Ang, I.
(1985) Watching Dallas: Soap Opera and the Melodramatic Imagination. New York: Methuen.
2.
Balkwill, L.
and Thompson, W.F. (1999) `A Cross-cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues', Music Perception17(1): 43-64.
3.
Baudrillard, J.
(1988) Jean Baudrillard Selected Writings, edited by M. Poster. Oxford: Polity Press.
4.
Bloomfield, T.
(1993) `Resisting Songs: Negative Dialectics in Pop', Popular Music12(1): 13-31.
5.
Bradby, B.
(1990) `Do-Talk and Don't-Talk: The Division of the Subject in Girl-Group Music', pp. 341-368 in S. Frith and A. Goodwin (eds) On Record: Rock, Pop and the Written Word. New York: Pantheon.
6.
Bradby, B.
(1993) `Sampling Sexuality: Gender, Technology and the Body in Dance Music', Popular Music12(2): 155-176.
7.
Burr, V.
(1998) Gender and Social Psychology. London and New York: Routledge.
8.
Clarke, E.F.
(1999) `Subject-position and the Specification of Invariants in Music by Frank Zappa and P.J. Harvey', Music Analysis18(3): 347-374.
9.
Clarke, E.F.
and Dibben, N. (2000) `Sex, Pulp and Critique', Popular Music19(2): 231-241.
10.
Dibben, N.
(1999) `Representations of Femininity in Popular Music', Popular Music18(3): 331-355.
11.
Dibben, N.
(in press) `Gender Identity and Music', in R. MacDonald, D.J. Hargreaves and D. Meill (eds) Musical Identities. Oxford: Oxford University Press.
12.
Ferguson, M.
(1983) Forever Feminine: Women's Magazines and the Cult of Femininity. London: Heinemann.
13.
Fiske, J.
(1989) Understanding Popular Culture. London and New York: Routledge.
14.
Frith, S.
(1988) The Voices of Women. Music for Pleasure: Essays in the Sociology of Pop. Oxford: Basil Blackwell and Polity Press.
15.
Frith, S.
and McRobbie, A. (1990 [1979]) `Rock and Sexuality', pp. 371-389 in S. Frith and A. Goodwin (eds) On Record: Rock, Pop and the Written Word. New York: Pantheon.
16.
Gergen, K.J.
(1991) The Saturated Self: Dilemmas of Identity in Contemporary Life. New York: Harper-Collins.
17.
Green, L.
(1997) Music, Gender, Education. Cambridge: Cambridge University Press.
18.
Gregory, A.H.
and Varney, N. (1996) `Cross-cultural Comparisons in the Affective Response to Music', Psychology of Music24: 47-52.
19.
Modleski, T.
(1982) The Search for Tomorrow in Today's Soap Operas. Loving with a Vengeance. New York: Methuen.
20.
Mulvey, L.
(1989) Visual Pleasure and Narrative Cinema. Visual and Other Pleasures. Basingstoke: Macmillan.
21.
Negus, K.
(1997) `Sinead O'Connor - Musical Mother', pp. 178-190 in S. Whiteley (ed.) Sexing the Groove: Popular Music and Gender. London and New York: Routledge.
22.
Seiter, E.
, Borchers, H., Kreutzner, G. and Warth, E.-M. (1989) '"Don't Treat Us Like We're so Stupid and Naive": Toward an Ethnography of Soap Opera Viewers', in E. Seiter, H. Borchers, G. Kreutzner and E.-M. Warth (eds) Remote Control: Television, Audiences and Cultural Power. London: Routledge.
23.
Tagg, P.
(1979) Kojak, 50 Seconds of Television Music. Towards the Analysis of Affect in Popular Music. Studies from the Department of Musicology, Goteborg, 2.
24.
Tagg, P.
(1992) `Towards a Sign Typology of Music', pp. 369-378 in R. Dalmonte and M. Baroni (eds) Secondo Convegno Europeo di Analisi Musicale. Trento: Universita degli Studi di Trento.
25.
Taylor, J.
and Laing, D. (1979) `Disco-Pleasure-Discourse: On Rock and Sexuality', Screen Education31: 43-48.
26.
Whiteley, S.
, ed. (1997) Sexing the Groove: Popular Music and Gender. London and New York: Routledge.
27.
Zillman, D.
and Gan, S.-L. (1997) `Musical Taste in Adolescence', pp. 161-187 in D.J. Hargreaves and A.C. North (eds) The Social Psychology of Music. Oxford: Oxford University Press.
