Bibliography

 

I have an extensive bibliography, but it will take some time to get it sorted and formatted for this page. I'll keep plugging at it as time permits.

Everly Brothers

  • Aarts, Peter, and Martin Alberts. For Everly Yours: A Guide for Everly Brothers Album Collecting. Haag: Peter Aarts, 1991.
  • Buisson, Gilbert. “Deux Voix En Or: Les Everly Brothers.” Ecouter voir 113,  (May, 2001): 19-22.
  • Dodge, Consuelo. The Everly Brothers: Ladies Love Outlaws. Starke, FL: CIN-DAV, 1991.
  • Friedlander, Paul. “A Characteristic Profile of Eight ‘Classic Rock and Roll’ Artists, 1954-1959: As Measured by the ‘Rock Window’.” University of Oregon, 1987.
  • Karpp, Phyllis. Ike’s Boys: The Story of the Everly Brothers. Ann Arbor: Pierian Press, 1990.
  • Hosum, John. Living Legends: The Everly Brothers: The History of the Everly Brothers on Record--An Illustrated Discography. Seattle: Foreverly Music, 1985.
  • White, Roger. The Everly Brothers: Walk Right Back. London: Plexus Books, 1998.

Brother Duets in Country Music

  • Delmore, Alton. The Delmore Brothers: Truth Is Stranger than Publicity. Nashville: Country Music Foundation Press, 1995.
  • Wolfe, Charles. In Close Harmony: The Story of the Louvin Brothers. Jackson: University Press of Mississippi, 1996.

Duos/Duets - General

  • Givan, Benjamin. “Duets for One: Louis Armstrong’s Vocal Recordings.” Musical Quarterly 87, no. 2 (2004): 188-218.
  • Blank, Marilyn and Jane W. Davidson. “An Exploration of the Effects of Musical and Social Factors in Piano Duo Collaborations.” Psychology of Music 35, no. 2 (2007): 231-48.

Origins and Influences

  • Cobb, Buell E. The Sacred Harp: A Tradition and Its Music. Athens: University of Georgia Press, 1989.
  • Erbsen, Wayne. “Origins of Bluegrass in Western North Carolina” Native Ground Music.
  • Eskew, Harry. “Christian Harmony Singing in Alabama: Its Adaptation and Survival.” Inter-American Music Review 10, no. 2 (Spring-Summer, 1989): 169-75.
  • Lightfoot, William E. “The Three Doc(k)s: White Blues in Appalachia.” Black Music Research Journal 23, no. 1/2 (Spring-Autumn, 2003): 167-93.
  • Loftis, Deborah Carlton. “Southern Harmony Singing: A Tradition of Shape-Note Practice.” Performance Practice Review 3, no. 2 (Fall, 1990): 165-69.
  • Malone, Bill C. Country Music, U.S.A. 2nd rev. ed. Austin: University of Texas Press, 2002.
  • _______. Don’t Get above Your Raisin’: Country Music and the Southern Working Class. Urbana and Chicago: University of Illinois Press, 2002.
  • _______. “Elvis, Country Music, and the South.” In Elvis: Images and Fancies, edited by Jac L. Tharpe, 123-34. Jackson: University Press of Mississippi, 1979.
  • _______. Singing Cowboys and Musical Mountaineers: Southern Culture and the Roots of Country Music. Athens, GA: University of Georgia Press, 1993.
  • Malone, Bill C., and David Stricklin. Southern Music / American Music. rev. ed. Lexington: University Press of Kentucky, 2003.
  • McDonald, James J. “Principal Influences on the Music of the Lilly Brothers of Clear Creek, West Virginia.” The Journal of American Folklore 86, no. 342 (October-December, 1973): 331-44.
  • Miller, Kiri. Traveling Home: Sacred Harp Singing and American Pluralism. Urbana: University of Illinois Press, 2008.
  • Pearson, Barry Lee. “Appalachian Blues.” Black Music Research Journal 23, no. 1/2 (Spring-Autumn, 2003): 23-51.
  • Zolten, Jerry. “Movin’ the Mountains: An Overview of Rhythm and Blues and Its Presence in Appalachia.” Black Music Research Journal 23, no. 1-2 (Spring-Fall, 2003): 67-89.

Legacy

  • Emerick, Geoff, and Howard Massey. Here, There and Everywhere: My Life Recording the Music of the Beatles. New York: Gotham Books, 2006.
  • Gould, Jonathan. Can’t Buy Me Love: The Beatles, Britain, and America. New York: Harmony Books, 2007.
  • Jackson, Laura. Paul Simon: The Definitive Biography. New York: Kensington, 2004.
  • Norman, Philip. Shout! The Beatles in Their Generation. New York: Simon and Schuster, 1981.
  • Price, Charles Gower. “Sources of American Styles in the Music of the Beatles.” American Music 15, no. 2 (Summer, 1997): 208-32.
  • Zimmer, Dave. Crosby, Stills & Nash: The Authorized Biography New York: Da Capo Press, 2000.

Voice

  • Abbate, Carolyn. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton: Princeton University Press, 1991.Barthes, Roland. “The Grain of the Voice.” In On Record: Rock, Pop, and the Written Word, ed. Simon Frith and Andrew Goodwin, 293-300. London: Routledge, 1990.
  • Ekholm, Elizabeth. “The Effect of Singing Mode and Seating Arrangement on Choral Blend and Overall Choral Sound.” Journal of Research in Music Education 48, no. 2 (Summer, 2000): 123-35.
  • Frith, Simon. Chapter 9, “The Voice.” In Performing Rites: On the Value of Popular Music, 183-202. Cambridge, MA: Harvard University Press, 1996.
  • Giardiniere, David Carmine. “Voice Matching: An Investigation of Vocal Matches, Their Effect on Choral Sound, and Procedures of Inquiry Conducted by Weston Noble.” PhD diss., New York University 1991.
  • Goodwin, Allen W. “An Acoustical Study of Individual Voices in Choral Blend.” Journal of Research in Music Education 28, no. 2 (Summer, 1980): 119-28.
  • Lacasse, Serge. “‘Listen to My Voice’: The Evocative Power of Voice in Recorded Rock Music and Other Forms of Vocal Expression.” PhD diss., University of Liverpool, 2000.
  • Jarman-Ivens, Freya. “Breaking Voices: Voice, Fragmentation, and Subjectivity in Popular Music,” thesis, available at http://www.liv.ac.uk/music/downloads/FJI%20research/index.htm.
  • Middleton, Richard. “All Shook Up? Innovation and Continuity in Elvis Presley’s Vocal Style.” In Elvis: Images and Fancies, edited by Jac L. Tharpe, 151-61. Jackson: University Press of Mississippi, 1979.
  • _______. “Mum’s the Word: Men’s Singing and Maternal Law.” In Oh Boy!: Masculinites and Popular Music, edited by Freya Jarman-Ivens, 103-24. London: Routledge, 2007.
  • Russell, Joan. “A ‘Place’ for Every Voice: The Role of Culture in the Development of Singing Expertise.” Journal of Aesthetic Education 31, no. 4, Special Issue: Giftedness and Talent in the Arts (Winter, 1997): 95-109.

Listener/Audience

  • Beament, James. How We Hear Music: The Relationship between Music and the Hearing Mechanism. Rochester, NY: Boydell Press, 2001.
  • Cherry, E. C. “Some Experiments on the Recognition of Speech, with One and Two Ears.” Journal of the Acoustic Society of America 25,  (1953): 975-79.
  • Cubitt, Sean. “‘Maybellene’: Meaning and the Listening Subject.” Popular Music 4 (1984): 207-24.
  • Deschênes, Bruno. “Toward an Anthropology of Music Listening.” International Review of the Aesthetics and Sociology of Music 29, no. 2 (1998): 135-53.
  • Hamm, Charles. “The Fourth Audience.” Popular Music 1 (1981): 123-41.
  • Keil, Charles. “Participatory Discrepancies and the Power of Music.” Cultural Anthropology 2, no. 3 (1987): 275-83.
  • Schwarz, David. Listening Subjects: Music, Psychoanalysis, Culture. Durham: Duke University Press, 1997.
  • Valentine, Gill. “Creating Transgressive Space: The Music of kd lang.” Transactions of the Institute of British Geographers 20, no. 4 (1995): 474-85.

Listening/Hearing - Scientific Perspective

  • Arons, Barry. “A Review of the Cocktail Party Effect.” Journal of the American Voice I/O Society 12 (1992): 35-50.
  • Blood, Anne J., and Robert J. Zatorre. “Intensely Pleasurable Responses to Music Correlate with Activity in Brain Regions Implicated in Reward and Emotion.” Proceedings of the National Academy of Sciences 98, no. 20 (2001): 11818-23.
  • Blood, Anne J., Robert J. Zatorre, Patrick Bermudez, and Alan C. Evans. “Emotional Responses to Pleasant and Unpleasant Music Correlate with Activity in Paralimbic Brain Regions.” Nature Neuroscience 2, no. 4 (1999): 382-87.
  • Bregman, Albert S. Auditory Scene Analysis: The Perceptual Organization of Sound. Cambridge: MIT Press, 1994.
  • Cramer, Alfred. “The Harmonic Function of the Altered Octave in Early Atonal Music of Schoenberg and Webern: Demonstrations Using Auditory Streaming.” Music Theory Online 9, no. 2 (2003).
  • Menon, V., and D. J. Levitin. “The Rewards of Music Listening: Response and Physiological Connectivity of the Mesolimbic System.” NeuroImage 28,  (2005): 175-84.
  • Rickard, Nikki S. “Intense Emotional Responses to Music: A Test of the Physiological Arousal Hypothesis.” Psychology of Music 32, no. 4 (2004): 371-88.

 

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