2014 | 0 reads | 0 | |
0 reads | 0 | ||
2023 | 0 reads | 0 | |
1974 | 1 read | 0 | |
2014 | 0 reads | 0 | |
2023 | 115 reads | 4.01 | |
2023 | 0 reads | 0 | |
2018 | 0 reads | 0 | |
2022 | 0 reads | 0 | |
1993 | 1 read | 4.5 | |
7 reads | 4.67 | ||
2000 | 0 reads | 0 | |
1998 | 1 read | 0 | |
Decomposed Decomposed: The Political Ecology of Music
| 0 reads | 0 | |
2007 | 0 reads | 0 | |
2003 | 0 reads | 0 | |
1990 | 0 reads | 0 | |
1999 | 0 reads | 0 | |
2018 | 0 reads | 0 | |
2023 | 0 reads | 0 | |
2023 | 0 reads | 0 | |
2022 | 0 reads | 0 | |
2022 | 21 reads | 4.09 | |
2000 | 0 reads | 0 | |
2023 | 0 reads | 0 | |
2022 | 2 reads | 2 | |
1993 | 2 reads | 3 | |
2019 | 0 reads | 0 | |
2022 | 11 reads | 4.38 | |
1977 | 0 reads | 0 | |
This Woman's Work This Woman's Work: Essays on Music
| 0 reads | 0 | |
2014 | 1 read | 3.5 | |
2019 | 1 read | 0 | |
2022 | 0 reads | 0 | |
1972 | 2 reads | 0 | |
2020 | 0 reads | 0 | |
0 reads | 0 | ||
2021 | 127 reads | 4.19 | |
1977 | 1 read | 0 | |
2022 | 21 reads | 4.09 | |
2021 | 17 reads | 3.5 | |
1984 | 5 reads | 4.5 | |
1884 | 15 reads | 4.44 | |
2014 | 12 reads | 4.25 | |
2022 | 30 reads | 4.15 | |
46 reads | 3.93 | ||
2018 | 2 reads | 2.5 | |
2021 | 0 reads | 0 | |
1992 | 0 reads | 0 | |
Major Labels Major Labels: A History of Popular Music in Seven Genres
| 2 reads | 4.5 | |
2021 | 0 reads | 0 | |
1 read | 0 | ||
1997 | 2 reads | 4 | |
2020 | 3 reads | 3.5 | |
1998 | 0 reads | 0 | |
2007 | 0 reads | 0 | |
2018 | 41 reads | 4.07 | |
2017 | 12 reads | 3.75 | |
2020 | 0 reads | 0 | |
2015 | 0 reads | 0 | |
2015 | 0 reads | 0 | |
2015 | 0 reads | 0 | |
Notes and Tones Notes and Tones: Musician-to-Musician Interviews
| 1 read | 4 | |
Raising Moths. Attempts at (Musical) Ekphrasis on Haruomi Hosono's Watering a Flower Raising Moths. Attempts at (Musical) Ekphrasis on Haruomi Hosono's Watering a Flower | 0 reads | 0 | |
2020 | 0 reads | 0 | |
2014 | 15 reads | 4 | |
Music Downtown Music Downtown: Writings from the Village Voice | 0 reads | 0 | |
1986 | 0 reads | 0 | |
Duchamp Is My Lawyer Duchamp Is My Lawyer: The Polemics, Pragmatics, and Poetics of Ubuweb
| 0 reads | 0 | |
2014 | 0 reads | 0 | |
1971 | 8 reads | 2.33 | |
2007 | 0 reads | 0 | |
2020 | 0 reads | 0 | |
1929 | 1 read | 5 | |
2020 | 0 reads | 0 | |
2006 | 1 read | 4 | |
2019 | 347 reads | 3.59 | |
2017 | 2 reads | 4 | |
2017 | 1 read | 5 | |
1986 | 0 reads | 0 | |
1980 | 38 reads | 4.18 | |
1943 | 12 reads | 3.86 | |
2009 | 0 reads | 0 | |
1983 | 0 reads | 0 | |
1998 | 45 reads | 4.15 | |
2020 | 1 read | 5 | |
1989 | 288 reads | 4.22 | |
2007 | 2 reads | 3 | |
2007 | 5 reads | 4.25 | |
1982 | 0 reads | 0 | |
1949 | 0 reads | 0 | |
2004 | 20 reads | 4.25 | |
1971 | 10 reads | 3.85 | |
Are We Still Rolling? Are We Still Rolling?: Studios, Drugs and Rock 'n' Roll - One Man's Journey Recording Classic Albums
| 2010 | 0 reads | 0 |
1963 | 0 reads | 0 | |
1986 | 1 read | 0 | |
1934 | 2 reads | 4 | |
The Painting of Modern Life The Painting of Modern Life: Paris in the Art of Manet and His Followers
| 1984 | 0 reads | 0 |
2019 | 11 reads | 3.81 | |
1929 | 5 reads | 3.5 |