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What kind of music?
1 references·11 citing·46 second hop
What kind of music? (1982)What kind of music?Trattato di semiotica generale (1976)Trattato di semiotica generaleThe Mediation of Genre, Identity, and Difference in Contemporary (Popular) Music Streaming (2024)The Mediation of Genre, Ident…The Rosalía Polemic: Defining Genre Boundaries and Legitimacy in Flamenco (2021)The Rosalía Polemic: Defining…The Field of Cultural Production and the Limits of Freedom in Improvisation (2014)The Field of Cultural Product…How did popular music come to mean música popular? (2012)How did popular music come to…In the Blood:The Racializing Tones of Music Categorization (2010)In the Blood:The Racializing …Categorically Speaking: Towards a Theory of (Musical) Genre in Cape Breton Gaelic Culture (2008)Categorically Speaking: Towar…Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck (2005)Crossing Over in the 21st Cen…Browsing Music Spaces: Categories And The Musi- cal Mind (1999)Browsing Music Spaces: Catego…Nation, authenticity and social difference in Australian popular music: Folk, country, multicultural (1998)Nation, authenticity and soci…Questions of style: notes on Italian hip hop (1995)Questions of style: notes on …"Authority" Revisited: The "Other" in Anthropology and Popular Music Studies (1990)"Authority" Revisited: The "O…Outline of a Theory of Practice (1977)Outline of a Theory of Practice (2007)The Theory of the Leisure Class (2009)Whiteness as Improvisation, Nonwhiteness as Machine (2021)Free Improvisation, Egalitarianism, and Knowledge (2023)English Folk Song: Some Conclusions (1977)Sample and hold: pop music in the digital age of reproduction (1988)Systems of articulation, logics of change: Communities and scenes in popular music (1991)The Art of Doing (Geographies of) Music (2007)Gender on the Edge (2014)FOLKLOR VE GÖSTERGEBİLİM: GİRİŞ (2019)World Music, Politics and Social Change. (1990)Rock and Popular Music: Politics, Policies, Institutions (1995)Tracking the narrative : the poetics of identity in rap music and hip- hop culture in Cape Town. (2000)Rock and Popular Music (2005)Processes of institutionalisation and ‘symbolic struggles’ in the ‘independent music’ field in Italy (2009)The black Atlantic: modernity and double consciousness (1994)The Black Atlantic: Modernity and Double Consciousness. (1997)Sorting Things Out (1999)Exploring social and cultural diversity within ‘black British jazz’ audiences (2012)Anatomy of Criticism (1957)Convention: A Philosophical Study. (1970)Women, Fire, and Dangerous Things (1987)Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture (2020)Great transformation: The political and economic origins of our time (1944)Power/Knowledge: Selected Interviews and Other Writings 1972-1977 (1980)Subculture: The Meaning of Style (1995)‘Being the culture’ and ‘playing the culture’: Choro and the Brazilianness performed in Brussels (2021)Genre as social action (1984)Genre Analysis: English in Academic and Research Settings (1992)Performing rites: on the value of popular music (1997)The Chop: The Diffusion of an Instrumental Technique across North Atlantic Fiddling Traditions (2013)The politics of music categorization in Portugal (2013)Following the People, Refracting Hindustani Music, and Critiquing Genre-Based Research (2022)Categories of Art (1970)The Law of Genre (1980)Love and Theft: Blackface Minstrelsy and the American Working Class. (1996)Musical Borrowings, Copyright, and the Canard of “Cultural Appropriation” (2021)Wedding Songs Entwine Souls: Applying Ethnomusicology in the Didactic and Pedagogical Dimensions of AmaXhosa Wedding Songs (2024)Hegemony and Socialist Strategy (1985)The Black Atlantic: Modernity and Double Consciousness (1994)Feminists Theorize the Political (2013)“Your Wrapped doesn’t lie”: Data realism and Spotify’s constructions of music, listening, and listeners in algorithmic recommendation (2026)Trust and Deception in Virtual Societies (2001)Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production (2009)Bridging the Gap between Social Animal and Unsocial Machine: A Survey of Social Signal Processing (2011)
this work references cited by second hop

References

  • 1976Trattato di semiotica generale409 cited

Cited by

  • 2008Categorically Speaking: Towards a Theory of (Musical) Genre in Cape Breton Gaelic Culture32 cited
  • 1990"Authority" Revisited: The "Other" in Anthropology and Popular Music Studies28 cited
  • 1998Nation, authenticity and social difference in Australian popular music: Folk, country, multicultural27 cited
  • 1999Browsing Music Spaces: Categories And The Musi- cal Mind25 cited
  • 2021The Rosalía Polemic: Defining Genre Boundaries and Legitimacy in Flamenco17 cited
  • 1995Questions of style: notes on Italian hip hop14 cited
  • 2024The Mediation of Genre, Identity, and Difference in Contemporary (Popular) Music Streaming9 cited
  • 2010In the Blood:The Racializing Tones of Music Categorization9 cited
  • 2014The Field of Cultural Production and the Limits of Freedom in Improvisation7 cited
  • 2012How did popular music come to mean música popular?5 cited
  • 2005Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck2 cited

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