| Section |
Title |
Author |
Published |
| Introduction
|
|
Introduction: Why is everything curated these days? Examining the work of popular music curation |
Holly Tessler |
Dec 3, 2020 |
| Articles
|
|
Scene and heard: Collecting the Dunedin Sound |
Amanda Patricia Mills |
Dec 3, 2020 |
|
Continuity and change in popular music curation: Exhibiting the musical past in Liverpool |
Sara Cohen |
Dec 3, 2020 |
|
Negotiating the co-curation of an online community popular music archive |
Beate Peter |
Dec 3, 2020 |
|
Supplementing a typology of curation: Learning from George Harrison and Indian music |
Michael Lewis Jones |
Dec 3, 2020 |
|
Pick out the jams: Curation and independent record shops |
Lee Ann Fullington |
Dec 3, 2020 |
|
Right time, right place: The British Library’s Punk 1976–78 exhibition |
J. Mark Percival |
Dec 3, 2020 |
|
Curating exhausted commodities: A case study of We Buy White Albums |
Iain A. Taylor |
Oct 16, 2020 |
|
Ektoplazm.com: Psychedelic trance, internet curation and free music distribution |
Christopher David Charles |
Dec 3, 2020 |
|
Billboard’s ‘Hot Country Songs’ chart and the curation of country music culture |
Jada Watson |
Dec 3, 2020 |
|
(Re-)valuing rock music: Curatorship in the production of garage rock reissue compilation albums |
José Vicente Neglia |
Dec 3, 2020 |