This bibliography is automatically generated with Zotero in Chicago author-date style and may include mistakes. If you notice any mistakes, please let me know.

All readings are either online and open-access, in which case you can simply click the link, or can be accessed through our course reserves.

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Readings calendar

Week Readings Discussion leader(s)
Aug 27 (Théberge 2017)
(Bates 2018) 		 
Sep 3 (Tresch and Dolan 2013)
(Wright 2024) 		 
Sep 10 (Le Guin 2006)
(De Souza 2017)
Yechan
Sep 17 (Gotham and Gunn 2016)
(Cole 2024) 		Victoria
Matthew
Sep 24 (Eidsheim 2017)
(Malawey 2020) 		Huijie
Julianna
Oct 1 (Duguay 2022)
(Barna and McLaughlin 2024) 		 
Oct 15 (Stadnicki 2021)
(Smith 2021) 		Ashley
Michael
Oct 22 (Easley 2015)
(Burns 2019)
Chris
Oct 29 (Théberge 1997)
(Pinch and Trocco 2004) 		Judith
 
Nov 5 (Lavengood 2019)
(Burke 2024) 		 
Nov 12 (Eidsheim 2019)
(Galuszka 2025) 		Brittany
Trey

Bibliography

  1. Barna, Alyssa, and Caroline McLaughlin. 2024. “Vocal Production, Mimesis, and Social Media in Bedroom Pop.” Music Theory Online 30 (4). https://doi.org/10.30535/mto.30.4.1.
  2. Bates, Eliot. 2018. “Actor-Network Theory and Organology.” Journal of the American Musical Instrument Society 44: 41–51. https://www.proquest.com/docview/3132950357/abstract/5C71D4E6E9534759PQ/1.
  3. Burke, Kevin R. 2024. “Hard Limitations and Soft Possibilities: A ‘Systematic’ History of Early Video Game Sound Technology.” In The Oxford Handbook of Video Game Music and Sound, edited by William Gibbons and Mark Grimshaw-Aagaard, 0. Oxford University Press. https://doi.org/10.1093/oxfordhb/9780197556160.013.17.
  4. Burns, Chelsea. 2019. “‘Together Again,’ but We Keep On Crying: Buck Owens, Tom Brumley, and the Pedal Steel Guitar, 1964.” Music Theory Online 25 (2). http://mtosmt.org/issues/mto.19.25.2/mto.19.25.2.burns.html.
  5. Cole, Christa. 2024. “Hands, Fingers, Strings, and Bows: Performance Technique and Analysis in J.S. Bach’s Largo for Solo Violin.” Music Theory Online 30 (3). https://doi.org/10.30535/mto.30.3.1.
  6. De Souza, Jonathan. 2017. “Beethoven’s Prosthesis.” In Music at Hand: Instruments, Bodies, and Cognition. Oxford Studies in Music Theory. New York, NY: Oxford University Press.
  7. Duguay, Michèle. 2022. “Analyzing Vocal Placement in Recorded Virtual Space.” Music Theory Online 28 (4). https://mtosmt.org/issues/mto.22.28.4/mto.22.28.4.duguay.html.
  8. Easley, David B. 2015. “Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83).” Music Theory Online 21 (1). https://doi.org/10.30535/mto.21.1.3.
  9. Eidsheim, Nina Sun. 2017. “Maria Callas’s Waistline and the Organology of Voice.” The Opera Quarterly 33 (3): 249–68. https://doi.org/10.1093/oq/kbx008.
  10. ———. 2019. “Race as Zeros and Ones: Vocaloid Refused, Reimagined, and Repurposed.” In The Race of Sound, 115–50. Listening, Timbre, and Vocality in African American Music. Duke University Press. https://doi.org/10.2307/j.ctv11hpntq.8.
  11. Galuszka, Patryk. 2025. “The Influence of Generative AI on Popular Music: Fan Productions and the Reimagination of Iconic Voices.” Media, Culture & Society 47 (3): 603–12. https://doi.org/10.1177/01634437241282382.
  12. Gotham, Mark R. H., and Iain A. D. Gunn. 2016. “Pitch Properties of the Pedal Harp, with an Interactive Guide.” Music Theory Online 22 (4). https://doi.org/10.30535/mto.22.4.3.
  13. Katz, Mark. 2022. “Five Theses about Music and Technology.” In Music and Technology: A Very Short Introduction, edited by Mark Katz, 0. Oxford University Press. https://doi.org/10.1093/actrade/9780199946983.003.0007.
  14. Lavengood, Megan L. 2019. “Timbre, Genre, and Polystylism in Sonic the Hedgehog 3.” In On Popular Music and Its Unruly Entanglements, edited by Nick Braae and Kai Arne Hansen, 209–34. London: Palgrave Macmillan. https://doi.org/10.1007/978-3-030-18099-7.
  15. Le Guin, Elisabeth. 2006. “‘Cello-and-Bow Thinking’: The First Movement of Boccherini’s Cello Sonata in E♭ Major, Fuori Catalogo.” In Boccherini’s Body: an Essay in Carnal Musicology. Berkeley: University of California Press. https://hdl.handle.net/2027/heb06338.0001.001.
  16. Malawey, Victoria. 2020. “Quality.” In A Blaze of Light in Every Word: Analyzing the Popular Singing Voice, 0. Oxford University Press. https://doi.org/10.1093/oso/9780190052201.003.0004.
  17. Pinch, Trevor, and Frank Trocco. 2004. “Shaping the Synthesizer.” In Analog Days: The Invention and Impact of the Moog Synthesizer, Revised edition, 53–69. Cambridge, Massachusetts London, England: Harvard University Press.
  18. Smith, Mandy J. 2021. “The Meaning of the Drumming Body.” In The Cambridge Companion to the Drum Kit, edited by Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 1st ed., 197–209. Cambridge University Press. https://doi.org/10.1017/9781108779517.019.
  19. Stadnicki, Daniel Akira. 2021. “Shake, Rattle, and Rolls: Drumming and the Aesthetics of Americana.” In The Cambridge Companion to the Drum Kit, edited by Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 1st ed., 112–25. Cambridge University Press. https://doi.org/10.1017/9781108779517.011.
  20. Théberge, Paul. 2017. “Musical Instruments as Assemblage.” In Musical Instruments in the 21st Century, edited by Till Bovermann, Alberto De Campo, Hauke Egermann, Sarah-Indriyati Hardjowirogo, and Stefan Weinzierl. Singapore: Springer. https://doi.org/10.1007/978-981-10-2951-6.
  21. ———. 1997. “‘Live’ and Recorded: MIDI Sequencing, the Home Studio, and Copyright.” In Any Sound You Can Imagine: Making Music/Consuming Technology, 214–41. Hanover, NH: Wesleyan University Press.
  22. Tresch, John, and Emily I. Dolan. 2013. “Toward a New Organology: Instruments of Music and Science.” Osiris 28 (1): 278–98. https://doi.org/10.1086/671381.
  23. Wright, Brian F. 2024. “The Picked Instrument: Reinventing the Sound of the Electric Bass.” In The Bastard Instrument, 112–34. University of Michigan Press. https://press.umich.edu/Books/T/The-Bastard-Instrument2.

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