SZodixStudyAcademic Library
ShelvesOpen access
Study · an open academic library·Metadata from OpenAlex (CC0)·Shelves·OpenAlex metadata, de-duplicated
The Touring Musician: Repetition and Authenticity in Performance
16 references·1 citing·38 second hop
The Touring Musician: Repetition and Authenticity in Performance (2013)The Touring Musician: Repetition and Auth…The 360 deal and the ‘new’ music industry (2013)The 360 deal and the ‘new’ mu…Gilles Deleuze's Difference and Repetition (2013)Gilles Deleuze's Difference a…Sonic Bodies: Reggae Sound Systems, Performance Techniques and Ways of Knowing (2012)Sonic Bodies: Reggae Sound Sy…How the Beatles destroyed rock 'n' roll: an alternative history of American popular music (2009)How the Beatles destroyed roc…Gender in the music industry: rock, discourse, and girl power (2008)Gender in the music industry:…Analytic Autoethnography, or Déjà Vu all Over Again (2006)Analytic Autoethnography, or …Analytic Autoethnography (2006)Analytic AutoethnographyAuthenticity as authentication (2002)Authenticity as authenticationMaking Popular Music: Musicians, Creativity and Institutions (2000)Making Popular Music: Musicia…Rhythm and Noise: An Aesthetics of Rock (1999)Rhythm and Noise: An Aestheti…Club Cultures: Music, Media and Subcultural Capital (1997)Club Cultures: Music, Media a…Ethnography and participant observation (1994)Ethnography and participant o…Difference and repetition (1994)Difference and repetitionResearch methods in cultural anthropology (1988)Research methods in cultural …‘Play it again Sam’: Some notes on the productivity of repetition in popular music (1983)‘Play it again Sam’: Some not…Motion and Feeling through Music (1966)Motion and Feeling through Mu…A Spatiotemporal Analysis of Rock Concerts Associated with Demographics and Leisure and Hospitality Employment (2022)A Spatiotemporal Analysis of …Studying Popular Music (1990)Running with the devil: power, gender, and madness in heavy metal music (1993)Club cultures: music, media and subcultural capital (1996)‘… This little ukulele tells the truth’: indie pop and kitsch authenticity (2010)Authenticity Revisited: The Rock Critic and the Changing Real (2010)It’s really not hip to be a hipster: Negotiating trends and authenticity in the cultural field (2013)Handbook of qualitative research (1999)Writing: A Method of Inquiry (2004)A Critique of Current Practice: Ten Foundational Guidelines for Autoethnographers (2010)Living Autoethnography: Connecting Life and Research (2010)Rethinking Critical Theory and Qualitative Research (2011)Toward a Moderate Autoethnography (2016)Analyzing social settings : a guide to qualitative observation and analysis (1971)Handbook of Qualitative Research. (1995)Rush as a key motivation in skilled adventure tourism: Resolving the risk recreation paradox (2011)Ethics in Autoethnography and Collaborative Autoethnography (2017)Positionality practices and dimensions of impact on equity research: A collaborative inquiry and call to the community (2021)Liberatory Postmodernism and the Reenchantment of Consumption (1995)Human geography without scale (2005)Toward a Global Idea of Race (2010)Music and Language (1994)Riffs, Repetition, and Theories of Globalization (1999)Modernism and Popular Music (2011)Observación, entrevista y grupo de discusión: el silencio de tres prácticas de investigación (2002)Introducción a las técnicas cualitativas de investigación aplicadas en salud (2011)An ethnographic study of participant roles in school bullying (2014)A Typology of Consumer Responses to Cause-Related Marketing: From Skeptics to Socially Concerned (1998)Do Consumers Expect Companies to be Socially Responsible? The Impact of Corporate Social Responsibility on Buying Behavior (2001)The qualitative research interview (2006)Performing Gender: A Content Analysis of Gender Display in Music Videos (2010)Music (as) Labour: Professional Musicianship, Affective Labour and Gender in Socialist Yugoslavia (2015)The Cambridge History of Music Criticism (2019)SUBCULTURES OR NEO‐TRIBES? RETHINKING THE RELATIONSHIP BETWEEN YOUTH, STYLE AND MUSICAL TASTE (1999)Signals in Social Supernets (2007)The commons: Infrastructures for troubling times* (2016)Classification as Culture: Types and Trajectories of Music Genres (2008)Looking for work in creative industries policy (2009)Cultural entrepreneurs, cultural entrepreneurship: Music producers mobilising and converting Bourdieu's alternative capitals (2012)
this work references cited by second hop

References

  • 1994Difference and repetition6,721 cited
  • 2006Analytic Autoethnography2,354 cited
  • 1997Club Cultures: Music, Media and Subcultural Capital1,504 cited
  • 1988Research methods in cultural anthropology719 cited
  • 2002Authenticity as authentication485 cited
  • 2006Analytic Autoethnography, or Déjà Vu all Over Again441 cited
  • 2000Making Popular Music: Musicians, Creativity and Institutions382 cited
  • 2008Gender in the music industry: rock, discourse, and girl power218 cited
  • 1966Motion and Feeling through Music213 cited
  • 1994Ethnography and participant observation199 cited
  • 2009How the Beatles destroyed rock 'n' roll: an alternative history of American popular music114 cited
  • 1999Rhythm and Noise: An Aesthetics of Rock99 cited
  • 2013Gilles Deleuze's Difference and Repetition84 cited
  • 2012Sonic Bodies: Reggae Sound Systems, Performance Techniques and Ways of Knowing82 cited
  • 2013The 360 deal and the ‘new’ music industry75 cited
  • 1983‘Play it again Sam’: Some notes on the productivity of repetition in popular music

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

71 cited

Cited by

  • 2022A Spatiotemporal Analysis of Rock Concerts Associated with Demographics and Leisure and Hospitality Employment5 cited