Volume 9, Issue 1, 1941
T. W. Adorno, George Simpson
Pages 17-48
On Popular Music
Cited by
- Henry Stobart, Martin Clayton, Tim Byard‐Jones, Eric Charry, Peter Crowe, Martin Clayton, Martin Stokes, Peggy Duesenberry, Jonathan Katz, Carole Pegg, Suzel Ana Reily. British Journal of Ethnomusicology. Reviews of books 1994. [CrossRef]
- African Diaspora 2004: 92. [CrossRef]
- Christophe Den Tandt. Volume !. La Culture rock entre utopie moderniste et construction d’une industrie alternative 2012. [CrossRef]
- Robert John Razzante. Research Anthology on Music Education in the Digital Era 2022: 77. [CrossRef]
- Anne Danielsen. Studia Musicologica Norvegica. Aesthetic Value, Cultural Significance, and Canon Formation in Popular Music 2006. [CrossRef]
- Disney, Culture, and Curriculum 2016: 223. [CrossRef]
- Mads Krogh. Cultural Sociology. Rampant Abstraction as a Strategy of Singularization: Genre on Spotify 2023. [CrossRef]
- Fabien Hein. Sociologie du travail. Le fan comme travailleur : les activités méconnues d’un coproducteur dévoué 2011. [CrossRef]
- Routledge Revivals: The Design Professions and the Built Environment (1988) 2016: 139. [CrossRef]
- Max Paddison. „Kulturindustrie“: Theoretische und empirische Annäherungen an einen populären Begriff 2018: 137. [CrossRef]
- Sergio Mazzanti. Contemporary Popular Music Studies 2019: 17. [CrossRef]
- Tally Katz-Gerro. Sociological Perspectives. Cultural Consumption and Social Stratification: Leisure Activities, Musical Tastes, and Social Location 1999. [CrossRef]
- Dina Khapaeva. The Age of Spectacular Death 2020: 110. [CrossRef]
- Paul K. Jones. Thesis Eleven. Márkus and the retrieval of the sociological Adorno 2020. [CrossRef]
- Adrian C. North, Jane W. Davidson. Scandinavian Journal of Psychology. Musical taste, employment, education, and global region 2013. [CrossRef]
- Charles Clavey. A Companion to Adorno 2020: 153. [CrossRef]
- Mads Krogh. Norsk medietidsskrift. «Context is the new genre» 2020. [CrossRef]
- Linsi He, Dallen J. Timothy. Journal of Tourism and Cultural Change. Tourists’ perceptions of ‘cultural and creative souvenir’ products and their relationship with place 2024. [CrossRef]
- Jefferson Pooley. Harvard Kennedy School Misinformation Review. Data dependencies and funding prospects: A 1930s cautionary tale 2021. [CrossRef]
- Gwen Bouvier, Lyndon C. S. Way. Social Semiotics. Revealing the politics in “soft”, everyday uses of social media: the challenge for critical discourse studies 2021. [CrossRef]
- Ulrik Schmidt. A Philosophy of Ambient Sound 2023: 133. [CrossRef]
- Gabriele Marino. Signata. Semiotics of virality 2022. [CrossRef]
- Elihu Katz, Ruth Katz. Journal of Information Policy. Revisiting the Origin of the Administrative versus Critical Research Debate 2016. [CrossRef]
- Dag Jansson, Erik Døving, Beate Elstad. Leadership. The construction of leadership practice: Making sense of leader competencies 2021. [CrossRef]
- Adrian Anagnost. Brésil(s). Déplacer le peuple : la photographie et les territoires du populaire dans le magazine Habitat du MASP 2021. [CrossRef]
- William Uricchio. Comics and Videogames 2020: 186. [CrossRef]
- Gregory O'Toole. Handbook of Research on Digital Media and Advertising 2011: 180. [CrossRef]
- Joe Bennett. The Routledge Research Companion to Popular Music Education 2017: 285. [CrossRef]
- Ritwik Banerji. Jazz and Culture. Whiteness as Improvisation, Nonwhiteness as Machine 2021. [CrossRef]
- Mark Cieslik. The Happiness Riddle and the Quest for a Good Life 2017: 157. [CrossRef]
- Maria Małanicz-Przybylska. Między dźwiękami Skalnego Podhala. Współczesna góralszczyzna 2017. [CrossRef]
- Veit Erlmann. The African Diaspora 2018: 83. [CrossRef]
- Elihu Katz, Ruth Katz. Journal of Information Policy. Revisiting the Origin of the Administrative versus Critical Research Debate 2016. [CrossRef]
- Carolyn Chen. CR: The New Centennial Review. Parts to Sing Empty 2018. [CrossRef]
- Piotr Cichocki. Sieć przyjaciół. Serwis społecznościowy oczami etnografa 2012. [CrossRef]
- Christophe Den Tandt. Volume !. The Rock Counterculture from Modernist Utopianism to the Development of an Alternative Music Scene 2012. [CrossRef]
- Lee B. Brown, David Goldblatt, Theodore Gracyk. Jazz and the Philosophy of Art 2018: 261. [CrossRef]
- Matthias Revers, Casey Brienza. The American Sociologist. How Not to Establish a Subfield: Media Sociology in the United States 2018. [CrossRef]
- Nicholas Leonard. Arts. Homage or Biting Lines: Critically Discussing Authorship, Creativity, and Copyright in the 21st Century through Hip-Hop 2018. [CrossRef]
- Michael Ahlers. Handbuch Musik und Medien 2019: 421. [CrossRef]
- Estrella Martínez Rodrigo, Rosario Segura García. Vivat Academia. Revista de Comunicación. Música y emociones en campañas institucionales. El caso de la DGT española (1964-1983) 2012. [CrossRef]
- David Landes.
Explorations in Media Ecology
. Marshall McLuhan’s theory of attention: How to become a media psychonaut 2020. [CrossRef]
- Ozan EREN, Emrah ERGENE. Musicologist. A Distinctive Album in Turkey: Bülent Ortaçgil’s Benimle Oynar Mısın 2021. [CrossRef]
- Hakan Övünç Ongur, Tevfik Orkun Develi. Third World Quarterly. Rereading Turkey’s recent history through the lens of rock music: how rock has lost its socio-political edge in neoliberal times 2022. [CrossRef]
- Anne Danielsen. Popular Musicology and Identity 2020: 117. [CrossRef]
- Jimmie LeBlanc. Revue musicale OICRM. Le classique fait pop ! Pluralité musicale et décloisonnement des genres, de Danick Trottier, Québec, Éditions xyz, 2021, 264 pages 2021. [CrossRef]
- Tiziano Bonini, Paolo Magaudda. Platformed! How Streaming, Algorithms and Artificial Intelligence are Shaping Music Cultures 2024: 59. [CrossRef]
- Tally Katz-Gerro. Routledge Handbook on Consumption 2017: 409. [CrossRef]
- Valentin Werner. Corpora. Catchy and conversational? A register analysis of pop lyrics 2021. [CrossRef]
- Ulrich Paetzel. Kunst und Kulturindustrie bei Adorno und Habermas 2001: 9. [CrossRef]
- Matthew Rahaim. Music and Empathy 2017: 175. [CrossRef]
- Mark Cieslik. The Happiness Riddle and the Quest for a Good Life 2017: 67. [CrossRef]
- Seyhan Aksoy, Didem Çabuk. Gümüşhane Üniversitesi İletişim Fakültesi Elektronik Dergisi. TUTAN/TUTMAYAN DİZİ TANIMLAMASI İLE YARATILAN YERLİ DİZİLERİN FARKLILIĞI YANILSAMASINA KARŞI YERLİ DİZİLERİN AYNILIĞI 2019. [CrossRef]
- Nadia Molek. Two Homelands. “Songs from the homeland” – popular music performance among descendants of Slovenian refugees in Argentina: The case of “Slovenski Instrumentalni Ansambel” 2017. [CrossRef]
- Matt Lawson. The Palgrave Handbook of Music in Comedy Cinema 2023: 207. [CrossRef]
- Josh Shepperd. Communication Theory. Theodor Adorno, Paul Lazarsfeld, and the Public Interest Mandate of Early Communications Research, 1935–1941 2022. [CrossRef]
- Consuming Symbolic Goods 2013: 83. [CrossRef]
- Emre AYDIN, Rıza SAM. Anadolu Üniversitesi Sosyal Bilimler Dergisi. Adorno’nun Caz Müziği Kuramına Güncel Bir Bakış: New York Jazz Masters Workshop Uygulaması 2018. [CrossRef]
- Lello Savonardo. SociologieS. Pop music et rythmes urbains à Naples 2014. [CrossRef]
- Adrian C. North, David J. Hargreaves. Psychology of Music. Lifestyle correlates of musical preference: 3. Travel, money, education, employment and health 2007. [CrossRef]
- Louise Woodstock. Stuart Hall Lives: Cultural Studies in an Age of Digital Media 2018: 47. [CrossRef]
- Robert John Razzante. Handbook of Research on Media Literacy in Higher Education Environments 2018: 286. [CrossRef]
- Antoine Hennion. Pop Music and Easy Listening 2017: 83. [CrossRef]
- Michael Ahlers. Handbuch Musik und Medien 2018: 1. [CrossRef]
- Özlem AYDOĞMUŞ ÖRDEM. Sosyoloji Araştırmaları Dergisi. SÖZLÜ KÜLTÜRDE KADININ TEMSİLİ VE YENİ MEDYADA KADIN FENOMENLERİN GÖRÜNÜMLERİ: ELEŞTİREL SOSYOLOJİK BİR BAKIŞ 2021. [CrossRef]
- Raúl Matta. Intersections. L’expérience musicale est une expérience sociale : de l’intellectualisation de la musique électronique à Lima (Pérou) 2011. [CrossRef]
- Antoine Hennion. Volume !. La Production du succès : une anti-musicologie de la chanson de variétés 2013. [CrossRef]