creativity/machine

This is the bibliography for my M.Phil research project ‘High Culture as Subculture: Brisbane’s Contemporary Chamber Music Scene’. More information here.

Adorno, Theodor W. (1991) The Culture Industry: Selected Essays on Mass Culture. London: Routledge.

Alper, Garth (2000) ‘Making Sense of Postmodern Music’, Popular Music and Society, 24(4): 1-? via infotrac.

Attali, Jacques (1985) Noise: The Political Economy of Music. ((Vol. 16), Minneapolis: University of Minnesota Press.

Auner, Joseph (2000) ‘Making Old Machines Speak: Images of Technology in Recent Music’, Echo (Vol. 2, pp. 2002).

Auslander, Philip (1999) Liveness: Performance in a Mediatized Culture. London: Routledge.

Becker, Howard S (1973) Outsiders: Studies in the Sociology of Deviance. New York: Free Press.

— (1974) ‘Art as Collective Action’, American Sociological Review, 39(6): 767-76.

— (1982) Art Worlds. Berkeley: University of California Press.

Becker, Howard S, & Mccall, Michal M (1990) ‘Introduction’, In Howard S Becker & Michal M McCall (Eds.), Symbolic Interaction and Cultural Studies. (pp. 1-15), Chicago: University of Chicago Press.

Bennett, Andy (1999) ‘Subcultures or Neo-Tribes? Rethinking the Relationship between Youth, Style and Musical Taste’, Sociology, 33(3): 599-617.

Bennett, Tony, Emmison, Michael, & Frow, John (1999) Accounting for Tastes: Australian Everyday Cultures. Cambridge: Cambridge University Press.

Best, Beverley (1998) ‘Over-the-Counter-Culture: Retheorizing Resistance in Popular Culture’, In Steve Redhead, Derek Wynne & Justin O’Connor (Eds.), The Clubcultures Reader: Readings in Popular Cultural Studies. (pp. 18-35), Oxford: Blackwell.

Birenbaum-Carmeli, Daphne (1991) ‘Overtones: The Social World of the Israeli Philharmonic Orchestra’, International Review of Aesthetics and Sociology of Music, 22(1): 85-98.

Born, Georgina (1995) Rationalizing Culture: Ircam, Boulez, and the Institutionalization of the Musical Avant-Garde. Berkeley: University of California Press.

Botstein, Leon (1999) ‘The Audience’, Musical Quarterly, 83(4): 479-587.

Bourdieu, Pierre (1977) Outline of a Theory of Practice. (Richard Nice, Trans. (Vol. 16), Cambridge: Cambridge University Press.

— (1984) Distinction: A Social Critique of the Judgement of Taste. (Richard Nice, Trans.), Cambridge, Mass.: Harvard University Press.

— (1993) The Field of Cultural Production: Essays on Art and Literature. Cambridge: Polity Press.

Brunsdon, Charlotte (1997) Screen Tastes: Soap Opera to Satellite Dishes. London: Routledge.

Bryson, Bethany (1996) ”Anything but Heavy Metal’: Symbolic Exclusion and Musical Dislikes’, American Sociological Review, 61(5): 886-99.

Burger, Peter (1984) Theory of the Avant-Garde. (Michael Shaw, Trans. (Vol. 4), Minneapolis: University of Minnesota Press.

Cagle, Van M (1995) Reconstructing Pop/Subculture: Art, Rock, and Andy Warhol. Thousand Oaks, Calif.: Sage.

Chambers, Iain (1985) ‘Urban Rhythms: Pop Music and Popular Culture’, In, London: Macmillan.

— (1986) Popular Culture: The Metropolitan Experience. (1993 ed.), London: Routledge.

Clarke, Gary (1990) ‘Defending Ski-Jumpers: A Critique of Theories of Youth Subculture [1981]’, In Simon. Frith & Andrew Goodwin (Eds.), On Record: Rock, Pop and the Written Word. (pp. 81-96), London and New York: Routledge.

Clarke, Garry E. (1985) ‘Music’, In Stanley. Trachtenberg (Ed.), The Postmodern Moment : A Handbook of Contemporary Innovation in the Arts. (pp. xiii, 323 p :), Westport, Conn.: Greenwood.

Clarke, John, Hall, Stuart, Jefferson, Tony, et al. (1976) ‘Subcultures, Cultures and Class: A Theoretical Overview’, In Stuart Hall & Tony Jefferson (Eds.), Resistance through Rituals: Youth Subcultures in Post-War Britain. (pp. 9-75), London: HarperCollins.

Cohen, Phil (1972) ‘Subcultural Conflict and Working Class Community’, In Working Papers in Cultural Studies 2. Birmingham: Centre for Contemporary Cultural Studies.

Cohen, Sarah (1991) Rock Culture in Liverpool. Oxford: Clarendon Press.

Cohen, Sara (1991) ‘Popular Music and Urban Regeneration: The Music Industries of Merseyside’, Cultural Studies (London, England), 5(3): 332-46.

Cohen, Sarah (1994) ‘Identity, Place and the ‘Liverpool Sound’.’ In Martin Stokes (Ed.), Ethnicity, Identity and Music: The Musical Construction of Place. (pp. 117-34), Oxford: Berg.

Cohen, Stanley (1997) ‘Symbols of Trouble [1980]’, In Ken Gelder & Sarah Thornton (Eds.), The Subcultures Reader. (pp. 149-62), London: Routledge.

Collins, Jim (1989) Uncommon Cultures: Popular Culture and Post-Modernism. New York: Routledge.

— (Ed.) (2002) High-Pop: Making Culture into Popular Entertainment, London: Blackwell.

Costantoura, Paul, & Arts, Australia Council for The (2001) Australians and the Arts. Sydney: Federation Press.

Couldry, Nick (2000) Inside Culture: Re-Imagining the Method of Cultural Studies. London: Sage.

Cunningham, Helen (1998) ‘Digital Culture - the View from the Dance Floor’, In Julian Sefton-Green (Ed.), Digital Diversions: Youth Culture in the Age of Multimedia. (pp. 128-48), London: UCL Press.

Davies, Hugh (1996) ‘A History of Sampling’, Organised Sound, 1(1): 3-11.

Dimaggio, Paul (1992) ‘Cultural Boundaries and Structural Change: The Extension of the High Culture Model to Theatre, Opera, and the Dance, 1900-1940′, In Michele Lamont & Marcel Fournier (Eds.), Cultivating Differences: Symbolic Boundaries and the Making of Inequality. (pp. 21-57), Chicago: University of Chicago Press.

— (1996) ‘Are Art-Museum Visitors Different from Other People? The Relationship between Attendance and Social and Political Attitudes in the United States’, Poetics, 24: 161-80.

Docker, John (1994) Postmodernism and Popular Culture: A Cultural History. Cambridge: Cambridge University Press.

Drucker, Joanna (1999) ‘Who’s Afraid of Visual Culture?’ Art Journal: 36-47.

Dueck, Jonathan (2000) ‘Crossing the Street: Velour 100 and Christian Rock’, Popular Music and Society, 24(2): 127-48.

Durant, Alan (1990) ‘A New Day for Music? Digital Technologies in Contemporary Music-Making’, In Philip Hayward (Ed.), Culture, Technology and Creativity in the Late Twentieth Century. (pp. 175-96), London: John Libbey.

Eco, Umberto (1985) ‘Innovation and Repetition: Between Modern and Post-Modern Aesthetics’, Daedalus, 114(4): 161-6.

Emmerson, Simon (2000) ‘Crossing Cultural Boundaries through Technology?’ In Simon Emmerson (Ed.), Music, Electronic Media, and Culture. (pp. 115-37), Burlington, USA: Ashgate.

Emmison, Mike, Frow, John, & Turner, Graeme (1998) ‘Youth Attitudes to the Arts’, Centre for Cultural and Media Policy, Griffith University (Vol. 2).

Evans, David T. (1999) Phantasmagoria: A Sociology of Opera. Aldershot, Hants, England ; Brookfield, Vt. :: Ashgate,.

Featherstone, Mike (1991) Consumer Culture and Postmodernism. London: Sage.

Fink, Robert (1998) ‘Elvis Everywhere: Musicology and Popular Music Studies at the Twilight of the Canon’, American Music, 16(2): 135-??

Fiske, John (1989) Understanding Popular Culture. Winchester, Mass.: Unwin Hyman.

— (1992) ‘The Cultural Economy of Fandom’, In Lisa A. Lewis (Ed.), The Adoring Audience: Fan Culture and Popular Media. (pp. 30-49), London: Routledge.

Flew, Terry, Ching, Gillian, Stafford, Andrew, et al. (2001) Music Industry Development and Brisbane’s Future as a Creative City (No. 1864355506), Brisbane: QUT Publications.

Fonarow, Wendy (1997) ‘The Spatial Organization of the Indie Music Gig’, In Ken Gelder & Sarah Thornton (Eds.), The Subcultures Reader. (pp. 360-69), London: Routledge.

Frith, Simon. (1978) The Sociology of Rock. London: Constable.

— (1987) ‘Towards an Aesthetic of Popular Music’, In R. Leppert & S. McClary (Eds.), Music and Society: The Politics of Composition, Performance and Reception. Cambridge: Cambridge University Press.

— (1988) Music for Pleasure: Essays in the Sociology of Pop. New York: Routledge.

— (1991) ‘The Good, the Bad, and the Indifferent: Defending Popular Culture from the Populists’, Diacritics: A Review of Contemporary Criticism, 21(4): 102-15.

Frith, Simon (1996) Performing Rites: On the Value of Popular Music. Oxford: Oxford University Press.

Frow, John (1987) ‘Accounting for Tastes: Some Problems in Bourdieu’s Sociology of Culture’, Cultural Studies, 1(1): 59-73.

— (1995) Cultural Studies and Cultural Value. Oxford: Clarendon Press.

Gans, Herbert J (1974) Popular Culture and High Culture. New York: Basic Books.

— (1992) ‘Preface’, In Michele Lamont & Marcel Fournier (Eds.), Cultivating Differences: Symbolic Boundaries and the Making of Inequality. (pp. vii-xv), Chicago: University of Chicago Press.

Gendron, Bernard (2002) Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. Chicago: University of Chicago Press.

Gibson, Chris (2002) ‘Migration, Music and Social Relations on the Nsw Far North Coast’, Transformations, 2: 3 June 2002.

Gilmore, Samuel (1990) ‘Art Worlds: Developing the Interactionist Approach to Social Organization’, In Howard S Becker & Michal M McCall (Eds.), Symbolic Interaction and Cultural Studies. (pp. 148-78), Chicago: University of Chicago Press.

Goffman, Erving (1959) The Presentation of Self in Everyday Life. Harmondsworth, Middlesex: Penguin.

Goodall, Peter (1995) High Culture, Popular Culture: The Long Debate. St. Leonards, NSW: Allen and Unwin.

Goodwin, Andrew (1988) ‘Sample and Hold: Pop Music in the Digital Age of Reproduction’, Critical Quarterly, 30(3): 34-49.

— (1994) ‘Popular Music and Postmodern Theory’, In John Storey (Ed.), Cultural Theory and Popular Culture: A Reader. (pp. 414-27), New York: Harvester Wheatsheaf.

Gottdiener, M (1995) Postmodern Semiotics: Material Culture and the Forms of Postmodern Life. Cambridge, MA: Blackwell.

Grossberg, Lawrence (1992) ‘Is There a Fan in the House?: The Affective Sensibility of Fandom’, In Lisa A. Lewis (Ed.), The Adoring Audience: Fan Culture and Popular Media. (pp. 50-65), London: Routledge.

— (1997) ‘Is Anybody Listening? Does Anybody Care? On ‘the State of Rock”, In Dancing in Spite of Myself: Essays on Popular Culture. Durham: Duke University Press.

— (1998) ‘Re-Placing Popular Culture’, In Steve Redhead, Derek Wynne & Justin O’Connor (Eds.), The Clubcultures Reader: Readings in Popular Cultural Studies. (pp. 199-219), Oxford: Blackwell.

— (1998) ”the Cultural Studies’ Crossroads Blues’, European Journal of Cultural Studies, 1(1): 65-82.

Hall, Stuart (1994) ‘Notes on Deconstructing ‘the Popular”, In John Storey (Ed.), Cultural Theory and Popular Culture: A Reader. (pp. 455-66), New York: Harvester Wheatsheaf.

— (1996) ‘Who Needs Identity?’ In Stuart Hall & Paul Du Gay (Eds.), Questions of Cultural Identity.

Hall, Stuart, & Du Gay, Paul (Eds.) (1996) Questions of Cultural Identity.

Halle, David (1992) ‘The Audience for Abstract Art: Class, Culture, and Power’, In Michele Lamont & Marcel Fournier (Eds.), Cultivating Differences. (pp. 131-51), Chicago: University of Chicago Press.

Harris, Cheryl, & Alexander, Alison (Eds.) (1998) Theorizing Fandom: Fans, Subculture, and Identity, Cresskill, N.J.: Hampton Press.

Hebdige, Dick (1988) Subculture: The Meaning of Style. London: Routledge.

Hesmondhalgh, David (1999) ‘**Indie: The Institutional Politics and Aesthetics of a Popular Music Genre’, Cultural Studies (London, England), 13(1): 34 -61.

Hills, Matt (2002) Fan Cultures. London: Routledge.

Hobsbawm, E. J., & Ranger, T. O. (1983) The Invention of Tradition. Cambridge ; New York: Cambridge University Press.

Horner, Bruce (1998) ‘On the Study of Music as Material Social Practice’.

Hosokawa, Shuhei (1999) ”’Salsa No Tiene Frontera" : Orquesta De La Luz and the Globalization of Popular Music’, Cultural Studies (London, England), 13(3): 509 -34.

Huyssen, Andreas (1988) After the Great Divide: Modernism, Mass Culture, Postmodernism. Houndmills: Macmillan.

Jacka, Elizabeth (1994) ‘Researching Audiences: A Dialogue between Cultural Studies & Social Science’, Media Information Australia(73): 45-51.

Jenkins, Henry (1992) Textual Poachers: Television Fans and Participatory Culture. New York and London: Routledge.

Jenson, Joli (1992) ‘Fandom as Pathology: The Consequences of Characterization’, In Lisa A. Lewis (Ed.), The Adoring Audience: Fan Culture and Popular Media. (pp. 9-29), London: Routledge.

Kellner, Douglas (1997) ‘Critical Theory and Cultural Studies: The Missed Articulation’, In Jim McGuigan (Ed.), Cultural Methodologies. London: Sage.

Kingsbury, Henry (1988.) Music, Talent, and Performance: A Conservatory Cultural System. Philadelphia: Temple University Press.

Kruse, H. (1993) ‘Subcultural Identity in Alternative Music Culture’, Popular Music, 12(1): 33-42.

Leppert, Richard, & Mcclary, Susan (Eds.) (1987) Music and Society: The Politics of Composition, Performance and Reception, Cambridge: Cambridge University Press.

Levine, Lawrence W. (1988) Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge, MA: Harvard University Press.

Lewis, George H (1992) ‘Who Do You Love? The Dimensions of Musical Taste’, In James Lull (Ed.), Popular Music and Communication. (2nd ed., pp. 134-51), Newbury Park, Calif: Sage.

Lull, James (1992) ‘Popular Music and Communication: An Introduction’, In James Lull (Ed.), Popular Music and Communication. (2nd ed., pp. 1-32), Newbury Park, Calif: Sage.

Lury, Celia (1996) Consumer Culture. Cambridge: Polity Press.

Maffesoli, Michel (1996) The Time of the Tribes. London: Sage.

Malbon, Ben (1999) Clubbing: Dance, Ecstasy and Vitality. London: Routledge.

Martin, Peter J (1995) Music and Society: Themes in the Sociology of Music. Manchester: Manchester University Press.

Mcclary, Susan (1989) ‘Terminal Prestige: The Case of Avant-Garde Music Composition’, Cultural Critique, 12: 57-81.

— (2000) Conventional Wisdom: The Content of Musical Form. Berkeley: University of California Press.

Mcguigan, Jim (Ed.) (1997) Cultural Methodologies, London: Sage.

Mcrobbie, Angela (1988) ‘Introduction’, In Angela McRobbie (Ed.), Zoot Suits and Second-Hand Dresses: An Anthology of Fashion and Music. (pp. xi-xx), Boston: Unwin Hyman.

— (1988) ‘Second-Hand Dresses and the Role of the Ragmarket’, In Angela McRobbie (Ed.), Zoot Suits and Second-Hand Dresses. (pp. 23-49), Boston: Unwin Hyman.

— (1990) ‘Settling Accounts with Subcultures: A Feminist Critique [1980]’, In Simon. Frith & Andrew Goodwin (Eds.), On Record: Rock, Pop, and the Written Word. (pp. 66-80), New York: Pantheon.

— (1999) In the Culture Society: Art, Fashion and Popular Music. London: Routledge.

Mcrobbie, Angela, & Garber, Jenny (1976) ‘Girls and Subcultures’, In Stuart Hall & Tony Jefferson (Eds.), Resistance through Rituals: Youth Subcultures in Post-War Britain. (pp. 209-29), London: HarperCollins.

Middleton, Richard (1990) Studying Popular Music. Milton Keynes [England] ; Philadelphia: Open University Press.

Milestone, Katie (1998) ‘The Love Factory: The Sites, Practices and Media Relationships of Northern Soul’, In Steve Redhead, Derek Wynne & Justin O’Connor (Eds.), The Clubcultures Reader: Readings in Popular Cultural Studies. (pp. 134-49), Oxford: Blackwell.

Miller, Simon (1993.) The Last Post : Music after Modernism. Manchester, England :: Manchester University Press,.

Mitchell, Tony (1993) ‘World Music and the Popular Music Industry: An Australian View’, Ethnomusicology, 37.3: 309-38.

— (1995) ‘Another Root : Australian Hip Hop as a ‘Glocal’ Subculture’, UTS Review, 5.1: 126-41.

Moore, Tony (1998) ‘Romancing the City - Australia’s Bohemian Tradition: Take Two’, Journal of Australian Studies(Sept): 56 - ??

Morris, Meaghan (1996) ‘Banality in Cultural Studies’, In John Storey (Ed.), What Is Cultural Studies?: A Reader. (pp. 147-67), London: Arnold.

Mowitt, John (1987) ‘The Sound of Music in the Era of Its Electronic Reproduction’, In Richard Leppert & Susan McClary (Eds.), Music and Society: The Politics of Composition, Performance and Reception. (pp.??), Cambridge: Cambridge University Press.

Muggleton, David. (1998) ‘The Post-Subculturalist’, In Steve Redhead, Derek Wynne & Justin O’Connor (Eds.), The Clubcultures Reader: Readings in Popular Cultural Studies. (pp. 167-85), Oxford: Blackwell.

— (2000.) Inside Subculture: The Postmodern Meaning of Style. Oxford :: Berg.

Mulhern, Francis (2000) Culture/Metaculture. London: Routledge.

Murphie, Andrew (1990) ‘Negotiating Presence - Performance and New Technologies’, In Philip Hayward (Ed.), Culture, Technology and Creativity in the Late Twentieth Century. (pp. 209-26), London: John Libbey.

O’connor, Justin, & Wynne, Derek (1991) ‘The Uses and Abuses of Popular Culture’, Loisir et Societe, 14(2): 465-82.

Oldfield, Paul (1988) ‘After Subversion: Pop Culture and Power’, In Angela McRobbie (Ed.), Zoot Suits and Second-Hand Dresses: An Anthology of Fashion and Music. (pp. 256-66), Boston: Unwin Hyman.

Osborne, Dale., Elliott, David., Wheeler, Juliet., et al. (1999) Selling the Performing Arts : Identifying and Expanding Audiences for Music, Dance and Theatre. Surry Hills, N.S.W.: Australia Council.

Pagani, Jacqualine (2001) ‘Mixing Art and Life: The Conundrum of the Avant-Garde’s Autonomous Status in the Performance Art World of Los Angeles’, Sociological Quarterly, 42(2): 175-203.

Peterson, Richard A, & Simkus, Albert (1992) ‘How Musical Tastes Mark Occupational Status Groups’, In Michele Lamont & Marcel Fournier (Eds.), Cultivating Differences: Symbolic Boundaries and the Making of Inequality. (pp. 152-86), Chicago: University of Chicago Press.

Philo, Greg, & Miller, David (2001) ‘Cultural Compliance: Media/Cultural Studies and Social Science’, In Greg Philo & David Miller (Eds.), Market Killing: What the Free Market Does and What Social Science Can Do About It. (pp. 3-78), Harlow, Essex: Pearson.

Polhemus, Ted (1998) ‘In the Supermarket of Style’, In Steve Redhead (Ed.), The Clubcultures Reader: Readings in Popular Cultural Studies. (pp. 130-33), London: Blackwell.

Potter, Keith (2000) Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Cambridge: Cambridge University Press.

Rayner, Michael (2001) ‘The New Farm Powerhouse Conversion Project’, Meanjin(?1): 128-33.

Redhead, Steve (1990) The End-of-the-Century Party: Youth and Pop Towards 2000. Manchester: Manchester University Press.

Redhead, Steve, & Henry, Patrick (1997.) Subculture to Clubcultures : An Introduction to Popular Cultural Studies. Malden, Mass. :: Blackwell Publishers,.

Reynolds, Simon (1998) ‘Rave Culture: Living Dream or Living Death?’ In Steve Redhead, Derek Wynne & Justin O’Connor (Eds.), The Clubcultures Reader: Readings in Popular Cultural Studies. (pp. 84-93), Oxford: Blackwell.

Rietveld, Hillegonda (1998) ‘The House Sound of Chicago’, In Steve Redhead, Derek Wynne & Justin O’Connor (Eds.), The Clubcultures Reader: Readings in Popular Cultural Studies. (pp. 106-17), Oxford: Blackwell.

Ross, Andrew (1989) No Respect: Intellectuals and Popular Culture. New York and London: Routledge.

Ross, Andrew, & Rose, Tricia (Eds.) (1994) Microphone Fiends: Youth Music and Youth Culture, New York: Routledge.

Said, Edward W (1991) Musical Elaborations. New York: Columbia University Press.

Schwartz, Elliot, & Godfrey, Daniel (1993) Music since 1945: Issues, Materials and Literature. New York: Schirmer.

Scott, Derek (2001) ‘Postmodernism and Music’, In Stuart Sim (Ed.), The Routledge Companion to Postmodernism. (pp. 134-46), London: Routledge.

Seabrook, John. (2001) Nobrow: The Culture of Marketing - the Marketing of Culture. New York: Vintage.

Sheinbaum, John J. (2002) ‘Progressive Rock and the Inversion of Musical Values’, In Kevin Holm-Hudson (Ed.), Progressive Rock Reconsidered. (pp. 21-42), New York: Routledge.

Shepherd, John (1986) ‘Music and Male Hegemony’, In Susan McClary & Richard Leppert (Eds.), Music and Society: The Politics of Composition, Performance and Reception. (pp. 151-72), Cambridge: Cambridge University Press.

— (1991) Music as Social Text. Cambridge: Polity Press.

Shepherd, John, & Wicke, Peter (1997) Music and Cultural Theory. Malden, MA: Polity Press.

Shields, Rob (1991) Places on the Margin: Alternative Geographies of Modernity. London: Routledge.

Shuker, Roy (2001) ‘What’s Goin’ On?: Popular Culture, Popular Music, and Media Literacy’, In Roy Shuker (Ed.), Understanding Popular Music. (2nd ed., pp. 1-25), London: Routledge.

Skinner, Tj, & Seares, Margaret (1998) Public Attitudes to the Arts, Australia: Australian Bureau of Statistics and Australia Council for the Arts.

Slobin, Mark (1993) Subcultural Sounds: Micromusics of the West. Hanover, NH: Wesleyan University Press.

Small, Christopher (1998) Musicking: The Meanings of Performing and Listening. Hanover, N.H.: Wesleyan University Press.

Storey, John (1999) Cultural Consumption and Everyday Life. London: Arnold.

— (2001) ‘Postmodernism and Popular Culture’, In Stuart Sim (Ed.), The Routledge Companion to Postmodernism. (pp. 147-57), London: Routledge.

Straw, Will (1991) ‘Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music’, Cultural Studies, 5(3): 368-88.

— (1998) ”Organized Disorder’: The Changing Space of the Record Shop’, In Steve Redhead, Derek Wynne & Justin O’Connor (Eds.), The Clubcultures Reader: Readings in Popular Cultural Studies. (pp. 39-47), Oxford: Blackwell.

Street, J (1993) ‘**Local Differences? Popular Music and the Local State’, Popular Music, 12(1): 43-6.

— (1995) Making Fun: The Local Politics of Popular Music, Paper presented at the Political Studies Association Annual Conference, University of York.

Strinati, Dominic (1994) ‘Postmodernism and Popular Culture’, In John Storey (Ed.), Cultural Theory and Popular Culture: A Reader. (pp. 428-38), New York: Harvester Wheatsheaf.

Taylor, Timothy D. (2001) Strange Sounds: Music, Technology and Culture. New York: Routledge.

Teachout, Terry (1995) ‘Holy Minimalism’, Commentary, 99(4): 50-?? via infotrac.

Theberge, Paul (1997) Any Sound You Can Imagine: Making Music/Consuming Technology. Hanover, NH: Wesleyan University Press.

Thornton, Sarah (1996) Club Cultures: Music, Media and Subcultural Capital. Hanover, NH: Wesleyan University Press.

Tulloch, John (1999) Performing Culture: Stories of Expertise and the Everyday. London: Sage.

— (2000) Watching Television Audiences: Cultural Theories and Methods. London: Arnold.

Tulloch, John, & Jenkins, Henry (1995) Science Fiction Audiences: Watching Doctor Who and Star Trek. London, New York: Routledge.

Turner, Bryan S, & Edmunds, Jane (2002) ‘The Distaste of Taste: Bourdieu, Cultural Capital and the Australian Postwar Elite’, Journal of Consumer Culture, 2(2): 219-40.

Turner, Graeme (1996) British Cultural Studies. (2nd ed.), London: Routledge.

Twitchell, James B. (1992) Carnival Culture: The Trashing of Taste in America. New York: Columbia University Press.

Van Eijck, Koen (2001) ‘Social Differentiation in Musical Taste Patterns’, Social Forces, 79(3): 1163-?

Walser, Robert. (1993.) Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Hanover, NH: Wesleyan University Press.

Walser, Robert (1997) ‘Eruptions: Heavy Metal Appropriations of Classical Virtuosity’, In Ken Gelder & Sarah Thornton (Eds.), The Subcultures Reader. (pp. 459-70), London: Routledge.

Waterhouse, Richard (1995) Private Pleasures, Public Leisure: A History of Australian Popular Culture since 1788. Melbourne: Longman.

Waterman, Stanley (1998) ‘Carnivales of Elites? The Cultural Politics of Arts Festivals’, Progress in Human Geography, 22(1): 54-74.

Willis, Paul (1978) Profane Culture. London: Routledge.

Wolff, Janet (1986) ‘The Ideology of Autonomous Art’, In Susan McClary & Richard Leppert (Eds.), Music and Society: The Politics of Composition, Performance and Reception. (pp. 1-12), Cambridge: Cambridge University Press.

Wynne, Derek, & O’connor, Justin (1998) ‘Consumption and the Postmodern City’, Urban Studies, 35(5-6): 841-?

Zolberg, Vera L. (1990) Constructing a Sociology of the Arts. Cambridge: Cambridge University Press.

Zukin, Sharon (1995) The Cultures of Cities. Malden, MA: Blackwell.

— (1998) ‘Urban Lifestyles: Diversity and Standardisation in Spaces of Consumption’, Urban Studies, 35(5-6): 825-39.