Pensum (800 sider) kan velges blant følgende bøker:
Danielsen A. 2006. Presence and Pleasure. The Funk Grooves of James Brown and Parliament. (Wesleyan University Press)
Danielsen A (ed). 2010. Musical Rhythm in the Age of Digital Reproduction. (Ashgate)
Doyle P. 2005. Echo and Reverb: Fabricating Space in Popular Music Recording, 1900–1960. Middletown, Connecticut: Wesleyan University Press. Frith, S and Zagorski-Thomas S (eds). 2012. The Art of Record Prodcution. An Introductory Reader for a New Academic Field. (Ashgate)
Greene PD and Porcello T. (eds.) 2005. Wired for Sound. Engineering and Technologies in Sonic Cultures. (Wesleyan)
Lacasse S. 2000. “Listen to My Voice”: The Evocative Power of Vocal Staging in Recorded Rock Music and Other Forms of Vocal Expression. PhD diss., University of Liverpool (http://www.mus.ulaval.ca/lacasse/texts/THESIS.pdf).
Massey H. 2009. Behind the glass. Volume II. Top Record Producers Tell How They Craft the Hits. (Backbeat)
Moylan W. 2002. The Art of Recording: Understanding and Crafting the Mix. Woburn: Focal Press.
Zak AJ., III, 2001. The Poetics of Rock: Cutting Tracks, Making Records. Berkeley: University of California Press.
Zak AJ. III 2010. Painting the Sonic Canvas: Electronic Mediation as Musical Style. In Amanda Bayley (ed.) Recorded Music: Performance, Culture and Technology. Cambridge/New York: Cambridge University Press.
(Med forbehold om tillegg og endringer.)
Anbefalt lesning/kjernepensum i bøkene er følgende:
Danielsen A. 2006. Kapittel 3, 4 og 5.
Danielsen A (ed). 2010. Kapittel 2 (Danielsen), kapittel 4 (Carlsen og Witek), kapittel 6 (Bjerke), kapittel 8 (Zeiner-Henriksen, kapittel 10 (Brøvig-Hanssen), kapittel 12 (Zagorski-Thomas) og kapittel 13 (Kvifte)
Frith S and Zagorski-Thomas S (eds). 2012. Her er alle kapitler mer eller mindre relevante.
Greene PD and Porcello T (eds). 2005. Kapittel 5 (Porcello).
I tillegg er følgende artikler kjernepensum:
Brøvig-Hanssen R og Danielsen A. 2013. The Naturalised and the Surreal. Changes in the perception of popular music sound. Organised Sound 18/1. (pdf på Fronter)
Danielsen A. 2012. The Sound of Crossover: Microrhythm and Sonic Pleasure in Michael Jackson’s ‘Don’t Stop Till You Get Enough’. Popular Music and Society 35/2, 151-168. (finnes tilgjengelig elektronisk via UB)
Dockwray, R. and A. F. Moore. 2010. Configuring the sound-box 1965–1972. Popular Music (29)2: 181–97. (finnes tilgjengelig elektronisk via UB)
Howlett M. 2012. The Producer as Nexus. Journal of the Art of Record Production Issue 6. http://arpjournal.com/1851/the-record-producer-as-nexus/
Howlett M. 2007. Fixing the volatile : studio vocal performance techniques. Proceedings from the 3rd Art of Record Production Conference, 10-11 December 2007, Queensland University of Technology, Brisbane. http://eprints.qut.edu.au/33275/
Zagorski-Thomas S. 2010. The Stadium in Your Bedroom: Functional Staging, Authenticity and the Audience-Led Aesthetic in Record Production. Popular Music 29(2): 251–66. (finnes tilgjengelig elektronisk via UB)