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| Journal | Issue | Title | |
| Equinox eBooks Publishing | Sounds Northern | 1. Manpool, the Musical: Harmony and Counterpoint on the Lancashire Plain | View |
| Richard Witts | |||
| Popular Music History | Vol 11 No. 1 (2016) Special Issue: Crossing national borders in Eastern European popular music | From South to East: Exoticism in Polish popular music of the state socialist period | View |
| Ewa Mazierska | |||
| Journal of Film Music | Vol 7 No. 2 (2014) | Danielle Birkett and Dominic McHugh, eds., Adapting the Wizard of Oz: Musical Versions from Baum to MGM and Beyond | View |
| Megan Woller | |||
| Popular Music History | Vol 7 No. 2 (2012) | You can make me whole again: popular music tributes embodying the reunion | View |
| Georgina Gregory | |||
| Popular Music History | Vol 2 No. 3 (2007) PMH 2.3 | Nine lives in the music business: Reg Dwight and Elton John in the 1960s | View |
| Dave Laing | |||
| Perfect Beat | Vol 18 No. 2 (2017) | Cultural value and urban governance: A place for Melbourne’s music community at the policymaking table | View |
| Declan Martin | |||
| Perfect Beat | Vol 1 No. 1 (1992) | TEETH-GRITTED HARMONIES Music programming and policy on Australian public radio- a case study of four Sydney stations | View |
| KATRINA McMANUS | |||
| Perfect Beat | Vol 19 No. 2 (2018) | Shane Homan, Martin Cloonan and Jennifer Cattermole. 2016. Popular Music Industries and the State: Policy Notes | View |
| Emma-Jayne Reekie | |||
| PentecoStudies | Vol 16 No. 2 (2017) | Pentecostalism as Cultural Resistance: Music and Tongue-speaking as Collective Response in a Brooklyn Church | View |
| Peter Marina, Michael Wilkinson | |||
| Perfect Beat | Vol 1 No. 3 (1993) | SMASHING THE SILENCE A review of With Open Eyes - The First National Aboriginal and Torres Strait Islander Contemporary Women's Music Festival | View |
| Jilli Streit-Warburton | |||
| Popular Music History | Vol 13 No. 1-2 (2020) Special Issue: Popular Music and Curation | Billboard’s ‘Hot Country Songs’ chart and the curation of country music culture | View |
| Jada Watson | |||
| Perfect Beat | Vol 8 No. 4 (2008) | TRANSCIENCE AND DURABILITY Music industry initiatives, Shima Uta and the maintenance of Amami culture | View |
| Philip Hayward, SUEO KUWAHARA | |||
| Perfect Beat | Vol 21 No. 1 (2021) Special Issue: COVID-19, Music and the Asia-Pacific (Part 1) | The impact of COVID-19 on music venues in regional South Australia: A case study | View |
| Rosie Roberts, Sam Whiting | |||
| Perfect Beat | Vol 15 No. 1 (2014) | Cultural protectionism in a deregulated and diversifying broadcasting environment: Getting more Māori music on air | View |
| Jennifer Cattermole | |||
| Journal of World Popular Music | Vol 5 No. 1 (2018) Hip Hop Activism and Representational Politics | Book Review: Sarah Baker, Andy Bennett and Jodie Taylor (eds). 2013. Redefining Mainstream Popular Music | View |
| Marcus O'Dair | |||
| Popular Music History | Vol 4 No. 3 (2009) | Michael Brocken, Other Voices: Hidden Histories of Liverpool’s Popular Music Scenes, 1930s–1970s and Marion Leonard and Robert Strachan, eds, The Beat Goes On: Liverpool, Popular Music and the Changing City | View |
| James McGrath | |||
| Linguistics and the Human Sciences | Vol 1 No. 3 (2005) Vol. 1, No. 3 (2005) FREE SAMPLE ISSUE | Through a glass darkly: a critique of the influence of linguistics on theories of music | View |
| Edward McDonald | |||
| Journal of World Popular Music | Vol 6 No. 1 (2019) | From Worldbeat to Localbeat: Towards a Theory of the Transformation of Music from the Borrowed to the Local | View |
| Wonderful Godwin Bere | |||
| Journal of World Popular Music | Vol 7 No. 2 (2020) Special Issue: Korean Hip-Hop and New Explorations of Afro-Asian Identity | Fernando Orejuela and Stephanie Shonekan, eds. 2018. Black Lives Matter and Music: Protest, Intervention, Reflection. | View |
| Kwami Coleman | |||
| Perfect Beat | Vol 1 No. 4 (1994) | WHAT THE AIR WAS LIKE UP THERE: Overseas Music and Local Reception in the 1960s MICHAEL FLINT | View |
| Michael Flint | |||
| Perfect Beat | Vol 13 No. 1 (2012) | ‘Sing loud, break through the silence’: musical responses to the national apology to the Stolen Generations | View |
| Katelyn Barney | |||
| Journal of World Popular Music | Vol 2 No. 1 (2015) | Musical Ownership and Pop-folk on Jersey: Sustaining Tradition through Intervention, Technology and Creative Practice | View |
| Henry Johnson | |||
| Journal of World Popular Music | Vol 1 No. 2 (2014) | Ian Peddie, ed. 2011. Popular Music and Human Rights Volume II: World Music. Burlington: Ashgate. 218pp. ISBN 978-1-4094-6405-1 (hbk) | View |
| Katelyn Barney | |||
| Popular Music History | Vol 9 No. 2 (2014) | ‘What would they know about Green Onions?’: Musical lifestyles of 1960s London mods | View |
| Robert Wyndham Nicholls | |||
| Perfect Beat | Vol 2 No. 4 (1996) | TEMPTATION AND EXPLOITATION Apple House Music, the Copyright Loophole and Legal Bootlegging | View |
| RAELENE LAWRANCE, KERRYN WELSH | |||
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