Philip Tagg

Education

1962-1965. Cambridge University. BA (Music).

1965-1966. University of Manchester. Certificate of Education (Music and French)

1968-1971, 1973-1974 (part time) University of Göteborg (Sweden). Filosofie magister [=BA] (English, French, Latin, Musicology)

1977-1979 (part time). University of Göteborg. Filosofie doctor (PhD) in Musicology (distinction)

Recent Positions

1998-2002 (October) employed as Reader at the Institute of Popular Music and at the Music Department of The University of Liverpool. The main responsibilities of this job were to:

run and develop undergraduate modules Popular Music & Musicology, Popular Music Analysis and Music and the Moving Image;
run and develop postgraduate teaching in the Semiotics of Music at the Institute of Popular Music;
supervise research work at masters and doctoral levels;
oversee development of and act as Admissions Tutor for BA single honours courses in Popular Music (W310, W330).

Present Position: Professeur de musicologie à la Faculté de musique à l’Université de Montréal

Employment

1966-68. Municipality of Filipstad: Secondary school teacher of English as a foreign language

1966-68. Municipality of Filipstad: Secondary school teacher of English as a foreign language

971-78. University of Göteborg: Tenured teacher of keyboard harmony and improvisation, music history and theory

1980. University of Göteborg: Acting Professor of Musicology (tf professor i musikvetenskap)

1981-82. University of Göteborg: Senior Lecturer (universitetslektor) in Musicology, 1981-1982

1982-85. University of Göteborg: Research Fellow in Musicology

1985-91. Swedish Council for Research in the Humanities and Social Sciences: Research Fellow in Musicology

1991-93. University of Liverpool and Blackwell’s Reference Books (Oxford): Executive Editor EPMOW (“Encyclopedia of Popular Music of the World”)

1993-96. University of Liverpool: Lecturer in Music

1996-98. University of Liverpool: Senior Lecturer in Music

1998-2002.  University of Liverpool: Reader in Music

2002- present Faculté de musique, Université de Montréal: Professeur de musicologie

Awards, Prizes, Honorary Positions

1962. Prize for choral composition, King’s College, Cambridge (performed Trinity Sunday 1962).

1980. University of Göteborg awards distinction for doctoral work, with honorary research fellow status (docentkompetens)

1986. Guest Professor in Musicology, Universität des Landes Hessen, Kassel

1987. The Japan Prize for Educational Radio Production, together with Gerard Kempers (AVRO radio, Hilversum, Netherlands) for Muziek maakt alles mooier (=’Music Makes It More Amusing): 6 x 30 minute programmes for secondary school pupils on the functions and meanings of music (1987)

1997. Sir Alan Sewell Research Fellowship, Griffith University, Brisbane, Australia, July – September 1997

2001. Prize awarded by «wipout.net», website of the intellectual property counter-essay contest

2003. Rayson Huang Visiting Lecturer, University of Hong Kong, March 2003.

Teaching Experience

1965-66. Teaching practice: (1) general subjects, Rockingham Road Junior School, Corby (Northants); (2) Music and French, Central Grammar School (Kirkmanshulme Lane) and Plant Hill Comprehensive School (Rochdale Road), Manchester; average class size 25-3 0 (total 16 weeks)

1966-68. English as a foreign language: 2 and 3 year secondary school courses, 16-22 hours/week for 2 years, average class size 20-25; also adult education evening classes, average class size 5-10 (Filipstad, Sweden)

1968-71. English as a foreign language: adult education, average class size 5-10 (Göteborg, Sweden)

1971-78. Keyboard harmony, improvisation and ensemble (undergraduates): average of 10 hours/week,individual tuition or groups of 4-6 (College of Music, University of Göteborg, Sweden)

1971-. Music history and/or theory and/or analysis and/or music and the media (undergraduates): modules in 2 or 3 year degree courses for at average of 5 hours/week, average class size 15-20. (College of Music and Department of Musicology, University of Göteborg, Sweden; Music Department and Institute of Popular Music, University of Liverpool; Faculté de musique, Université de Montréal, Québec, Canada)

1979- . Aesthetics, semiotics and analysis of music (postgraduates): parts of 2-5 year programmes, 21 years at average of 1-2 hours/week, average class size 5-15. (College of Music and Department of Musicology, University of Göteborg, Sweden; Music Department and Institute of Popular Music, University of Liverpool; Faculté de musique, Université de Montréal, Québec, Canada)

1991- . Music and the Moving Image 1 (undergraduates, incl. non-music students): 1½ hours/week, average class size 23.

1995- . Music and the Moving Image 2 (incl. composition, music students only): 1½ hours/week, average class size 10.

1987- . Postgraduate supervision: see next section.

Postgraduate Supervision

Completed PhDs co-supervised (Göteborg), 1987-1991: (1) Alf Björnberg on Swedish entries to the Eurovision Song Contest (1987); (2) Ola Stockfelt on modes of listening, with particular reference to Mozart’s 40th symphony (1988); (3) Gaston Rochon (Montréal) on compositional process in the work of Gilles Vigneault (1992).

Completed PhDs supervised (Liverpool), 1993- : (1) Mércia Pinto (Fortaleza) on the Brazilian Pastoríl (1996); (2) Elba Ramalho (Fortaleza) on the work of baião pioneer Luís Gonzaga (1996); (3) Garry Tamlyn (Brisbane) on drumkit patterns in rock ‘n’ roll (1998); (4) Serge Lacasse (Québec) on the history, technology, aesthetics and semiotics of vocal staging in rock and pop recordings (2000).

Completed M.Phils supervised (Liverpool, 1997- ): (1) Chris Sedwell on ideals of studio sound in 1980s recordings; (2) Mike Knowles on the Kinks and notions of Englishness.

PhDs studies supervisied in Liverpool: (1) Alex Costello (Liverpool) on Morricone’s music for The Mission; (2) Ian Darrington (Wigan) on the technology, acoustics, anthropology and sonic aesthetics of the trumpet mouthpiece, with particular reference to jazz; (3) Bob Davis (Barnsley) on the structural and phenomenological determinants of funk music; (4) Ruth Dockwray (Liverpool) on the rock anthem; (5) Oi-Kuen ‘Ivy’ Man (Hong Kong) on stylistic development in Cantopop; (6) Rachel Segal (Leeds) on the work of Franz Waxman; (7) Tim Wise (Liverpool) on yodel in US popular music; (8) Gilbert Gabriel on Morricone’s composition techniques.

Internal examiner, PhD dissertations (1980- ): (1) Stig-Magnus Thorsén (Göteborg) on the music of the Swedish Pentecostalist movement (Göteborg 1980); (2) Johan Fornäs (Stockholm) on the Swedish Alternative Music Movement (Göteborg 1985); (3) Pamela Hurry (Manchester) on ‘A’ Level Music and its Relationship with Higher Education and the Music Industry (Liverpool, 1996); (4) Simon Parry (Liverpool) on ‘New’ music in radical Christian worship in the UK (Liverpool, 2001).

External Examining and Adjudication

1981: External examiner, MA in Musicology, University of Helsinki.

1995-2000: External examiner in Music Business, University College of Buckinghamshire.

1996-1997: Jury member, International Musicology Award, Campus internazionale di musica, Università Pontina, Latina.

1996: External examiner, PhD in Music, Southern Cross University, Australia.

1999: External examiner, PhD in Musicology, Université Paris I (Sorbonne).

1999: External examiner, PhD in Media Studies, Queensland University of Technology, Brisbane.

2000: Jury member, ‘A Song for Peace’ international songwriting competition, Rome.

2001-2002: External examiner in Music, Barnsley College, University of Sheffield.

Course Development

Founding member of staff and co-responsible for construction of complete curriculum for new music teacher training course (including popular music) at University of Göteborg 1971-1976, in particular music theory, music analysis, music history and en semble.

Solely responsible for course development in Keyboard Harmony and Popular Music Studies 1971-1976. Responsible for development of entrance and examination procedures in the above areas.

Consultant to Swedish Ministry of Education’s Committee for the Reform of Higher Education in Music (OMUS = Organisationskommittén för högre musikutbildning) on Keyboard Harmony and Popular Music Studies (1972-1974).

Co-responsible for drafting of current W320 degree course (Music / Popular Music) at the University of Liverpool (1992-1993). Co-responsible for development of modules in Aural Skills, Music & Business Technology and Studio Techniques. Solely responsible for development of modules Popular Music & Musicology, Popular Music Analysis and Music & the Moving Image (I & II) (1993-2002).

Responsible for development of postgraduate teaching in the Semiotics of Music at the Institute of Popular Music (1991-…).

Responsible for original drafting of W310 degree programme (Popular Music) at the University of Liverpool (1999). Co-responsible for final drafting and for its implementation (2000-2001). Responsible for development and teaching of modules Introduction to Popular Music Studies, Origins of Popular Music, Creative Music Theory, Music and the Moving Image, Composition for the Moving Image (2001-2002).

Responsible for drafting and implementation of following courses at the Faculté de musique, Université de Montréal:
Musique et images en mouvement;
Analyse de la musique populaire;
Histoire de la musique populaire anglophone;
Tendances dans l’étude de la musique populaire.

Musical Experience

1960-62. School Organist, The Leys School, Cambridge.

1962. Prize for choral composition, King’s College, Cambridge (performed Trinity Sunday 1962). See List of musical works.

Composer of commissioned Preces and Responses for The Edington Festival (1963). Broadcast on Radio 3 (Third Programme). See List of musical works.

1962-65. Member of CUMS (Cambridge University Musical Society) choir (2nd tenor) and orchestra (timpani).

Keyboard player in soul/rock/blues band The Soulbenders, Cambridge (1963-1965).

Keyboard player in The Finesilver-Kerr Quintet (R&B, mainstream jazz), Manchester (1965-1966).

1966-68. Keyboard player and arranger in The Nazz (rock, R&B) and The Disturbance (rock, pop, soul), Karlstad (1966-1968).

1968-73. Arranger for, keyboard player with and member of Göteborgs Kammarkör (second tenor).

1972-76. Founder member, composer, lyricist, arranger and keyboard player of Röda Kapellet (left-wing political rock cabaret band), Göteborg, co-producing 2 albums and 1 EP (total sales c. 8500 + 2 live TV appearances and ample radio play).

1979-84. Composer of one radio and two TV title themes for Swedish radio/TV (broadcast 1979-1984). See List of musical works.

1990. Composer of underscore to short film Århundradets kärlekssaga (dir. Eva Wilhelmsson, Göteborg).

1998. Arranger of tracks on CD ‘Prime Time Vol.2’ for Reliable Source Music Ltd. (Library Music)

Media Activities

1975. Scriptwriter and co-producer of Pop i örat for UR (Swedish Educational Radio): 6 x 20 minute programmes for 13-16 year-olds on the history and functions of pop music, including materials for pupils (25 pp.) and teachers (61 pp.).

1987. The Japan Prize for Educational Radio Production, together with Gerard Kempers (AVRO radio, Hilversum, Netherlands) for Muziek maakt alles mooier (=’Music Makes It More Amusing): 6 x 30 minute programmes for secondary school pupils on the functions and meanings of music (1987).

1975- . Collaboration as speaker or interviewee in numerous radio programmes (on music education, music policy, entertainment, media, culture etc.) in Denmark, Finland, Germany, Italy, Netherlands, Norway, Sweden, the UK and the USA.

1979. 10-minute TV presentation of research into popular music affect analysis. TV2, Göteborg.

1979-84. Composer of one radio and two TV title themes for Swedish radio/TV (broadcast 1979-1984).

1990. Composer of underscore to short film Århundradets kärlekssaga (dir. Eva Wilhelmsson, Göteborg).

1994. 3-minute TV presentation of popular music analysis, Look North, BBC1, Manchester.

1998. Compositions and arrangements issued as Library Music (Reliable Source Music, Ltd.)

Research Experience

1983-1985. Swedish Council for Research in the Humanities and Social Sciences (Humanistiska-samhällsvetenskapliga forskningsrådet). ‘Method Development in the Aesthetics of Popular Music’. Part-time research fellowship.

1985-1989. Swedish Council for Research in the Humanities and Social Sciences (Humanistiska-samhällsvetenskapliga forskningsrådet). ‘Development of Analytical Method and Basic Resources in Popular Music Studies’. Full-time research fellowship. Grant renewed in 1989 for period July 1989 – April 1991. Supervision of 3 doctoral students and 1 research assistant 1983-1989.

1991-1993. University of Göteborg, P H Holt Trust (via University of Liverpool), Blackwell’s Reference Books (Oxford). Construction of database, taxonomy and headword list for EPMOW (Encyclopaedia of Popular Music of the World).

Book Publications

Computation and Strategic Intelligence: Notes on Sherman Kent, Double Contingency, Gibsonian Psychology, and Metagramming. In David G. Hays and Benzon, Metagram Software – A New Perspective on the Art of Computation. Rome Air Development Center, Final Technical Report, RADC-TR-81-118: 46 – 62, October 1981.

Kojak: 50 Seconds of Television Music. Towards the Analysis of Affect in Popular Music. 1979, Göteborg: Musikvetenskapliga institutionen vid Göteborgs universitet (301 pp / ISBN.91.7222.235.2). [This first edition is out of print]

Fernando the Flute. 1991, Liverpool: Institute of Popular Music, University of Liverpool (vii + 172 pp). [This first edition is out of print]

Popular music. Da Kojak al Rave (trans. & ed. R Agostini & L Marconi). 1994, Bologna: CLUEB (424 pp. -ISBN.88.8091.044.2).

Kojak: 50 Seconds of Television Music. Towards the Analysis of Affect in Popular Music (2nd edition). 2000, New York: Mass Media Music Scholars’ Press (424 pp. ISBN 0-9701684-0-3) .

Fernando the Flute (2nd edition). 2000, New York: Mass Media Music Scholars’ Press. (150 pp. ISBN 0 9701684 1 1)

(with Bob Clarida) Ten Little Title Tunes (Towards a musicology of the mass media). 2003: New York & Montreal: Mass Media Music Scholars’ Press (ISBN 0-9701684-2-X xvi + 898 pages; 501 music examples).

Published Articles

(— with Dan Malmström and Lars Silén) Country and Western. Sohlmans musiklexikon, 2. 1975, Stockholm: Sohlmans Förlag: 141-144. ISBN.91.7198.020.2

Popmusik. Sohlmans musiklexikon, 5. 1979, Stockholm: Sohlmans Förlag: 90-100. ISBN.91.7198.020.2

De musikaliska kodernas makt. Musikdramatik, 5/6. 1979: 24-25

“Fernando” – Analyse af affekt i ABBA’s “Fernando”’. Dansk Musiktidskrift, 1979/3. 1979, København: Dansk Tonekunstnerselskab: 124-156

(— written 1979). [1] Kretzschmar and the hermeneutics of music; [2] The semiology of music. Both in Musik og betydningsinhold – kompendium i musikæstetik, ed. P Druud-Nielsen. 1987, Århus: Institut for musik og musikterapi, AUC: 63-77

Musik till bild – ett världspråk av stereotyper. Bild och Musik, ed. B Allander. 1980, Stockholm: Sveriges Radio Personalutbildning: 7-17

The Analysis of Title Music as a Method of Decoding Implicit ideologies in the Mass Media. Mass Communications & Culture, 5, ed. G Andrén & H Strand. 1981, Stockholm: Akademi Litteratur: 90-105. ISBN.91.7410.201.X

Analiza muzyki czolowki filmowej jako metoda dekodawania ukrytego przekazu ideologicznego. Przekazy i opninie, 3(25). 1981, Warszawa: OBOPSP (Polish Radio & TV): 66-79

Music Teacher Training Problems and Popular Music Research. Popular Music Perspectives, ed D Horn & P Tagg. 1982, Göteborg and Exeter: IASPM: 232-242. ISBN.91.7260.610.X

Natur i massmediemusik. Naturen som symbol, ed. J Allwood, T Frängsmyr, U Svedin. 1982, Stockhom: Liber: 161-199. ISBN.93.98.90239.7

Populaarimusiikin affektianalyysi – rapporti musiikin sisältöanlyysin uusista menetelmistä. Musiikin Soivat Muodot. Tarasti, Eero (ed). 1982, Jyväskylä: Yliopiston musiikitieteen laitoksen, A/2: 147-180. ISBN.951.678 .830.0

Analysing Popular Music Music – Theory, Method and Practice. Popular Music, 2. 1982, Cambridge University Press: 37-69

‘Priroda’ jako kategorie hudebni nalady. Opus musicum, 1983/10. 1983, Brno: Vydavi Statni filharmonie, Cesky hudebni fond…: 295-304

Musica popolare, innovazione, tecnologia. Musica/realtà, 13. 1984: 89-98

Understanding ‘Time Sense’: Concepts, Sketches, Consequences. Tvärspel – 31 artiklar om musik. Festskrift till Jan Ling. 1984, Göteborg: Skrifter från Musikvetenskapliga institutionen, 9: 21-43. ISBN.91.85974.02.1

Musiken – språket som alla förstår? Fallet med ‘dödsmusiken’. Tvärkulturell kommunikation, ed. J Allwood. 1985, Göteborg: Lingvistiska institutionen, PAL 12: 220-248. ISBN.91.970558.1.6

La musicologie et la sémantique de la musique populaire. Analytica. Studies in the Description and Analysis of Music (Festskrift till Ingmar Bengtsson). 1985, Stockholm: Kungliga Musikaliska Akademien: 77-96. ISBN.91.85428.40.X

l ‘senso del tempo’ nella musica. Definizioni, esempi, proposte. Musica e sistema dell’informazione in Europa. Rampi, Francesco (ed). 1985, Milano: Unicopli: 103-129. ISBN.88.7061.885.4

Why IASPM? Which Tasks? Popular Music Perspectives, 2, ed. D Horn. 1985, Göteborg, Exeter: IASPM: 501-507. ISBN.91.87030.00.4

Perché la IASPM? Quali compiti? What is Popular Music? Quaderni di Musica/realtà, 8. 1985, Milano: Unicopli: 539-546. ISBN.88.7061.894.3

Zur Analyse von populärer Musik. Beiträge zur Musikwissenschaft, 1985/3-4. 1985, Berlin: Verlag Neue Musik: 241-264. ISSN.0005.8106

Musik som kommunikation. Mänsklig kommunikation, ed. J Allwood. 1986, Göteborg: Skriftserien GULING Nr 14: 116-131. ISBN.91.970558.3.2

Musicologia, semiotica, ‘popular music’. Il senso in musica, ed. L Marconi & G Stefani. 1987, Bologna: Cooperativa Libraria Universitaria Editrice Bologna: 139-150

Le città sono come impianti stereo a bassa fedeltà. Essere, 16. 1987, Torino: Essere: 60-69

Diacritics and dBASE II on a Home Computer. Literary and Linguistic Computing. 1987, London: Oxford University Press: 55-56. ISSN.0268.1145

Musicology and the Semiotics of Popular Music. Semiotica, 66-1/3. 1987, Amsterdam: Mouton de Gruyter: 279-298. ISSN.0037.1998

Musiken som kommunikationsform. Kulturmöten, kommunikation, skola, ed. S & G Strömqvist. 1988, Stockholm: Nordstedts: 133-153. ISBN.91.1.873572.X

Leggere i suoni. Saggio sul paesaggio sonore e la musica, la conoscenza, la società. Musica/Realtà, 25. 1988, Milano, Unicopli: 145-160. ISBN.88.7061.917.6

Lettera aperta sulla ‘musica nera’, ‘afro-americana’ ed ‘europea’. Musica/Realtà, 29. 1989, Milano, Unicopli: 53-80. ISBN.88.400.0184.0

Bibliographical coverage of popular music in periodicals. A general sketch of resources and ideas for co-ordination. Riviste musicali in Europa, 1/1. 1989, Roma, Milano: Cidim, Musica/Realtà: 205-209. ISBN.88.400.0186.7

Musica popolare, innovazione, tecnologia. Quaderni di Musica/Realtà, 23. 1989, Milano, Unicopli: 34-43. ISBN.88.7061.927.3

Leggere i suoni. Saggio sul paesaggio sonoro e la musica, la conoscenza, la società. Quaderni di Musica/Realtà, 23. 1989, Milano, Unicopli: 168-183. ISBN.88.7061.927.3

Open letter: Black music, Afro-American and European music. Popular Music, 8/3. 1989, Cambridge University Press: 285-298. ISBN.0.521.38919.4

‘Universal’ music and the case of death. La musica come linguaggio universale (ed. R Pozzi). 1990, Firenze: Leo S. Olschki: 227-266. ISBN.88.222.3748.X

Music in Mass Media Studies. Reading Sounds for Example. Popular Music Research, ed. K Roe & U Karlsson. 1990, Göteborg: NORDICOM-Sweden. ISSN.0349.1242

Reading Sounds (Music, Knowledge, Rock and Society) Ré Records Quarterly, 3/2. 1990, London: November Books / RéR Megacorp: 4-11. ISSN.0954.8807

An Anthropology of Television Music? Svensk tidskrift för musikforskning, 1989 (1990): 19-42

Un approccio antropologico per gli stereotipi presenti nella musica della TV. Musica/Realtà, 33. 1990, Milano, Unicopli: 85-116. ISBN.88.400.0226.X

Muzak, sigle televisive, temi conduttori e musiche da film. Cinema & cinema, 18/60 (Audiofane – Voci, rumori e musica del cinema). 1991, Bologna, CLUEB: 77-86

Musiikki joukkoviestinnän tutkimuksessa. Toosa Soi. Musiiki radion kilpailuvälineenä, ed. K Salminen, A Alm, Ari. 1992, Helsinki: YLE Tutkimus ja kehitysosasto: 329-343. ISBN.951.43.0557.4

Towards a sign typology of music. Secondo convegno europeo di analisi musicale, ed. R Dalmonte, M Baroni, Mario. 1992, Trento: Università degli studi di Trento: 369-378. ISBN.88.86135.09.2

‘Universal’ music and the case of death. Critical Quarterly, 35/2, ed S Frith. 1993, Oxford: Blackwell: 54-85. ISSN.0011.1562

Tramonta la figura, emerge lo sfondo. La musica del rave. Progetto Uomo – Musica, 5 (Identità musicali), ed. G Stefani. 1994, Assisi: Edizioni Musicali Pro Civitate Christiana: 95-99

From refrain to rave: The decline of figure and the rise of ground. Popular Music, 13/2. 1994, Cambridge University Press: 209-222. ISSN.0261.1430

Subjectivity and soundscape, motorbikes and music. Soundscapes. Essays on Vroom and Moo. 1994, Tampere: Department of Folk Tradition: 48-66. ISBN.951.44.3541.9

Vers une musicologie de la télévision. Frank Martin, musique et esthétique musicale. Actes du colloque de La Chaux-de-Fonds 1990, ed. É Émery. 1995, Neuchâtel: Revue Musicale de Suisse romande: 33-60

Dal ritornello al ‘rave’: tramonta la figura, emerge lo sfondo. Annali del Istituto Gramsci Emilia-Romagna, 2/1994, ed. E Collini & S Granelli. 1995, Bologna: Istituto Gramsci Emilia-Romagna: 158-175.

Beitrag zu einer Typologie des musikalischen Zeichens. Forum Musik Wissenschaft, 1 (Popmusik Yesterday Today Tomorrow, ed. Markus Heuger, Matthias Prell. 1995, Regensburg: ConBrio Verlagsgesellschaft: 35-46.

La musica nel 2017. Un’utopia britannica rovesciata. Musica/Realtà, 50. 1996, Lucca: Libreria musicale italiana: 13-19 [Italian version of unpublished original Music 2017 — A British Dystopia].

Analysing music in the media. An epistemological mess. Music on Show: Issues of Performance (ed. T. Hautamäki, H. Järviluoma). 1998, Tampere: Department of Folk Tradition: 319-329.

The Göteborg connection: lessons in the history and politics of popular music education and research. Popular Music, 17/2. 1998, Cambridge University Press: 219-242.

Tritonal crime and ‘music as music’, with contributions from Bob Clarida. Norme con ironie. Scritti per i settant’ anni di Ennio Morricone (ed. S. Miceli, L. Gallenga, L. Kokkaliari). 1998, Milano: Suvini Zerboni: 273-312.

‘Entrevista com Philip Tagg’ (tr./ed. Martha Tupinambá de Ulhôa). Debates, 3 (Março de 1999): 81-96. 1999, Rio de Janeiro: Centro de Letras e Artes, Uni-Rio. ISBN 1414 7939.

‘Od refrenu do rave’u: pomniesjazanie figury i uwydatnianie…, tr. Ireneusz Socha. Studium, 15-16. 1999, Krakow: Ml/oda Literatura czeska i sl/owacka: 208-236.

‘Analysing Popular Music: Theory, Method, Practice’. Reading Pop. Approaches to Textual Analysis in Popular Music, ed. R. Middleton. 2000, Oxford University Press: 71-103. ISBN 0 85323 835 9.

‘The Work: An Evaluative Charge’. The Musical Work. Reality or Invention, ed. M. Talbot. 2000, Liverpool University Press: 153-167. ISBN 0 85323 835 9.

‘Popular Music Studies — bridge or barrier?’ Musica come ponte tra i popoli / Die Musik als Brucke zwischen den Volkern, ed. G Tonini: 128-142. 2001, Bolzano: Libreria Musicale Italiana: 128-142. ISBN 88-7096-224-5.

(with Karen E Collins) ‘The sonic aesthetics of the industrial: reconstructing yesterday’s soundscape for today’s alienation and tomorrow’s dystopia’. Sound Practice, ed. J L Drever: 101-108. 2001, Dartington: UK and Ireland Soundscape Community.

‘High and Low, Cool and Uncool: aesthetic and historical falsifications about music in Europe.’ Bulgarian Musicology, 2/2001: 9-18. ISSN 0204-823X.

‘Frammenti di musicologia della popular music’. L’esperienza musicale. Per una fenomenologia dei suoni, ed. L Nostro: 13-26. 2002, Roma: Montag/Manifestolibri. ISBN 88-7285-304-4.

Musical Publications

1962. Duo Seraphim — 8 part anthem (SSAATTBB) for Trinity Sunday. Winner of annual prize for choral composition and performed by the choir of King’s College Cambridge, Trinity Sunday 1962.

1965. Preces and Responses — 6 part setting commissioned by The Edington Festival. Broadcast by the BBC Third Programme from Edington Priory.

1972. ‘Västeråsvisan’ (lyrics: Tomas Elvén) and ‘Rätt till ett meningsfullt arbete’ — rock/pop songs. On Röda Kapellet: Västeråsvisan. Avanti AVEP-01.

1974. ‘Kultur-klasskamp’; ‘Solidaritetssång till Chiles folk’; ‘Revolutionens vagga’ (lyrics T Elvén) — rock/pop songs. On album Röda Kapellet, Avanti AVLP-01.

1976. ‘Dooba dooba jämlikhet (Västeråsvisan)’ (lyrics T Elvén); ‘Bingo flamingo’ [10’10]; ‘Let’s talk kapitalistiska’ [6’21] — rock/pop songs and compositions. On album Party Music / Partimusk. Avanti AVLP-02.

1979. Theme for current affairs series Samtal. TV2 (Sweden).

1981. Theme for chat show series Packhus 18. TV2 (Sweden).

1983. Theme for series Jag vill leva jag vill dö i Norden. Sveriges Radio P1.

1984. Theme for current affairs series Studio G. TV2 (Sweden).

1998. Arrangements for Library Music CD Prime Time Volume 2. Real Source Music RSM CD 007 (London).

Translations, Editions and Reviews

(ed). Film Music, Mood Music and Popular Music Research. Interviews, Converations, entretiens. 1980, Göteborg: Stencilled Papers from the Musicology Department, 8002 (90 pp). ISSN.0349.3407

(ed. & trans.). Från motkultur till företagsamhet (on ‘Rock and Roll is Here to Pay’ by Chapple and Garofalo, 1977). 1980, Göteborg: Stencilled Papers from the Musicology Department (33 pp)

(ed. with D Horn). Popular Music Perspectives: Papers From the First International Conference on Popular Music Research, Amsterdam, June 1981. 1982, Göteborg & Exeter: IASPM (250 pp)

(ed). DOPMUS. Documentation of Popular Music Studies. 1989, Göteborg: IASPM (Norden) (xx + 280 pp). ISBN.91.87030.01.2

John Shepherd, David Horn, Dave Laing, Paul Oliver, Philip Tagg, Peter Wicke and Jennifer Wilson (eds.). Popular Music Studies — a select international bibliography. 1997. London and Washington: Mansell (xxviii + 450 pp). ISBN 0.7201.2344.5

Review of Tobler and Grundy’s ‘The Record Producers’ (1982: London, BBC). Popular Music, 3. 1983, Cambridge University Press.

Review of Gillian Anderson’s ‘Music for Silent Films 1894- 1924: A Guide’. Popular Music, 9/1. 1990, Cambridge University Press: 148-149. ISBN.0.521.39944.0

Essay Review of P van der Merwe’s ‘Origins of the Popular Style: the Antecedents of Twentieth-Century Popular Music’ (OUP, 1989). Popular Music, 9/3 (1990): 375-380. ISBN.0.521.39943.2

Review of David Brackett’sInterpreting Popular Music (Cambridge, 1995) [HTML 14k].

Essay review of Music and Cultural Theory by John Shepherd and Peter Wicke (Cambridge, 1997). In Popular Music, 17/3 (1998) [HTML 107k].

Misc. Publications

Populärmusik och medierna. 1977, Stockholm: Arbetarnas Bildningsförbund (15 pp)

Musikens makt. 1979, Luleå: Rikskonserter – övre Norrland (8 pp)

On the Specificity of Musical Communication. Guidelines for Non-Musicologists. 1981, Göteborg: Stencilled Papers from the Musicology Department, 8115 (23 pp). ISSN.0349.3407

Muzikale wasverzachters – Bëinvloeding door populaire muziek. 1981, Amersfoort: NSKV (15 pp)

Nature as a Musical Mood Category (revised). First published 1982, Göteborg: IASPM Internal Publications 8206 (35 pp)

Musikvetenskap och populärmusikens semiotik. 1986, Göteborg: Stencilled Papers from the Musicology Department, 8601 (38 pp). ISSN.0349.3407