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A prescribed alternative mainstream: popular music and canon formation
3 references·16 citing·53 second hop
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this work references cited by second hop

References

  • 1996Popular Music in Theory123 cited
  • 2003Popular music analysis: ten apothegms and four instances87 cited
  • 2002Mainstreaming: from hegemonic centre to global networks59 cited

Cited by

  • 2019Analog Hallyu: Historicizing K-pop formations in China26 cited
  • 2015Still Like That Old Time Rock and Roll: Tribute Bands and Historical Consciousness in Popular Music25 cited
  • 2013History without royalty? Queen and the strata of the popular music canon24 cited
  • 2013Locating the canon in Tamworth: historical narratives, cultural memory and Australia's ‘Country Music Capital’18 cited
  • 2012Transgender Tribute Bands and the Subversion of Male Rites of Passage through the Performance of Heavy Metal Music11 cited
  • 2017Reflections on the challenges of exhibiting popular music at the beginning of the 21st century through a case study of ‘A Magia do Vinil’10 cited
  • 2013When alternative ends up as mainstream: Slovene popular music as cultural heritage9 cited
  • 2014Distinctions of Authenticity and the everyday punk self7 cited
  • 2007Soundpainting as a system for the collaborative creation of music in performance7 cited
  • 2011Lost in a Transmedia Storytelling Franchise: Rethinking Transmedia Engagement6 cited
  • 2008No Time for Losers6 cited

Only edges whose both ends are imported exist here. Widen the year window, or show the whole map. Back to the work

  • 2010Making time stand still5 cited
  • 2021Japanese women singer-songwriters of the 1970s: female agency, musical impact and social change4 cited
  • 2015Dead music in live music culture4 cited
  • 2016Reading Songs, Experiencing Music: Co-creation, Materiality and Expertise in Beck’s Song Reader2 cited
  • 2019Mokranjac on repeat: Reaffirming musical canon through sound recordings (PGP-RTB/RTS discography)2 cited