References
Agawu, Kofi (2004) ‘How We Got out of Analysis, and How to Get Back in Again’, Music Analysis, 23 (2–3), pp.267–286.
Björnberg, Alf (1994) ‘Structural Relationships Between Music and Images in Music Video’, Popular Music, 13 (1), pp.51–74.
Chion, Michel (1994) Audio-Vision: Sound on Screen. Trans. Claudia Gorbman. New York: Columbia University Press.
Cook, Nicholas (1998) Analysing Musical Multimedia. Oxford and New York: Oxford University Press.
D’Errico, Michael (2016) Interface Aesthetics: Sound, Software, and the Ecology of Digital Audio Production. PhD Dissertation, University of California Los Angeles. ProQuest ID: DErrico_ucla_0031D_14452.
Dibben, Niccola (2013) ‘Visualizing the App Album with Björk’s Biophilia’. In: Vernallis, Carol, Herzog, Amy & Richardson, John (eds). The Oxford Handbook of Sound and Image in Digital Media. Oxford and New York: Oxford University Press, pp.682–704.
Ford, Phil (2018) ‘Style as Analysis’. In: Scotto, Ciro, Smith, Kenneth & Brackett, John (eds). The Routledge Companion to Popular Music Analysis: Expanding Approaches. London and New York: Routledge, pp.15–28.
Goodwin, Andrew (1992) Dancing in the Distraction Factory: Music Television and Popular Culture. Minneapolis: University of Minnesota Press.
Hawkins, Stan & Ålvik, Jon (2018) ‘A-ha’s “Take On Me”: Melody, Vocal Compulsion, and Rotoscoping’. In: Scotto, Ciro, Smith, Kenneth & Brackett, John (eds). The Routledge Companion to Popular Music Analysis: Expanding Approaches. London and New York: Routledge, pp.77–94.
Korsgaard, Mathias (2017) Music Video After MTV: Audiovisual Studies, New Media, and Popular Music. London and New York: Routledge.
McClary, Susan (1991) Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press.
Nordahl, Rolf & Nilsson, Niels (2014) ‘The Sound of Being There: Presence and Interactive Audio in Immersive Virtual Reality’. In: Collins, Karen, Kapralos, Bill & Tessler, Holly (eds). The Oxford Handbook of Interactive Audio. London and New York: Oxford University Press, pp.213–233.
Reich, Steve (2004) ‘Music as a Gradual Process (1968)’. In: Hillier, Paul (ed.). Writings on Music: 1965–2000. Oxford and New York: Oxford University Press, pp.34–35.
Tagg, Philip (2009) ‘Music Analysis for “non-Musos”: Popular Perception as a Basis for Understanding Musical Structure and Signification’. tagg.org. Available from: http://www.tagg.org/xpdfs/CardiffLBH2.pdf (Accessed: 14 August 2019).
Théberge, Paul (1989) ‘The “Sound” of Music: Technological Rationalization and the Production of Popular Music’, New Formations, 8, pp.99–111.
Vernallis, Carol (1998) ‘The Aesthetics of Music Video: An Analysis of Madonna’s “Cherish”’, Popular Music, 17 (2), pp.153–185.
Vernallis, Carol (2004) Experiencing Music Videos: Aesthetics and Cultural Context. New York: Columbia University Press.
Vernallis, Carol (2013) Unruly Media: YouTube, Music Video, and the New Digital Cinema. Oxford: Oxford University Press.
Media Cited
‘Carry Me’ [music video], Bombay Bicycle Club, Powster, UK, 2013. Available from: www.carryme.tv (Accessed: 29 April 2019).
‘Unraveled’ [music video], Yao Wang, Carlos del Castillo and Yao Wang, Berklee College of Music, US, 2018. Available from: https://www.youtube.com/watch?v=FLT5_REL0Rk (Accessed: 29 April 2019).