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| Journal | Issue | Title | |
| Journal of World Popular Music | Vol 7 No. 2 (2020) Special Issue: Korean Hip-Hop and New Explorations of Afro-Asian Identity | Fabian Holt and Antti-Ville Kärjä, eds. 2017. The Oxford Handbook of Popular Music in the Nordic Countries. | View |
| Arnar Eggert Thoroddsen | |||
| Journal of Film Music | Vol 8 No. 1-2 (2015) Special Issue: Film Music Histories and Ethnographies: New Perspectives on Italian Cinema of the Long 1960s | Setting the Tone of the Southern Question: Music and/as Fatalism in Italian Cinema of the Economic Miracle | View |
| Maurizio Corbella | |||
| Journal of Film Music | Vol 4 No. 2 (2011) | Remastered and Remaindered: Debussy’s Music, Nat King Cole’s Song, and David O. Selznick’s attempt at High Art on a Low Budget* | View |
| Sarah Reichardt Ellis | |||
| Perfect Beat | Vol 1 No. 2 (1993) | Oliver, P. (ed) (1991) Black Music in Britain: Essays on the Afro-Asian Contribution to Popular Music, Buckingham (UK): Open University Press. | View |
| Tony Mitchell | |||
| Journal of Film Music | Vol 3 No. 1 (2010) The Film Music of Fumio Hayasaka and Toru Takemitsu | Miguel Mera, and David Burnand, eds., European Film Music London and Burlington, Vt.: Ashgate, 2006 [xiv, 206 pp. ISBN 0754636593, $29.95 (trade paper)] Ashgate Popular and Folk Music Series. Music examples, illustrations, tables, figures, filmography, bi | View |
| Linda Maria Koldau | |||
| Perfect Beat | Vol 2 No. 1 (1994) | THE ESSENTIALISTIC, THE EXOTIC, THE EQUIVOCAL AND THE ABSURD The Cultural Production and Use of the Didjeridu in World Music | View |
| KARL NEUENFELDT | |||
| Implicit Religion | Vol 19 No. 1 (2016) | Blue Suede Shoes to Doc Marten Boots: Music, Protest and Implicit Religion | View |
| Christine King, Francis Stewart | |||
| Popular Music History | Vol 5 No. 1 (2010) | Introduction to the special issue: The music of Bernard Herrmann | View |
| Dave Laing | |||
| Comparative Islamic Studies | Vol 5 No. 2 (2009) | Sound of Sama: The Use of Poetical Imagery in South Asian Sufi Music | View |
| Kashshaf Ghani | |||
| Journal for the Academic Study of Religion | Vol 31 No. 3 (2018) Special Issue: Religion at the Australian Royal Commission into Institutional Responses to Child Sexual Abuse | Maria S. Guarino, Listen with the Ear of the Heart: Music and Monastery Life in Weston Priory | View |
| Sarah Penicka-Smith | |||
| Perfect Beat | Vol 13 No. 2 (2012) | Ian Peddie, ed. 2011. Popular Music and Human Rights (Vol. 1: British and American Music; Vol. 2: World Music). Burlington, VT: Ashgate. ISBN 978-0-7546-6852-7 (hbk). 206pp/200pp. | View |
| Don Conway-Long | |||
| Journal of World Popular Music | Vol 7 No. 1 (2020) | The Kalunga Project: The Meanings of Popular Brazilian and Angolan Musical Productions beyond National Territory | View |
| Mariana Barreto | |||
| Perfect Beat | Vol 13 No. 1 (2012) | Post-colonial consciousness, knowledge production, and identity inscription within Filipino American hip hop music | View |
| Anthony Kwame Harrison | |||
| Perfect Beat | Vol 12 No. 1 (2011) | Negotiation and hybridity in new Balinese music: Sanggar Bona Alit, a case study | View |
| Manolete Mora | |||
| Journal of Film Music | Vol 6 No. 1 (2013) | Toward a Prehistory of Film Music: Hans Erdmann's Score for Nosferatu and the Idea of Modular Form | View |
| Janina Müller, Tobias Plebuch | |||
| Popular Music History | Vol 12 No. 3 (2019) Special Issue: Listening again to popular music as history (Part 2) | Robert Kronenburg, This Must Be the Place: An Architectural History of Popular Music Performance Venues. | View |
| Sarah Kenny | |||
| Popular Music History | Vol 6 No. 1 (2011) Vol 6, No 1/Vol 6, no 2 (2011) | ‘[I] hate girls and emo[tion]s: Negotiating masculinity in grindcore music | View |
| Rosemary Overell | |||
| Perfect Beat | Vol 1 No. 3 (1993) | SUCCESS IS IN THE AIR The Soundtrack, Music and Marketing of Strictly Ba!lroom | View |
| Meret Valtwies | |||
| Perfect Beat | Vol 15 No. 1 (2014) | German-Indigenous musical flows at Ntaria in the 1960s: Tiger Tjalkalyeri’s rendition of ‘Silent Night’, or what is tradition anyway? | View |
| Andrew Wright Hurley | |||
| Popular Music History | (0) ADVANCE ACCESS | Vivien Goldman, Revenge of the She-Punks: A Feminist Music History from Poly Styrene to Pussy Riot. | View |
| Judit Csobod | |||
| Perfect Beat | Vol 18 No. 1 (2017) | Triangulations: Musicalized drama, folklore and identity construction in Nakae Yūji’s A Midsummer’s Okinawan Dream | View |
| Henry Johnson | |||
| Jazz Research Journal | Vol 13 No. 1-2 (2019) Special Issue: Jazz and Everyday Aesthetics | Living with music: Departures and returns among early New Orleans jazz musicians | View |
| Nicholas Gebhardt | |||
| Journal of Film Music | Vol 4 No. 2 (2011) | Charlotte Greenspan. “Pick Yourself Up”: Dorothy Fields and the American Musical | View |
| Melissa Ursula Dawn Goldsmith | |||
| Jazz Research Journal | Vol 14 No. 2 (2020) Special Issue: Diversity and Inclusion at Jazz Festivals | Further thoughts, and a maniFESTo, on jazz (festivals) and the decolonization of music | View |
| George McKay | |||
| Popular Music History | Vol 1 No. 3 (2004) | Conflict and collaboration: the press officer/journalist nexus in the British music press of the late 1990s | View |
| Eamonn Forde | |||
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