References
- 1Adolf, M., & Stehr, N. (2018). Information, knowledge, and the return of social physics. Administration and Society, 50(9), 1238–1258. DOI: 10.1177/0095399718760585
- 2Ahmed, S., & Swan, E. (2006). Doing diversity. Policy Futures in Education, 4(2), 96–100. DOI: 10.2304/pfie.2006.4.2.96
- 3Akrich, M. (1992).
The description of technical objects . In W. Bijker & J. Law (Eds.), Shaping Technology/Building Society: Studies in Sociotechnical Change, pages 205–224. Cambridge, MA: MIT. - 4Aucouturier, J.-J., & Bigand, E. (2013). Seven problems that keep MIR from attracting the interest of cognition and neuroscience. Journal of Intelligent Information Systems, 41(3), 483–497. DOI: 10.1007/s10844-013-0251-x
- 5Barry, A., & Born, G. (2013a).
Introduction – Interdisciplinarity: Reconfigurations of the social and natural sciences . In A. Barry & G. Born (Eds.), Interdisciplinarity: Reconfigurations of the Social and Natural Sciences, pages 1–56. London and New York: Routledge. DOI: 10.4324/9780203584279 - 6Barry, A., & Born, G. (2013b). Interdisciplinarity: Reconfigurations of the Social and Natural Sciences. London and New York: Routledge. DOI: 10.4324/9780203584279
- 7Beirne, P. (1993). Inventing Criminology: Essays on the Rise of ‘Homo Criminalis’. Albany, NY: SUNY Press.
- 8Bohlman, P. (1999).
Ontologies of music . In N. Cook & M. Everist (Eds.), Rethinking Music, pages 17–34. Oxford: Oxford University Press. - 9Born, G. (1995). Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. Berkeley, CA: University of California Press. DOI: 10.1525/9780520916845
- 10Born, G. (2005a). Uncertain Vision: Birt, Dyke and the Reinvention of the BBC. London: Vintage.
- 11Born, G. (2005b). ‘On musical mediation: Ontology, technology and creativity’. Twentieth-Century Music, 2(1), 7–36. DOI: 10.1017/S147857220500023X
- 12Born, G. (2010).
On Tardean relations: Temporality and ethnography’ . In M. Candea (Ed.), The Social after Gabriel Tarde, pages 230–247. London and New York: Routledge. - 13Born, G. (2012).
Music and the social . In M. Clayton, T. Herbert & R. Middleton (Eds.), The Cultural Study of Music: A Critical Introduction, 2nd edition, pages 261–274). London: Routledge. - 14Born, G. (2013).
Music: Ontology, agency and creativity . In L. Chua & M. Elliott (Eds.), Distributed Objects: Meaning and Matter after Alfred Gell, pages 130–154. Oxford: Berg. - 15Born, G. (Ed.) (2021). Music and Digital Media: A Planetary Anthropology. Durham, NC: Duke University Press.
- 16Born, G., & Devine, K. (2015). Music technology, gender, and class: Digitization, educational and social change in Britain. Twentieth-Century Music, 12(2), 135–172. DOI: 10.1017/S1478572215000018
- 17Born, G., & Devine, K. (2016). Gender, Creativity and Education in Digital Musics and Sound Art. Special issue, Contemporary Music Review, 35(1). DOI: 10.1080/07494467.2016.1177255
- 18Born, G., & Hesmondhalgh, D. (Eds.) (2000). Western Music and its Others: Difference, Representation, and Appropriation in Music. Berkeley, CA: The University of California Press.
- 19Born, G., Morris, J., Diaz, F., & Anderson, A. (2020). Artificial intelligence, recommendation, and the curation of culture. Report from the conference Artificial Intelligence, Recommendation, and the Curation of Culture. Paris, France,
4–5 October ,funded by the Canadian Institute for Advanced Research (CIFAR) . - 20Bowker, G. (2018).
Sustainable knowledge infrastructures . In N. Anand, A. Gupta & H. Appel (Eds.), The Promise of Infrastructure, pages 203–222. Durham, NC: Duke University Press. DOI: 10.1215/9781478002031-009 - 21Conklin, D. (2013) Antipattern discovery in folk tunes. Journal of New Music Research, 42(2), 161–169. DOI: 10.1080/09298215.2013.809125
- 22Cornelis, O., Six, J., Holzapfel, A., & Leman, M. (2013). Evaluation and recommendation of pulse and tempo annotation in ethnic music. Journal of New Music Research, 42(2), 131–149. DOI: 10.1080/09298215.2013.812123
- 23Danielsen, A. (2010). Musical Rhythm in the Age of Digital Reproduction. Farnham, UK: Ashgate Publishing.
- 24Danielsen, A. (2012). The sound of crossover: Micro-rhythm and sonic pleasure in Michael Jackson’s ‘Don’t Stop ‘Til You Get Enough’. Popular Music and Society, 35(2), 151–168. DOI: 10.1080/03007766.2011.616298
- 25Deo, A. (2021).
Oral traditions in the aural public sphere: Digital archiving of vernacular music in North India . In G. Born (Ed.), Music and Digital Media: A Planetary Anthropology. Durham, NC: Duke University Press. - 26Devine, K. (2019). Decomposed: The Political Ecology of Music. Cambridge, MA: MIT Press. DOI: 10.7551/mitpress/10692.001.0001
- 27Donnelly, K. (2015). Adolphe Quetelet, Social Physics and the Average Men of Science, 1796–1874. London and New York: Routledge. DOI: 10.4324/9781315653662
- 28Feld, S. (1984). Sound structure as social structure. Ethnomusicology, 28(3), 383–409.
- 29Gómez, E., Herrera, P., & Gómez-Martin, F. (2013). Computational ethnomusicology: Perspectives and challenges. Journal of New Music Research, 42(2), special issue on ‘Computational Ethnomusicology’, 111–112. DOI: 10.1080/09298215.2013.818038
- 30Gruber, T. (2009).
Ontology . In L. Liu & M. Tamer Özsu (Eds.), The Encyclopedia of Database Systems. Berlin: Springer-Verlag. Accessed 29 August 2020.http://tomgruber.org/writing/ontology-definition-2007.htm . DOI: 10.1007/978-0-387-39940-9_1318 - 31Henrich, J., Heine, S. J., & Norenzayan, A. (2010). The weirdest people in the world? Behavioral and Brain Sciences, 33(2–3), 61–83. DOI: 10.1017/S0140525X0999152X
- 32Hesmondhalgh, D. (2013). Why Music Matters. Oxford: John Wiley & Sons.
- 33Hofweber, T. (2020). Logic and ontology. In E. N. Zalta (Ed.), The Stanford Encyclopedia of Philosophy. Accessed 31 August 2020
https://plato.stanford.edu/archives/sum2020/entries/logic-ontology/ - 34Holzapfel, A., Sturm, B. L., & Coeckelbergh, M. (2018). Ethical dimensions of music information retrieval technology. Transactions of the International Society for Music Information Retrieval, 1(1), 44–55. DOI: 10.5334/tismir.13
- 35Hu, X., Choi, K., Lee, J. H., Laplante, A., Hao, Y., Cunningham, S. J., & Downie, J. S. (2016). WiMIR: An informetric study on women authors in ISMIR. Proceedings of the 17th International Society for Music Information Retrieval (ISMIR) Conference. New York, USA.
- 36Keil, C. (1987). Participatory discrepancies and the power of music. Cultural Anthropology, 2(3), 275–283. DOI: 10.1525/can.1987.2.3.02a00010
- 37Keil, C., & Feld, S. (1994). Music Grooves: Essays and Dialogues. Chicago, IL: University of Chicago Press.
- 38Kornberger, M., Bowker, G., Elyachar, J., Mennicken, A., Miller, P., Nucho, J., & Pollock, N. (Eds.) (2019). Thinking Infrastructures. Bingley, UK: Emerald. DOI: 10.1108/S0733-558X201962
- 39Lomax, A. (1968). Folk Song Style and Culture. American Association for the Advancement of Science.
- 40Lomax, A. (2003). Alan Lomax: Selected Writings 1934–1997. Ed. R. D. Cohen. New York, NY: Routledge.
- 41Nussbaum, M. C. (2003). Upheavals of Thought: The Intelligence of Emotions. Cambridge, UK: Cambridge University Press.
- 42Oudshoorn, N. E. J., Rommes, E., & Stienstra, M. (2004). Configuring the user as everybody: Gender and design cultures in information and communication technologies. Science, Technology & Human Values, 29(1), 30–63. DOI: 10.1177/0162243903259190
- 43Pentland, A. (2014). Social Physics: How Good Ideas Spread – The Lessons from a New Science. Harmondsworth, UK: Penguin.
- 44Prey, R. (2018). Nothing personal: Algorithmic individuation on music streaming platforms. Media, Culture and Society, 40(7), 1086–1100. DOI: 10.1177/0163443717745147
- 45Savage, P. E. (2018). Alan Lomax’s cantometrics project: A comprehensive review. Music & Science, 1, 1–19. DOI: 10.1177/2059204318786084
- 46Schafer, R. M. (1994). The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, VT: Destiny Books.
- 47Serra, X. (2014).
Creating research corpora for the computational study of music: The case of the CompMusic Project . In Audio Engineering Society 53rd International Conference: Semantic Audio (article number 1–1). New York, NY: Audio Engineering Society. - 48Serra, X. (2017). The computational study of a musical culture through its digital traces. Acta Musicologica, 89(1), 24–44.
- 49Six, J., Cornelis, O., & Leman, M. (2013). Tarsos, a modular platform for precise pitch analysis of Western and non-Western music. Journal of New Music Research, 42(2), 113–129. DOI: 10.1080/09298215.2013.797999
- 50Smalley, D. (1986).
Spectro-morphology and structuring processes . In S. Emerson (Ed.), The Language of Electroacoustic Music, pages 61–93. London: Macmillan. DOI: 10.1007/978-1-349-18492-7_5 - 51Smalley, D. (2007). Space-form and the acousmatic image. Organised Sound, 12(1), 35–58. DOI: 10.1017/S1355771807001665
- 52Stilgoe, J., Owen, R., & Macnaghten, P. (2013). Developing a framework for responsible innovation. Research Policy, 42, 1568–1580. DOI: 10.1016/j.respol.2013.05.008
- 53Sykes, J. (2019).
Sound studies, difference, and global concept history . In G. Steingo & J. Sykes (Eds.), Remapping Sound Studies, pages 203–227. Durham, NC: Duke University Press. DOI: 10.1215/9781478002192-013 - 54Tarde, G. (1903). The Laws of Imitation. New York, NY: Henry Holt.
- 55Verbeek, P.-P. (2006). Materializing morality: Design ethics and technological mediation. Science, Technology, & Human Values, 31(3), 361–380. DOI: 10.1177/0162243905285847
- 56Wajcman, J. (2010). Feminist theories of technology. Cambridge Journal of Economics, 34(1), 143–152. DOI: 10.1093/cje/ben057