| Any sound you can imagine: Making music/consuming technology P Théberge Wesleyan University Press, 1997 | 1336 | 1997 |
| The network studio: Historical and technological paths to a new ideal in music making P Théberge Social Studies of Science 34 (5), 759-781, 2004 | 211 | 2004 |
| ‘Plugged in’: technology and popular music P Théberge The Cambridge Companion to Pop and Rock (Simon Frith, Will Straw, and John …, 2001 | 205 | 2001 |
| Everyday fandom: Fan clubs, blogging, and the quotidian rhythms of the internet P Théberge Canadian journal of communication 30 (4), 485-502, 2006 | 146 | 2006 |
| The 'sound' of music: Technological rationalization and the production of popular music P Théberge New Formations 8, 99-111, 1989 | 94 | 1989 |
| The end of the world as we know it: The changing role of the studio in the age of the Internet P Théberge The art of record production: An introductory reader for a new academic …, 2012 | 83 | 2012 |
| Living Stereo: Histories and Cultures of Multichannel Sound P Théberge, K Devine, T Everrett Bloomsbury Publishing USA, 2015 | 70* | 2015 |
| Almost silent: the interplay of sound and silence in contemporary cinema and television P Théberge Lowering the Boom: Critical studies in film sound (Jay Beck & Anthony …, 2008 | 62* | 2008 |
| Musicians' magazines in the 1980s: The creation of a community and a consumer market P Théberge Cultural Studies 5 (3), 270-293, 1991 | 59 | 1991 |
| Technology, creative practice and copyright P Théberge Music and Copyright, 2nd ed. (Simon Frith & Lee Marshall, eds.), 139-156, 2004 | 53 | 2004 |
| 'Ethnic Sounds': The Economy and Discourse of World Music Sampling P Théberge Music and Technoculture (René Lysloff & Lesie Gay, eds.), 93-108, 2003 | 53* | 2003 |
| Sound maps: music and sound in cybercartography P Théberge Cybercartography: theory and practice (D.R. Fraser Taylor, ed.), 389-410, 2005 | 50 | 2005 |
| Digitalization P Théberge The Routledge Reader on the Sociology of Music (John Shepherd & Kyle Devine …, 2015 | 36* | 2015 |
| Musical instruments as assemblage P Théberge Musical Instruments in the 21st Century: Identities, Configurations …, 2017 | 34 | 2017 |
| Random access: music, technology, postmodernism P Théberge The Last Post: Music After Modernism (Simon Miller, ed.), 150-182, 1993 | 32 | 1993 |
| Counterpoint: Glenn Gould and Marshall McLuhan P Théberge Canadian Journal of Political and Social Theory 10 (1-2), 109-127, 1986 | 27 | 1986 |
| Love and Business: Taylor Swift as Celebrity, Businesswoman, and Advocate P Théberge Contemporary Music Review 40 (1), 41-59, 2021 | 17 | 2021 |
| Music/Technology/Practice; Music Knowlwedge in Action P Théberge Bennett, A.; Shank, B.; Toynbee, J–The Popular Music Studies Reader, London …, 2006 | 13 | 2006 |
| What’s that sound? Listening to popular music revisited P Théberge Popular music: Style and identity, 275-84, 1995 | 10 | 1995 |
| The Sound of Nowhere: Reverb and the Construction of Sonic Space P Théberge The Relentless Pursuit of Tone: Timbre and Popular Music (Robert Fink, M …, 2018 | 7 | 2018 |
Kyle DevineUniversity of OsloVerified email at imv.uio.no
Kyle DevineUniversity of OsloVerified email at imv.uio.no