Bibliography
NOTE: Bibliography of research proposal (2018)
NOTE: Bibliography of research proposal (2018)
Bayley, A. (2010). Recorded music: Performance, culture and technology. New York: Cambridge University Press.
Benjamin, W. (1980). Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit [Dritte Fassung] (posthumer Erstdruck und autorisierte Endfassung des seit 1935 in vier Fassungen entstandenen Essays). Retrieved from https://de.wikisource.org/wiki/Das_Kunstwerk_im_Zeitalter_seiner_technischen_Reproduzierbarkeit_(Dritte_Fassung)
Bindert, D. (2000, July 29). Papa's Got A Brand New Bag. NPR Music. Retrieved from http://www.npr.org/2000/07/29/1080113/npr-100-papas-got- a-brand- new-bag
Birks, M., & Mills, J. (2015). Grounded theory: A practical guide (2nd ed.). Los Angeles: Sage.
Bittel, A. M. (2009). Hybridity is the Future: Negotiating Life as an Archive-Library. IASA journal, 34.
Blohmer, H. (2006). Advanced cataloging and search techniques in audio archiving. In Audio Engineering Society Convention 120. Audio Engineering Society.
Breckenridge, J. & Jones, D. (2009) Demystifying theoretical sampling in grounded theory research. Grounded Theory Review: An International Journal, 8(2)
Burris, B. (Producer); Forrer, D. (Director) (2012). Sample This (Motion picture). USA: Propinquity Films
Butler, J. (2010). Records production and the construction of authenticity in the Beach Boys and late sixties American rock (PhD dissertation). Nottingham: University of Nottingham
Bradley, K. (2004). IASA-TC04 guidelines on the production and preservation of digital audio objects: standards, recommended practices, and strategies. International Association of Sound and Audiovisual Archives.
Bradter, C., & Hobohm, K. (2005). The Thiele-Krause Archive for Audio-Visual Media Technology: An Online Historical Platform. In Audio Engineering Society Convention 118. Audio Engineering Society.
Brylawski, S., Lerman M., Pike, R. & Smith K. (2015). ARSC Guide to Audio Preservation. Eugene: Association for Recorded Sound Collections
Byrne, D. (2012). How Music Works. San Francisco: McSweeney
Casaite, Z. (2014), Digitization and Provision of Free Online Access of the Archival Sound Recording Collection at The National Library of Lithuania. IASA journal, 42.
Casey, M. & Gordon B. (2007). Sound Directions Best Practices for Audio Preservation. Indiana University / Harvard University.
Casey, M. (2015). Why Media Preservation Can’t Wait: the Gathering Storm. IASA journal, 44.
Charmaz, K. (2006). Constructing grounded theory: A practical guide through qualitative analysis. London: Sage.
Charmaz, K. (2015). A Discussion with Prof Kathy Charmaz on Grounded Theory, Interviewed by Graham R. Gibbs at the BPS Qualitative Social Psychology Conference, University of Huddersfield UK. September 14-16 2013 https://www.youtube.com/watch?v=D5AHmHQS6WQ
Copeland, P. (2008). Manual of analogue sound restoration techniques. London: British Library
Cottrell, S. (2010). The rise and rise of phonomusicology. In Bayley, A. (2010) Recorded Music: Performance, Culture, and Technology. Cambridge: Cambridge University Press
Clarke, P. (1983). A magic science: rock music as a recording art. Popular Music, 3, pp. 195.
Creswell, J. W. (2014). Research design: Qualitative, quantitative, and mixed methods approaches (4th ed.). Thousand Oaks: SAGE Publications
Cunningham, M. (1999). Good Vibrations: A History of Record Production. London: Sanctuary.
Danielsen, A. (1997). His Name Was Prince: A Study of Diamonds and Pearls. Popular Music, 16(3), 275
Daniels, C., Fox, H., Poindexter, S., & Reilly, E. (2015). Saving all the freaks on the life raft: Blending documentation strategy with community engagement to build a local music archives. The American Archivist, 78(1), 238-261.
Davies, Sean W. (2007) Knowledge: The Missing Element in Archiving and Restoration? Audio Engineering Society E-Journal
Deggeler, K. (2008). Why are these Treasures Hidden? The Place of Audiovisual Archives in a Strategic Framework for the Preservation of the National Documentary Heritage. IASA journal, 31.
De Man, B., Mora-Mcginity, M., Fazekas, G., & Reiss, J. D. (2014). The open multitrack testbed. In Audio Engineering Society Convention 137. Audio Engineering Society.
Deo, A. (2013). Digital Community Archives for Vernacular Musics: Cases from India. IASA journal, 41.
Douglas, J. (2015). The archiving "I": A closer look in the archives of writers. Archivaria, (79), 1.
Douglas, J. (2013). What we talk about when we talk about original order in writers' archives. Archivaria, (76), 7.
Drews, M., & von Arb, J. (2008, May). The Norwegian Institute of Recorded Sound: From Collection to Archive to Public Private Partnership. In Audio Engineering Society Convention 124. Audio Engineering
Society.
Duranti, L., Franks, P. C., & Ebooks Corporation. (2015). Encyclopedia of archival science. Lanham: Rowman & Littlefield.
Eddy, C., & e-Duke Books Scholarly Collection 2016. (2016). Terminated for reasons of taste: Other ways to hear essential and inessential music. Durham: Duke University Press.
Elsdon, P. (2010). Jazz recordings and the capturing of performance. In Bayley, A. (Ed), Recorded Music: Performance, Culture, and Technology. Cambridge: Cambridge University Press
Epperson, B. (2008). Uncertain and unverifiable: Jazz metadiscography and the paradox of originality. ARSC Journal, 39(2), 215-239.
Fine, Jon (2015). Your Band Sucks: What I Saw at Indie Rock's Failed Revolution. New York: Penguin Books
Fossati, G. (2011). From Grain to Pixel. The Archival Life of Film in Transition. Amsterdam: Amsterdam University Press
Graham, G. (2006). Aesthetic Empiricism and the Challenge of Fakes and Readymades. In Kieran, M. (Ed.). Contemporary Debates in Aesthetics and the Philosophy of Art. Oxford: Blackwell Publishing
Gracyk, T. (2007). Listening to Popular Music, Or, How I Learned to Stop Worrying and Love Led Zeppelin. Ann Arbor: University of Michigan Press.
Guetterman, T. (2015). Descriptions of Sampling Practices Within Five Approaches to Qualitative Research in Education and the Health Sciences [48 paragraphs]. Forum Qualitative Sozialforschung /
Forum: Qualitative Social Research, 16(2), Art. 25, http://nbn-resolving.de/urn:nbn:de:0114-fqs1502256.
Hegewisch, A. & Luna X. (2012). Fonoteca Nacional of México launches the Platform for Sound and Audiovisual Heritage Preservation of Iberoamérica. IASA journal, 38.
Hess, R. L. (2008). ARSC conference paper - tape degradation factors and challenges in predicting tape life. ARSC Journal, 39(2), 240-274.
Heumann, J. (2013). Unpacking the gift: negotiating property and custody in archival hardcore blogs. Popular Music, 32(2), 177-195
Holmes, R. & McIntyre, K. Music Australia: Building innovative partnerships for on line access to music made, played and recorded in Australia. IASA journal, 33
Julien, O. (1999). The Diverting of Musical Technology by Rock Musicians: The Example of Double-Tracking. Popular Music, 18(3), 357.
Kallmann, C. (Producer); Dunn, A. (Director) (2015). 808 (Motion picture). UK: You Know Ltd.
Kistler Mattock, L. (2016). Unearthing the Underground, Databasing the Avant-Garde, and Mapping the Independent Media Community. IASA journal, 46.
Levin, T. Y. (1990). For the record: Adorno on music in the age of its technological reproducibility. October, 55, 23.
Library of Congress (2006). Capturing Analog Sound for Digital Preservation: Report of a Roundtable Discussion of Best Practices for Transferring Analog Discs and Tapes. Washington DC: National
Recording Preservation Board & The Library of Congress
Library of Congress (2010). The State of Recorded Sound Preservation in the United States: A National Legacy at Risk in the Digital Age. Washington, DC: Council on Library and Information Resources & The
Library of Congress
Lodolini, E. (1989). The war of independence of archivists. Archivaria, 36.
Lodolini, E. (2011). Archivistica: Principi e problemi (15th ed.). Milano: F. Angeli
lokalkompass.de (2016): Vertreter von Archiven der Pop-Kultur aus ganz Deutschland bringen im Evinger Schloss gemeinsamen Verband auf den Weg. Retrieved from http://www.lokalkompass.de/dortmundnord/kultur/vertreter-von-archiven-der-pop-kultur-aus-ganz-deutschland-bringen-im-evinger-schlossgemeinsamen-verband-auf-den-weg-d731932.html
Martin, G.; Hornsby, Jeremy (1994). All you need is ears. New York: St. Martin's Press
Moore, A. (2010). The track. In Bayley, A. (Ed), Recorded Music: Performance, Culture, and Technology.
Cambridge: Cambridge University Press
Moore, A. (2002). Authenticity as authentication. Popular Music, 21(2), 209.
Moorefield, V. (2010). Modes of appropriation: covers, remixes and mash-ups in contemporary popular music. In Bayley, A. (Ed), Recorded Music: Performance, Culture, and Technology. Cambridge: Cambridge University Press
Pellizari, P. (2008). The Archival Concepts of the Swiss National Sound Archives. IASA journal, 31.
Plank, M. (2017). Managing Born-Digital Audiovisual Media: A Case Study of Scientific Video Collection Stewardship. IASA journal, 46.
Ranft, R. (2011): The UK SoundMap: an audio crowdsourcing experiment. IASA journal, 36
Reynolds, S. (2011). Retromania: Pop culture's addiction to its own past. London: Faber and Faber
Rice, D. (2015). Digitization Software Obsolescence, Too? IASA journal, 45.
Roeder, J. (2008). Art and digital records: Paradoxes and problems of preservation. Archivaria, (65), 151.
Roeder, J., Eppard P., Underwood, W. & Lauriault, T. (2008): Part Three - Authenticity, Reliability and Accuracy of Digital Records in the Artistic, Scientific and Governmental Sectors: Domain 2 Task Force Report. Retrieved from http://www.interpares.org/display_file.cfm?doc=ip2_book_part_3_domain2_task_force.pdf
Rumsey, F. (2012). Pound of Cure or Ounce of Prevention? Archiving and Preservation in Action. Journal
of the Audio Engineering Society, 60(1/2), 79-83.
Sam, J. (2005). The voice of Virginia: The WRVA sound collection preservation project. ARSC Journal, 36(2), 204-21
Sbaraini, A., Carter, S. M., Evans, R. W., & Blinkhorn, A. (2011). How to do a grounded theory study: a worked example of a study of dental practices. BMC Medical Research Methodology, 11, 128.
http://doi.org/10.1186/1471-2288-11-128
Schüller, S. (2005). IASA-TC03: IASA Technical Committee, The safeguarding of the Audio Heritage: Ethics, Principles and Preservation Strategy. International Association of Sound and Audiovisual Archives.
Seay, T. (2012). A workflow study of migrating analogue multi-track audio recordings to digital preservation File Sets. IASA journal, 39.
Seller, S. (2015). DIY Digital Radio Preservation: An Introduction to CiTR’s Audio Archiving Project. IASA journal, 45.
Sepko, D. (2013). Sound records: genre and popular music in Rules for Archival Description. IASA journal, 40, 5.
Spencer, J. (2007): Commercial Digital Multitrack Recordings: New Preservation Issues, NDIIPP Partners Meeting 6/27/2007, BMS/Chace (presentation).
Stalla, H. (2015). Artists, Archivists, and Community. IASA journal, 45.
Strübing, J. (2004). Grounded Theory. Zur sozialtheoretischen und epistemologischen Fundierung des Verfahrens der empirisch begründeten Theoriebildung.
Teruggi, D. & Bagnoli, L. (2014). The Music and Sound Archives Community of Practice in the Presto4U Project. IASA journal, 43.
University of Calgary (2016, April 1). Universal Music Canada donates archive of music label EMI Music Canada to the University of Calgary: Partnership with National Music Centre offers public access for education and celebration of music. Retrieved from https://www.ucalgary.ca/utoday/issue/2016-04-01/universal-music-canada-donates-archive-music-label-emi-music-canada-university-0
Wald, E. (2009). How the Beatles destroyed rock'n'roll: An alternative history of American popular music. Oxford / New York: Oxford University Press.
Zagorski-Thomas, S. (2014). The musicology of record production. Cambridge: Cambridge University Press.
Zak, A. (2010). I Don't Sound Like Nobody: Remaking Music in 1950s America. Michigan: University of Michigan Press
Zak, A. (2001). The poetics of rock: Cutting tracks, making records (1st ed.). Berkeley: University of California Press.