Volume! in English!
Outline
Top of pageHere is the list of all 77 Volume! papers available in English, all of them downloadable on our websites (except for the last 4 issues). These include all papers from Countercultures and Popular Music (Sheila Whiteley and Jedediah Sklower, eds., Ashgate). All reports and book reviews (dozens) are in open access – many of them also in English. We haven’t listed them here.
“The Canterbury Scene” – no 19 : 1
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Dave Stewart & Pierre Michel (France – Strasbourg), “An Interview with Dave Stewart”
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David Diallo (France – Bordeaux), “‘Every MC raps, but not Every Rapper is an MC’”: Examining the MC/Rapper Rivalry in American Rap Music”
“Experts/Non Experts” – no 18 : 2
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José Vincente Neglia (China – Hong Kong), “‘Original Artyfacts’: Rethinking Object Biography in Popular Music Studies”
“Back to Work!” – no 18 : 1
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Isabelle Stegner-Petitjean (France – Sorbonne University), “Michael Jackson’s Off the Wall: Beyond the Wall of the American Musical and Colorist Categorization”
“Music & Hacking” – no 16 : 1
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Eamonn Bell (USA – Columbia), “Hacking Jeff Minter’s Virtual Light Machine: Unpacking the Code and Community Behind an Early Software-Based Music Visualizer”
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Marilou Polymeropoulou (UK – Oxford), “Knowledge of Limitations: Hacking Practices and Creativity Ideologies in Chipmusic”
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Nicolas Collins (School of the Art Institute of Chicago), “From Circuitry to Live Improvisation (and Back): Hacking One’s Way Through Contemporary Electronic Music”
“Paradoxical Metal” – no 15 : 2
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Luis Velasco Pufleau (Germany – Fribourg), “When Only War Can Kill the Silence: Listening to No One IS Innocent after 13 November 2015”
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Marc J. Butler (USA – Northwestern University, Chicago), “Rhythm, Affordance, Recording, and the Ontology of Performance: New Frontiers for Musicology”
“Watching Music: Music Video Cultures” – no 14 : 2
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Warren Buckland (UK – Oxford Brookes), “The Unnatural and Impossible Storyworlds of Michel Gondry’s Music Videos: The Mise en Abyme of ‘Bachelorette’”
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Will Straw (Canada – McGill), “Music Video in its Contexts: 30 years later”
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Henry Keazor (Germany – Heidelberg), “Portal Music Videos? Music Video Aesthetics for Handheld Devices”
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Fabien Holt (Germany – Berlin), “Music Festival Video: A ‘Media Events’ Perspective on Music in Mediated Life”
Varia – no 14 : 1
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Mark Duffett (UK – Chester) & Paula Hearsum (UK – Brighton), “Alas, Poor Richard: Fandom, Personal Identity and Ben Myer’s Novelization of Richey Edwards’s Life Story”
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Paula Abreu (Portugal – Coimbra), Augusto Santos Silva (Portugal – Porto), Paula Guerra (Portugal – Porto) & Tânia Moreiro (Portugal – Porto), “The Social Place of Portuguese Punk Scene: An Itinerary of the Social Profiles of Its Protagonists”
“Inna Jamaican Stylee” – no 13 : 2
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Hubert Devonish (Jamaica – University of the West Indies) & Byron Jones (Jamaica – University of the West Indies), “Jamaica: A State of Language, Music and Crisis of Nation”
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Herbie Miller (Institute of Jamaica) & Roberto Moore (Institute of Jamaica), “Jazz in Jamaica, at Home and Abroad”
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Brian D’Aquino (Italy – Napoly L’Orientale), Julian Henriques (UK – London, Goldsmiths) & Leonardo Vidigal (Brazil – Universidade Federal de Minas Gerais), “A Popular Culture Research Methodology: Sound System Outernational”
“Special Beatles Issue” – no 12 : 2
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Thomas MacFarlane (USA – NYU), “A Mosaic Approach to Abbey Road”
Varia – no 11 : 2
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J. Mark Percival (UK – Queen Margaret), “Stone Deaf Forever: Discourses of Loudness”
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Hélène Garcia Solek (Canada – Montreal), “Sampling as Political Practice: Gilberto Gil’s Cultural Policy in Brazil and the Right to Culture in the Digital Age”
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Joshua Katz-Rosene (USA – City University of New York), “Discourse in Música Latinoamericana Cultural Projects from Nueva Canción to Colombian Canción Social”
“Nostalgia in Popular Music” – no 11 : 1
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Hugh Dauncey (UK – Newcastle) & Chris Tinker (UK – Heriot-Watt), “Introduction”
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Deena Weinstein (USA – DePaul), “Constructed Nostalgia for Rock’s Golden Age: ‘I Believe in Yesterday’”
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Jonathyne Briggs (USA – Indiana University Northwest), “Recollections in ‘Rockollection’. Musical Memory and Countermemory in 1970s France”
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Sheila Whiteley (UK – Salford), “‘When You Wish Upon a Star’. Nostalgia, Fairy Stories and the Songs of World War II”
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Richard Elliott (UK – Sussex), “‘Time and Distance are no Object’. Holiday Records, Representation and the Nostalgia Gap”
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Elodie Roy (UK – Newcastle), “Displacing the Past. Mediated Nostalgia and Recorded Sound”
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Nicholas Russo (Australia – Wollongong), “Psycherelic Rock. Ersatz Nostalgia for the Sixties and the Evocative Power of Sound in the Retro Rock Music of Tame Impala”
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Kim Kattari (USA – Texas at Austin), “Identifying with the Rebel of the Past. An Ethnographic Exploration of Nostalgia in the Contemporary Rockabilly Scene in the United States”
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Catherine Strong (Australia – Melbourne) & Alastair Greig (Australian National University), “‘But We Remember When we Were Young’. Joy Division and New Orders of Nostalgia”
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Franco Fabbri (Italy – Torino) & Marta García Quiñones (Spain – Barcelona), “Listening to the Shadows, Forty-Eight Years Later, and for the First Time”
“Arranging the World” – no 10 : 2
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Martin Stokes (UK – King’s College), “Creativity, Globalization and Music”
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Casey Harison (USA – University of Southern Indiana in Evansville), “Is it in my Head? The Pleasure and Pain of Listening to the Who, 1964-1973”
“Listening” – no 10 : 1
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Theodore Gracyk (USA – Minnesota State University Moorhead), “Listening with their Eyes. Problems for Radical Intertextuality”
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Mark Duffett (UK – Chester), “Ghetto Voyeurism? Cross-Racial Listening and the Attribution of Sociocultural Distance in Popular Music”
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Lars Lilliestam (Sweden – Gothenburg), “Research on music listening: From Typologies to Interviews with Real People”
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Lisa Gilman (USA – Oregon), “Grounding the Troops: Music, Place and Memory in the Iraq War”
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Mandy-Suzanne Wong (USA – UCLA), “Listening to EDM: Sound Object Analysis and Vital Materialism”
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Helen Elizabeth Davies (UK – Liverpool), “Never mind the generation gap? Music listening in the everyday lives of young teenage girls and their parents”
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Emery Schubert (Australia – New South Wales), “Emotion in Popular Music: A Psychological Perspective”
Sheila Whiteley and Jedediah Sklower (eds), Countercultures and Popular Music, Aldershot, Ashgate, 2014. Soft cover: Abingdon/New York, Routledge, 2016.
“Countercultures ii” – no 9 : 2
An international, English version of these two issues dedicated to countercultures, with extra articles, was published by Ashgate in June 2014 (Sheila Whiteley & Jedediah Sklower, eds., paperback edition in 2016). All original English papers are now available on our website, including the ones not yet published in Volume!
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Sheila Whiteley (UK – Salford), Introduction: “Utopias, Dystopias, Anarchy”
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Christophe den Tandt (Belgium – Université Libre de Bruxelles), “The Rock Counterculture from Modernist Utopianism to the Development of an Alternative Music Scene”
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Gerald Carlin & Mark Jones (USA – Wolverhampton), “‘Helter Skelter’ and Sixties Revisionism”
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Shawn David Young (USA – Clayton, Morrow), “Apocalyptic Music: Reflections on Countercultural Christian Influence”
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Regina Arnold (USA – freelance researcher), “‘Nobody’s Army’: Contradictory Cultural Rhetoric in Woodstock and Gimme Shelter”
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Jay Keister (USA – Colorado, Boulder), ”‘The Long Freak Out’: Unfinished Music and Countercultural Madness in 1960s and 1970s avant-garde rock”
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Stanley Spector (USA – Modesto Junior College), “The Grateful Dead and Friedrich Nietzsche: Transformation in Music and Consciousness”
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Shelina Brown (USA – UCLA), “‘Scream from the Hear’: Yoko Ono’s Rock’n’Roll Revolution”
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Benjamin Halligan (UK – Salford), “From Countercultures to Suburban Cultures: Frank Zappa after 1968”
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Sheila Whiteley (UK – Salford), “Electric Ladyland. And the Gods Made Love”
“Countercultures i” – no 9 : 1
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Sheila Whiteley (UK – Salford), Introduction: “Music, Theory and Scenes” and “Utopias, Dystopias, Anarchy”
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Ryan Moore (USA, Florida Atlantic), “Break on Through: Counterculture, Music and Modernity in the 1960s”
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Simon Warner (UK – Leeds), “The Banality of Degradation: Andy Warhol, the Velvet Underground and the trash aesthetic”
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Giovanni Vacca (Italy, freelance researcher), “Music and Countercultures in Italy: the Neapolitan Scene”
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Þorbjörg Daphne Hall (Iceland Academy of the Arts), “Countercultural Space Does Not Persist: Christiania, and the Role of Music”
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Heiner Stahl (Germany – Erfurt), “Auditory traces of subcultural practices in 1960s Berlin. A border-crossing soundscape of Pop”
“Sex Sells, Blackness too?” – no 8 : 2
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Werner Zips (Austria – Vienna), “There ain’t just Black in the Atlantic, Jack! Transformations of Masculinity from the Outlaw to the Rebel in Dancehall Reggae”
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Isabelle Stegner-Petitjean (France – Paris 4), “‘The Voice in the Mirror’. Michael Jackson: from a Vocal Identity to its Double in Sound”
“What is it we call ‘Black Music’?” – no 8 : 1
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Sarah Etlinger (USA – Wisconsin), “Beyond the Music: Rethinking Sgt. Pepper’s Lonely Hearts Club Band”
“Cover Versions in Popular Music” – no 7 : 1
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Gerry McGoldrick (Canada – York), “From Annie Laurie to Lady Madonna: A Century of Cover Songs in Japan”
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Charles Mueller (USA – Florida State), “Gothic Covers: Music, Subculture and Ideology”
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Jan Butler (UK – Oxford Brookes), “Musical Works, Cover Versions and Strange Little Girls”
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Gary R. Boye (USA – Appalachian State), “Bluegrass Covers of Boby Dylan Songs in the Sixties”
“Metal Scenes: Social Sciences and Radical Cultural Practices” – no 5 : 2
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Keith Kahn-Harris (UK – Goldsmith College) & Fabien Hein (France – Université de Metz), “Metal studies: a bibliography”
“Fanzines and Alternative Musical Press” – no 5 : 1
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Julia Pine (Canada – Carleton), “Cold Press: Early Punk Fanzines in Canada’s Capital”
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Christian Schmidt (Germany – Free University of Berlin) “Meanings of Fanzines in the Beginning of Punk in the GDR and FRG: An Approach Towards a Medium Between Staging, Communication and the Construction of Collective Identities”
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Annelise Sklar (USA – California, San Diego), “The Personal, Political, and a Little Bit of Everything Else: Girls, Grrrls and Perzines”
“Hip-Hop Sounds” – no 3 : 2
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Eric Gonzalez (France – Rennes II), “Jim Jarmush’s Aesthetics of Sampling in ‘Ghost Dog – the Way of the Samurai'“
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Gianni Sibilla (Italy – Cattolica di Milano), “So Empty without Me. Intermediality, Intertextuality and Non-commercial Factors in the Evaluation of Pop Music: The (not so) Strange Case of MTV and Eminen”
“Electronics in Popular Music” – no 3 : 1
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Birgit Richard (Germany – Frankfurt), “Warm Bitch: The Practice of Bootlegging as a Clash of Club Sound Cultures”
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Klaus Neumann-Braun (Switzerland – Basel), “‘… Computer Music is Cool!’ Theoretical Implications of Ambivalences in Contemporary Trends in Music Reception”
“French Popular Music” – no 2 : 2
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Peter Hawkins (UK – Bristol), “The Career of Léo Ferré: a Bourdieusian Analysis”
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Kim Harrison (UK – Leeds), “Putain d’camion: Commercialism and the Chanson Genre in the Work of Renaud”
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Sean Albiez (UK – Southampton), “Strands of the Future: France and the Birth of Electronica”
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Edwin C. Hill Jr. (USA – Southern California), “Aux armes et caetera ! Re-covering Nation for Cultural Critique”
Varia – no 1 : 2
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Barbara Lebrun (UK – Manchester), “A Case Study of Zebda: Republicanism, métissage and Authenticity in Contemporary France”