp.) |www.waso.com.au/education/CicPdeTeachNotes.pdf |(030806). BARLOW, HAROLD & MORGENSTERN, SAM (1948). Dictionary of Musical Themes. New York: Crown. —— (1950). Dictionary of Vocal Themes. New York: Crown (1950). BARTEL, DIETRICH (1997). Musica Poetica. Musical-Rhetorical Figures in German Baroque Music. Lincoln: University of Nebraska Press. BARTENIEFF, IRMGARD; LEWIS, DORI (1980.) Body Movement: Coping with the environment. New York: Gordon Breach. BARTHES, ROLAND (1972). Mythologies (tr. Annette Lavers). New York: Hill & Wang. —— (1977). ‘The Grain of the Voice’. Image-Music-Text (tr. S Heath). New York: Hill & Wang. Reprinted (1990) in On Record (ed. S Frith & A Goodwin):293-300. London: Routledge. 812 Ten Little Title Tunes Bibliography BAUDRILLARD, JEAN (1970). La société de consommation. Paris: Denoël. BAUER, RAYMOND A; GREYSER, STEPHEN A (1968). Advertising in America: The Consumer View. Cam- bridge: Research Publication (cited by Denisoff & Peterson, 1972:5). BEAUD, PAUL (1980). Interview. Film Music, Mood Music and Popular Music Research (ed. P Tagg). Göteborg: Stencilled Papers from the Musicology Department, #8002. BECK, ALISON (2001). ‘Bong! A Study of the music of British television news in 2001.’ 3rd-year disserta- tion in Music and the Moving Image, Institute of Popular Music, University of Liverpool |www.theblackbook.net/acad/student/mmi/becknews/becknews.html|. BECKMAN, ERIK (1967). Inlandsbanan. Stockholm: Bonniers [The inland route (novel)]. BEER, JOHANN (1719). Musicalische Discurse. Nürnberg. Cited in Klingfors (1991). BELZ, CARL (1969). The Story of Rock. New York: Oxford University Press (2nd ed. New York: Harper Colophon, 1972). BENGTSSON, INGMAR (1988). Musikanalys och den uttrycksbärande rörelsen. Egtved: Edition Egtved [Music analysis and meaningful movement]. BERG, CHARLES MERRELL (1976). An Investigation of the Motives for and Realization of Music Accompa- nying the American Silent Film 1896-1927. Chicago: Arno Press. BERNSTEIN, LEONARD (1976). The Unanswered Question. Cambridge (MA): Harvard University Press. BJÖRNBERG, ALF (1984). ‘“There’s Something Going On” – om eolisk harmonik i nutida rockmusik’. Tvär- spel: 371-386. Göteborg: Skrifter från Musikvetenskapliga institutionen [on aeolian harmony in contemporary rock music]. —— (1990). ‘Sounding the Mainstream. An Analysis of the Songs Performed in the Swedish Eurovision Song Contest Semi-Finals 1959-1983’. Popular Music Research (ed. K Roe & U Karlsson):121-132. Göteborg: NORDICOM. —— (1992). ‘Music video and the semiotics of popular music’. Secondo convegno europeo di analisi mu- sicale (ed. R Dalmonte & M Baroni):379-388. Trento: Università degli studi. —— (1994). ‘Structural relationships of music and images in music video’. Popular Music, 13/1:51-74. BLACKING, JOHN (1976). How Musical is Man. London: Faber. BLAMEY, MARJORIE & FITTER, RICHARD (1979). Collins Handguide to Wild Flowers of Britain and Northern Europe. London: Collins. BOLINGER, DWIGHT (1989). Intonation and ite Uses: Melody in Grammar and Discourse. London: Edward Arnold. BORNEMAN, ERNEST (1946). A Critic Looks at Jazz. London: Jazz Music Books (cited in FRITH, 1996). BRACKETT, DAVID (1995). Interpreting Popular Music. Cambridge University Press. BRADLEY, DICK (1980). Interviewed in TAGG (1980: 61-66). —— (1992). Understanding Rock ‘n’ Roll. Popular Music in Britain 1955-1964. 1992, Buckingham: Open University Press. BRIGHT, WILLIAM (1963). Language and music: areas for co-operation. Ethnomusicology, 7/1:26-32. BRODE, DOUGLAS (1982). ‘They Went Thataway’. Television Quarterly, Summer 1982. BROWN, ROYAL S (1995). Overtones and Undertones. Reading Film Music. Berkeley: University of California Press. BRUHN, HERBERT; OERTER, ROLF; RÖSING, HELMUT (1985). Musikpsychologie. München: Urban & Schwarzenberg. BRYAN, CHARLES F (1949). ‘The Folk Music Enigma’, Tennessee Folklore Society Bulletin, XV/2: 30. BUELOW, GEORGE J (1980). ‘Rhetoric and music’. NEW GROVE, 15: 793-803. BUENDIA, J ROGELIO (1973). A Basic Guide to the Prado. Madrid: Silex. BURNS, ROBERT (ed. James Kinsley, 1969). Burns: Poems and Songs. London: Oxford University Press. BUTLER, DAVID (2002). Jazz Noir. Westport (CT) & London: Praeger. CAMERON, IAN (ed. 1994). The Movie Book of Film Noir. London: Studio Vista. CALLINICOS, ALEX (1989). Against Postmodernism. A Marxist Critique. Cambridge: Polity Press. CAWELTI JOHN G (1976). Adventure, Mystery and Romance. University of Chicago Press. CHAMBERS, JACK (1983). Milestones: the life and music of Miles Davis (1). New York: Beech Tree Books CHAPPLE, STEVE; GAROFALO, REEBEE (1977). Rock'n'roll is Here to Pay. Chicago: Nelson Hall. CHARTERS, SAMUEL B (1967). The Bluesmen. New York: Oak. CHASE GILBERT (1958) A dialectical approach to music history. Ethnomusicology 2:1-9 CHERNOFF, JOHN MILLER (1979). African Rhythm and Sensibility. University of Chicago Press. CHESTER, ANDREW (1970). Second Thoughts on a Rock Aesthetic. New Left Review, 62: 75-82. Repub- lished in On Record (ed. S Frith and A Goodwin, 1990): 315-319. London: Routledge. CHEW, GEOFFREY (1980). ‘Pastorale’. NEW GROVE, 14: 290-296. CHOMSKY, NOAM (2001). Interview 3, Znet (e-zine) 010922 |www.zmag.org/chomint3.htm| (020322). Bibliography Ten Little Title Tunes 813 Clásicos de la música popular chilena 1900-1960. See ADVIS, L et al. (1994). Clásicos de la música popular chilena, volumen II, 1960-1973: raíz folclórica. See ADVIS, L et al. (1997). CLOONAN, MARTIN & JOHNSON, BRUCE (2002). ‘Killing me softly with his song: an initial investigation into the use of popular music as a tool of oppression’. Popular Music, 21/1:27-40. COHEN, SARA (1991). Rock Culture in Liverpool. Oxford: OUP. COHEN, STANLEY (1972). Folk Devils and Moral Panics. The Creation of Mods and Rockers. London: Mac- Gibbon and Kee. Republished 1980, Oxford: Martin Robertson. COHN, NIK (1970). Awopbopaloobopalopbamboom. Pop from the Beginning. 1970, St Albans: Paladin. COKER, WILSON (1972). Music and Meaning:
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