1. 1 Aanleiding

Dovnload 446.54 Kb.

1. 1 Aanleiding

Grootte446.54 Kb.

Dovnload 446.54 Kb.
1   2   3   4   5   6   7


Alexander, V.D. 2003. Sociology of the arts. Exploring fine and popular forms. United Kingdom, Blackwell.

Allen, M.P. & Lincoln, A.E., 2004. Critical Discourse and the Cultural Consecration of American Films. Social Forces 82 (3): 871-894

Bayton, M. 1997. Women and the Electric Guitar. In: Whiteley, S. Sexing the Groove: Popular Music and Gender. London: Routledge, 37- 50

Baumann, S. 2007. A general theory of artistic legitimation: How art worlds are like social movements. Poetics 35 (1), 47-65

Becker, H.S. 1982. Art worlds. Los Angeles: University of California Press.

Bem, S.L.,1974. The Measurement of Psychological Androgyny. Journal of Consulting and Clinical Psychology 42 (2), 155 -162

Bielby, D & Bielby, W. 1996. Women and Men in Film: Gender Inequality among Writers in a Culture Industry. Gender and Society 10 (3), 248-270

Bourdieu, P. 1984. Distinction: A Social Critique of the Judgement of Taste. The United States: Harvard University Press.

Bourdieu, P. 1993. The Field of Cultural Production. Columbia: Columbia University Press.

Clawson, M.A., 1999. When Women Play the Bass: Instrument Specialization and Gender Interpretation in Alternative Rock Music. Gender and Society 13 (2), 193-210

Coulangeon, P., Ravet, H. & Roharik, I. 2005. Gender differentiated effect of time in performing arts professions: Musicians, actors and dancers in contemporary France. Poetics, 33 (5-6), 369–387

Deaux, K & Emswiller, T. 1974. Explanations of Successful Performance on Sex –linked tasks: What is Skill for the Male is Luck for the Female. Journal of Personality and Social Psychology 29 (1), 80-85

Denisoff, R.S. 1975. Solid Gold. New Brunswick: Transaction Books.

Dowd, T., Liddle, K. & Blyler, M. 2005. Charting Gender: The Success of Female Acts in the U.S. Mainstream Recording Market, 1940-1990. Research in the Sociology of Organizations 23 (1), 81–123

Etaugh, C. & Rose, S. 1975. Adolescents' Sex Bias in the Evaluation of Performance. Developmental Psychology, 11 (5), 663-664

Feigenbaum, A. 2005. ‘Some guy designed this room I’m standing in’: marking gender in press coverage of Ani DiFranco. Popular Music 24 (1): 37-56

Frith, S. & McRobbie, A. 1990. ‘ Rock and Sexuality.’ In: Frith, S. & Goodwin, A. On Record. New York: Pantheon Books, 371-89.

Hall, S., 1973. Encoding and Decoding in the Television Discourse. United Kingdom: University of Birmingham, Centre for Contemporary Cultural Studies.

Janssen, S. 1997. Reviewing as social practice: Institutional constraints on critics' attention for contemporary fiction. Poetics 24 (5), 275 -297

Johnson –Grau, B. 2002 ‘Sweet Nothings: Presentation of Women Musicians in Pop Journalism.’ In: Jones, S. Pop Music and the Press. Philadelphia: Temple University Press, 202-218.

Jones, S. 2002. Pop Music and the Press. Philidelphia: Temple University Press.

Jones, G. & Rahn. J. 1981. Definitions of Popular Music: recycled. In: Battock, G. (ed.), Breaking the Sound Barrier: A Critical Anthology of New Music. New York: Dutton

Kruse, H. 2002. ‘Abondoning the Absolute: Transcendence and Gender in Popular Music Discourse.’ In: Jones, S. Pop Music and the Press. Philadelphia: Temple University Press, 134-155.

Maccoby, E. 1990. Gender and Relationships: A Developmental Account. American Psychologist 45 (4), 513-20.

McCombs, M. & Shaw, D. 1972. The Agenda –Setting Function of Mass Media. Public opinion quarterly 36, 176-187

McLeod, K. 2002. ‘Between Rock and a Hard Place: Gender and Rock Criticism.’ In: Jones, S. Pop Music and the Press. Philadelphia: Temple University Press, 93-114.

Millar, B. 2008. Selective hearing: gender bias in the music preferences of young adults. Psychology of Music 36 (4), 429-225

Mischel, H. 1974. Sex Bias in the Evaluation of Professional Achievements. Journal of Educational Psychology, 66 (2), 157-166

Morley, D. & Brunsdon, C. 1999. ‘What people do with media’. Uses, gratifications, meanings. In: D. Morley & C. Brundson. The ‘Nationwide’ Television Studies. London: Routledge, 126-130.

Negus, K. 1993. Producing Pop: Culture and conflict in the popular music industry. London: Hodder Arnold.

Nuchelmans, A. 2002. Dit gebonk dient tot het laatste toe te worden bestreden. Amsterdam: Boekmanstudies.

Peterson, R.A. 1997. Creating country music: fabricating authenticity. Chicago: The University of Chicago Press.

Pheterson, G., Kiesler, S. & Goldberg, P. 1971. Evaluation of the Performance of Women as a Function of their Sex, Achievement, and Personal History. Journal of Personality and Social Psychology 19 (1), 114-118

Reskin, B. 1993. Sex segregation in the workplace. Annual Review of Sociology 19, 241-270

Rutten, P. 1992. Hitmuziek in Nederland: 1960-1985. Proefschrift. Katholieke Universiteit Nijmegen

Schmutz, V. 2009. Social and symbolic boundaries in newspaper coverage of music, 1955–2005: Gender and genre in the US, France, Germany, and the Netherlands. Poetics 37 (4), 298-314.

Schmutz, V. 2009. The Classification and Consecration of Popular Music: Critical Discourse and Cultural Hierarchies. Proefschrift. Erasmus Universiteit Rotterdam

Shuker, R. (1994). Understanding Popular Music. Routledge: London

Stremikis, B.2002. The Personal Characteristics and Environmental Circumstances of Successful Women Musicians. Creativity Research Journal, 14 (1), 85- 92

Tagg, P. 1982. Analysing popular music. In: R. Middleton & D. Horn (eds.). Popular Music 2, theory and practice. Cambrigde: Cambridge University Press, 37-67.

Thornton, S. 1995. Club Cultures: Music, Media and Subcultural Capital. Cambridge: Polity Press

Tuchman, G. 1984. Fame and Misfortune: Edging women out of the Great Literary Tradition. The American Journal of Sociology, 90 (1), 72-96

Van Rees, K. & Vermunt, J. 1996. Event history analysis of authors' reputation:

Effects of critics' attention on debutants' careers. Poetics 23 (5), 317-333

Werbner,P. 1999. What colour ‘success’? Distorting value in studies of ethnic entrepreneurship. The editorial Board of The Sociological Review 47 (3), 548-579

Wester, F. 2006. Inhoudsanalyse: theorie en praktijk. Waddinxveen: Kluwer.

Zwaan, K & Ter Bogt, T. 2009. Research Note: Breaking into the Popular Record Industry: An Insider’s View on the Career Entry of Pop Musicians. European Journal of Communication 24 (1), 89-102

Zwaan, K., Ter Bogt, T. & Raaijmakers, Q. 2009. So You want to be a Rock ‘n’ Roll star? Career success of pop musicians in the Netherlands. Poetics 37 (3), 250–266



















19 De Dutchcharts Single Top 100 is de verkoop hitparade van Nederland als sinds 1969. De # 1 is de meest verkochte song (op CD-single/Maxi of via Download). Dit geldt ook voor de Album Top 100. De Top 40 is de lijst van de meest populaire liedjes gedraaid op Radio 538 en wordt samengesteld door Airplay en door de platenmaatschappij! Er zijn dus 2 graadmeters: populair op de radio en de DJ's van 538 (Top 40)  en populair door middel van Verkoop (Dutchcharts Top 100).

20 Algemeen Dagblad, Agrarisch Dagblad, Dag, Het Financiële Dagblad, Metro, Nederlands Dagblad, NRC Handelsblad, NRC.NEXT, Het Parool, Reformatorisch Dagblad, Spits!, De Telegraaf, Trouw en De Volkskrant.

1   2   3   4   5   6   7

Dovnload 446.54 Kb.