Bibliography - Philip Tagg

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822 Ten Little Title Tunes Bibliography SKILES, MARLIN (1976). Music Scoring for TV and Motion Pictures. Blue Ridge Summit, PA: Tab Books. SKINNER, FRANK (1950). Underscore. A combination method-text-treatise on scoring music for film or TV. New York: Criterion Music (revised edition, 1963). SKOG, INGE; BENGTSSON, INGMAR (1977). ‘Melodik’. Sohlmans musiklexikon, 4: 489-492. SOHLMANS MUSIKLEXIKON, 1-2 (1975). Stockholm: Sohlmans Förlag. SOHLMANS MUSIKLEXIKON, 3 (1976). Stockholm: Sohlmans Förlag. SOHLMANS MUSIKLEXIKON, 4 (1977). Stockholm: Sohlmans Förlag. SOHLMANS MUSIKLEXIKON, 5 (1979). Stockholm: Sohlmans Förlag. SOKAL, ALAN; BRICMONT, JEAN (1998). Intellectual Impostures. Postmodern philosophers’ abuse of science. London: Profile Books. STEELE, TOM (1997). The Emergence of Cultural Studies. Cultural Politics, Adult Education and the English Question. London: Lawrence and Wishart. STEFANI, GINO (1973). ‘Sémiotique en musicologie’. Versus, 5:22-42. —— (1976). Introduzione alla semiotica della musica. Palermo: Sellerio. —— (1982). La competenza musicale. Bologna: CLUEB. —— (1987a). ‘Melody: a popular perspective’. Popular Music, 6/1: 21-36. —— (1987b). ‘A theory of musical competence’. Semiotica, 66-1/3:7-22. Amsterdam: Mouton de Gruyter. ——; MARCONI, LUCA; FERRARI, FRANCA (1990). Gli intervalli musicali. Milano: Bompiani. ——; MARCONI, LUCA (1992). La melodia. Milano: Bompiani. ——; MARCONI, LUCA; TARASTI, EERO (eds., 1998). Musical Signification Between Rhetoric and Pragmatics (Proceedings of the 5th International Congress on Musical Signification). Bologna: CLUEB. STILWELL, ROBYNN (1997). ‘I just put a drone under him… Collage and subversion in the score of “Die hard”’. Music & Letters, Nov. 1997 |http://pages.prodigy.net/emeraldegg/articles/DHscore.html| Also as ‘Collage and subversion in the score of “Die Hard” in Music on Show: Issues of Performance (T Hautamäki & H Järviluoma, eds.): 302-313. 1998, Tampere: Department of Folk Tradition. STOCKFELT, OLA (1988). Musik som lyssnandets konst. Göteborg: Musikvetenskapliga institutionen vid Göteborgs universitet [Music as the art of listening]. STOÏANOVA, IVANKA (1978). Geste - texte - musique. Paris: Ugé. STOKES, MARTIN (ed. 1994). Ethnicity, Identity and Music. Oxford & London: Berg. STRACHAN, ROB (2002). The Politics of Independent Record Production. PhD dissertation, Institute of Popular Music, University of Liverpool. STRUNK, OLIVER (ed., 1952). Source Readings in Music History. London: Faber. SUNDIN, BERTIL (1977). Barnets musikaliska värld. Lund: Liber Läromedel [The child’s musical world]. TAGG, PHILIP (1979). Kojak: 50 Seconds of Television Music. See TAGG (2000a). —— (ed. 1980). Film Music, Mood Music and Popular Music Research. Göteborg: Stencilled Papers from the Musicology Department, 8002. Edited (2002) online as |www.tagg.org/articles/xpdfs/ intvws80v1.pdf|. —— (1981a). ‘Proposals Concerning the Establishment of an International Society for Popular Music’. IASPM 1st international conference, Amsterdam |www.tagg.org/articles/iaspprop81.html|. —— (1981b)On the Specificity of Musical Communication. Guidelines for Non-Musicologists. 1981, Göteborg: Stencilled Papers from the Musicology Department, #8115. —— (1982a) ‘Music Teacher Training Problems and Popular Music Research’. Popular Music Perspectives, 1 (ed. D Horn & P Tagg): 232-242. Göteborg and Exeter: IASPM. |www.tagg.org/articles/pmpsamus.html|. —— (1982b) Nature as a Musical Mood Category. Göteborg: IASPM Internal Publications 8206 |www.tagg.org/articles/nature.pdf|. —— (1982c). ‘Analysing Popular Music. Popular Music, 2: 37-69. Republished in Reading Pop. (ed. R Middleton): 71-103. Oxford University Press. —— (1983). ‘Why IASPM? Which Tasks?’ Typescript of paper delivered at 2nd IASPM International Conference, Reggio Emilia (Italy), September 1983. Subsequently printed in Popular Music Perspectives 2 (ed. D Horn): 501-507. Göteborg & Exeter: IASPM (1985). |www.tagg.org/articles/iasptask83.html| —— (1984) ‘Understanding “Time Sense”’. Tvärspel - 31 artiklar om musik. Festskrift till Jan Ling. Göteborg: Skrifter från Musikvetenskapliga institutionen, 9: 21-43. |www.tagg.org/articles/timesens.pdf|. —— (1985) ‘Address on the State of the Association’. Third IASPM international conference, Montréal |www.tagg.org/articles/montreal.html|. —— (1987) ‘Musicology and the Semiotics of Popular Music’. Semiotica, 66-1/3: 279-298.
Bibliography Ten Little Title Tunes 823 —— (1989) ‘Open letter: Black music, Afro-American and European music’. Popular Music, 8/3: 285-298. —— (1990a) ‘Music in Mass Media Studies. Reading Sounds for Example.’ Popular Music Research (ed. K Roe; U Karlsson). Göteborg: NORDICOM-Sweden, 1-2 1990: 103-114 |www.tagg.org/artricles/ readsound.html|. —— (1990b) ‘An Anthropology of Television Music?’ Svensk tidskrift för musikforskning, 1989: 19-42 |www.tagg.org/articles/tvanthro.pdf|. —— (1991) Fernando the Flute. See TAGG (2000b) —— (1992) ‘Towards a sign typology of music’. Secondo convegno europeo di analisi musicale. (ed. R Dalmonte; M Baroni): 369-378. Trento: Università degli studi. |www.tagg.org/articles/ trento91.html|. —— (1993) ‘“Universal” music and the case of death’. Critical Quarterly, 35/2: 54-85 |www.tagg.org/articles/deathmus.pdf|. —— (1994a) ‘From refrain to rave: the decline of figure and the rise of ground’. Popular Music, 13/2: 209- 222. Paper delivered at conference ‘Rock steady/Rock study. Sulle culture del rock’, Bologna, 1993. Also published as ‘Dal ritornello al “rave”: tramonta la figura, emerge lo sfondo’. Annali del Istituto Gramsci Emilia-Romagna, 2/1994 (ed. E Collini, S Granelli: 158-175 (1995). —— (1994b) ‘Subjectivity and soundscape, motorbikes and music’. Soundscapes. Essays on Vroom and Moo (ed. H Järviluoma): 48-66. Tampere: Department of Folk Tradition. —— (1996) Mass Media Music Studies versus ‘The Other’. Paper at symposium ‘Music and Life-world. Otherness and Transgression in the Culture of the 20th Century; in memoriam Fernando Lopes-Graça’, Cascais, Portugal |www.tagg.org/articles/cascais.html|. —— (1998a) ‘The Göteborg connection: lessons in the history and politics of popular music education and research’. Popular Music, 17/2: 219-242. —— (1998b) ‘Tritonal crime and “music as ‘music’”’. Norme con ironie. Scritti per i settant’ anni di Ennio Morricone (ed. S Miceli; L Gallenga; L Kokkaliari): 273-312. Milano: Suvini Zerboni |www.tagg.org/articles/morric70.pdf|. —— (1998c) ‘“Music and Cultural Theory” by John Shepherd and Peter Wicke: an essay review’. Popular Music, 17/3: 331-348. —— (2000a) Kojak - 50 Seconds of Television Music (2nd edition). New York: Mass Media Music Scholars’ Press (1publ 1979, Göteborg: Musikvetenskapliga institutionen). —— (2000b) Fernando the Flute (3rd edition). New York: Mass Media Music Scholars’ Press. —— (2000c) ‘The Work: An Evaluative Charge’. The Musical Work. Reality or Invention? (ed. M Talbot): 153-167. Liverpool: Liverpool University Press |www.tagg.org/articles/workcnpt.html|. —— (2000d) High and Low, Cool and Uncool, Music and Knowledge. Conceptual falsifications and the study of popular music. Keynote speech, IASPM UK conference, Guildford, July 2000 |www.tagg.org/articles/iaspmuk2000.html|. —— (2001a)‘Twenty Years After’ – Speech at founder’s event, IASPM 11th International Conference, Turku |www.tagg.org/articles/turku2001.html|. —— (2001b)Music analysis for ‘non-musos’ – Popular perception as a basis for understanding musical structure and signification. Paper at popular music analysis conference, University of Cardiff, 17 November 2001 |www.tagg.org/articles/cardiff01b.pdf|. TALBOT, MICHAEL (ed. 2000). The Musical Work: Reality or Invention? Liverpool University Press. TAMLYN, GARRY (1998). The Big Beat: Origins and development of snare backbeat and other accompanimental rhythms in Rock ‘n’ Roll. PhD diss., Institute of Popular Music, University of Liverpool [2003, forthcoming, New York: Mass Media Music Scholars’ Press]. TAMLYN, GARRY (1991). ‘“Anarchy in the UK”. A test study of Philip Tagg’s Affect Analysis in relation to Punk Rock. Sydney: Dept. of Music, University of New South Wales; M. Mus. dissertation). —— (1998). ‘The Big Beat: Origins and development of snare backbeat and other accompanimental rhythms in Rock ’n’ Roll.’ PhD Thesis, Institute of Popular Music, University of Liverpool. TARASTI, EERO (1978). Myth and Music - A Semiotic Approach to the Aesthetics of Music, especially that of Wagner, Sibelius and Stravinsky. Helsinki: Suomen Musiikkitieteellinen Seura. —— (1985). Music as sign and process. Analytica: 97-116. Stockholm: Kungliga Musikaliska Akademien. —— (1987). Some Peircean and Greimasian Semiotic Concepts as Applied to Music. The Semiotic Web 1986: 445-459. Berlin, New York: Mouton de Gruyter. —— (1990). Semiotics as a Common Language of Musicology. La musica come linguaggio universale (ed. R Pozzi, Raffaele): 133-150. Firenze: Olschki. —— (1998). Signs as acts and events: an essay on musical situation. Musical Signification Between Rhetoric and Pragmatics (ed. G Stefani, E Tarasti, L Marconi): 39-62. Bologna: CLUEB.
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