Atton, C. (2011, March). Big noise, little worlds: genre and the cultural politics of territory in the live experience of “extreme” music. Paper presented at The business of live music, University of Edinburgh
Atton, C. (2019). Challenging authenticity: fakes and forgeries in rock music. Popular Music, 38(2),
Authenticity is a key concept in the evaluation of rock music by critics and fans. The production of fakes challenges the means by which listeners evaluate the authentic, by ...
Atton, C. (2016). Between the avant-garde and the popular: the discursive economy of Brian Eno’s musical practices. In Albiez, S. & Pattie, D. (Eds.). Brian Eno: Oblique Music, 69-83. Bloomsbury Publishing. ISBN 9781441129123
Atton, C. (2014). Writing about popular music: continuity, change and convergence in a digital age. In F. Trumpi, & S. Obert (Eds.), Musikkritik: Historische Zugänge und systematische Perspektiven, 11-32. Mille Tre Verlag
Atton, C. (2013). Curating popular music: authority and history, aesthetics and technology. Popular Music. 33, 413-427. doi:10.1017/S026114301400035X. ISSN 0261-1430
The practice of curation in popular music may be seen as a form of historical enquiry that works in a similar way to the critical projects of the ‘new museology’. Self-curati...
Atton, C. (2012). Listening to 'difficult albums': specialist music fans and the popular avant-garde. Popular Music, 31, 347-361. https://doi.org/10.1017/S0261143012000281
Difficulty is most often associated, not with popular music, but with the avant-garde. How do popular music listeners listen to albums that present compositional, performance...
Atton, C. (2009). In search of cultural politics in a Fall fanzine. In M. Goddard, & B. Halligan (Eds.), Mark E. Smith and the Fall: Art, Music and Politics, 169-180. Ashgate
Atton, C. (1999). Herein(g) the Sonic Arts Union: an anthology of transformations. The Sound Projector. , 28-30
Atton, C. (1987). Improvised music: some answers to some questions. Contact. , 13-17. ISSN 0308-5066
Atton, C. (1988). Some answers to some questions about improvised music. Improvisor. , 32-40
Atton, C. (2002). Review of "Progressive Rock Reconsidered". Popular Music. 21, 386-388. doi:10.1017/S026114300226225X,. ISSN 0261-1430
Medboe, H., Bares, W., Webster, E., Frost Fadnes, P., Inglis, C., Kahr, M., …Heyman, M. (2017). Continental Drift: 50 years of jazz from Europe. In Moir, Z. & Atton, C. (Eds.). Continental Drift: 50 years of jazz from Europe - Conference Proceedings, v, vi. ISBN 978-1-78808-706-3
Following popular exposure in France to the proto-jazz of James Reese Europe and his 369th “Harlem Hellfighters” Infantry Regiment during the latter years of WW1, the jazz bug...