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JRFM - Journal Religion Film Media, Volume 02/01
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68 | Florian Heesch www.jrfm.eu 2016, 2/1, 49–69 BIBLIOGRAPHY Auslander, Philipp, 2008, Liveness: Performance in a Mediatized Culture, London: Routledge. Auslander, Philipp, 2009, Musical Persona: The Physical Performance of Popular Music, in: Scott, Derek B. (ed.), The Ashgate Research Companion to Popular Musicology, Farnham: Ashgate, 303–316. Barthes, Roland, 1977, Image – Music – Text, London: Fontana Press. Bowman, Rob, 2015, Motown, Grove Music Online. Oxford Music Online, Oxford University Press: http:// www.oxfordmusiconline.com/subscriber/article/grove/music/19225 [accessed 26 September 2015]. Cross, Melissa, 2005/2007, The Zen of Screaming: Vocal Instruction for a New Breed, 2 vols. Loudmouth. Cusick, Suzanne G., 1999, On Musical Performances of Gender and Sex, in: Barkin, Elaine/Hamessley, Lydia (eds.), Audible Traces: Gender, Identity, and Music, Zurich: Carciofoli, 25–48. Dickinson, Kay, 2001, “Believe”? Vocoders, Digitalised Female Identity and Camp, Popular Music 20, 3, 333–347. Dibben, Nicola, 2002, Gender Identity and Music, in: MacDonald, Raymond A. R./Hargreaves, David J./Miel, Dorothy (eds.), Musical Identities, Oxford: Oxford University Press, 117–133. Eckenroth, Lindsey, 2014, Once Again, on the Music of Laurie Anderson’s “O Superman (for Massenet)”, American Music Review 43, 2, 21–24. Ernst, Christoph/Paul, Heike (eds.), 2013, Präsenz und implizites Wissen: Zur Interdependenz zweier Schlüs- selbegriffe der Kultur- und Sozialwissenschaften, Bielefeld: transcript. Eshun, Kodwo, 1998, More Brilliant than the Sun: Adventures in Sonic Fiction, London: Quartet Books. Frith, Simon, 1981, Sound Effects: Youth, Leisure, and the Politics of Rock’n’Roll, New York: Pantheon Books. Frith, Simon, 1998, Performing Rites: On the Value of Popular Music, Cambridge, MA: Harvard University Press. Gauß, Stefan, 2009, Nadel, Rille, Tricher: Kulturgeschichte des Phonographen und des Grammophons in Deutschland (1900–1940), Cologne: Böhlau. Gauß, Stefan, 2013, Der Sound aus dem Trichter: Kulturgeschichte des Phonographen und des Grammo- phons, in: Paul, Gerhard/Schock, Ralph (eds.), Sound des Jahrhunderts, Bonn: Bundeszentrale für politische Bildung, 30–35. Hähnel, Tilo, 2015, “The Cutest Flapper that You’ve Ever Seen”. Über die Anfänge des Crooning, in: Pflei- derer, Martin (ed.), Stimme, Kultur, Identität: Vokaler Ausdruck in der populären Musik der USA, 1900– 1960, Bielefeld: transcript, 129–150. Halberstam, J. Jack, 2012, Gaga Feminism: Sex, Gender, and the End of Normal, Boston: Beacon Press. Haraway, Donna, 2010, A Manifesto for Cyborgs [1985], in: Leitch, Vincent B. (ed.), The Norton Anthology of Theory and Criticism, New York: Norton, 2190–2220. Heesch, Florian, 2011, Extreme Metal und Gender: Zur Stimme der Death-Metal-Vokalistin Angela Gossow, in: Meine, Sabine/Noeske, Nina (eds.), Musik und Popularität: Aspekte zu einer Kulturgeschichte zwis- chen 1500 und heute, Münster: Waxmann, 167–186. Heesch, Florian, 2012, Metal for Nordic Men? Amon Amarth’s Representations of Vikings, in: Scott, Niall W. R. (ed.), Reflections in the Metal Void, Oxford: Inter-Disciplinary Press, 167–182. Holtsträter, Knut, 2011, Der Crooner, das unbekannte Wesen, in: Meine, Sabine/Noeske, Nina (eds.), Musik und Popularität: Aspekte zu einer Kulturgeschichte zwischen 1500 und heute, Münster: Waxmann, 145–165. Laing, Dave, 1991, A Voice without a Face. Popular Music and the Phonograph in the 1890s, Popular Music 10, 1, 1–9. Leibetseder, Doris, 2010, Queere Tracks: Subversive Strategien in der Rock- und Popmusik, Bielefeld: tran- script, 229–250.
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JRFM Journal Religion Film Media, Volume 02/01
Title
JRFM
Subtitle
Journal Religion Film Media
Volume
02/01
Authors
Christian Wessely
Daria Pezzoli-Olgiati
Editor
Uni-Graz
Publisher
SchĂĽren Verlag GmbH
Location
Graz
Date
2016
Language
English
License
CC BY-NC 4.0
Size
14.8 x 21.0 cm
Pages
132
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