Forskningsgruppen jobber med følgende områder:
- Populærmusikk og samfunn: kultur, teknologi og industri
- Digital utvikling: nye markeder, pengestrømmer og rettighetsproblematikk
- Populærmusikk, historie, identitet og ideologi
- Populærmusikk i akademiske diskurser
- Entreprenørskap, musikkbransje og management
- Analyse av populærmusikk
- Populærmusikk og globalisering
Utvalgte publikasjoner
- Hawkins, S. & Burns, Lori. (eds.) (2019) The Bloomsbury Handbook of Popular Music Video Analysis, New York: Bloomsbury Academic
- Hawkins, S. & Ålvik, Jon Mikkel Broch (2019) A-ha's "Take on Me", in Ciro Scotto; Kenneth M. Smith & John Brackett (eds.) The Routledge Companion to Popular Music Analysis: Expanding Approaches. London and New York: Routledge.
- Rauhut, M. (2019) One Sound, Two Worlds: The Blues in a Divided Germany, 1945–1990, New York and Oxford: Berghahn Books.
- Hawkins, S. (2018) Introduction: David Bowie, Contemporary Music Reviedw, 37/3, 189–192.
- Nordgård, D. (2018) The Music Business and Digital Impacts: Innovations and Disruptions in the Music Industries, Cham, Switzerland, Springer Nature.
- Rauhut, M. (2018) Jugendkulturen und populäre Musik in der DDR, in: Günter Mey (ed.): Jugendkultur in Stendal: 1950–1990. Szenen aus der DDR – Porträts und Reflexionen, Berlin: Hirnkost, 2018, 91–99.
- Dybo, T. (2017) Doctoral Scholarship in Popular Music Performance, in: H. Dunin-Woyseth & F. Nilsson (eds.) Perspectives on Research Assessment in Architecture, Music and the Arts, Abingdon: Routledge, 101–113.
- Dybo, T. (2017) Fairport Convention: Gender and Voicing Strategies in a Sound Signature, in: S. Hawkins (ed.) The Routledge Research Companion to Popular Music & Gender, Abingdon: Routledge, 182–195.
- Hawkins, S. (2017) The Routledge Research Companion to Popular Music and Gender. New York: Routledge.
- Nordgård, D. (2017) Determining Factors on Digital Change in the Music Industries: A qualitative Analysis of the Kristiansand Roundtable Conferences, UiA. Can be retrieved here: https://brage.bibsys.no/xmlui/handle/11250/2442628.
- Nordgård, D. (2017) Assessing Music Streaming and Industry Disruptions, in Meil, P. and Kirov, V. (eds.) Policy Implications of Virtual Work. Basingstoke: Palgrave Macmillan.
- Rauhut, M. (2017) With God and Guitars: Popular Music, Socialism, and the Church in East Germany, in: Popular Music and Society, vol. 40, no. 3, 292–309.
- Hawkins, S. (2016) Queerness in Pop Music: Aesthetics, Gender Norms, and Temporality. New York: Routledge.
- Nordgård, D. (2016) Lessons From the Worlds Most Advanced Market for Music Streaming Services, in Business Innovation and Disruptions in the Music Industries, Massachusetts, Edward Elgar Publishing.
- Nordgård, D. (2016) Norwegian Festivals and a Music Economy in Transition: The art of balancing ambitions, expectations and limitations, in Focus on World Festivals Goodfellow Publisher, Oxford, UK.
- Rauhut, M. (2016) Ein Klang – zwei Welten. Blues im geteilten Deutschland, 1945 bis 1990, Bielefeld: transcript.
- Dybo, T. (2015) Folkrock som globalisert musikkultur lokalisert i nordområdene, in: P. Fagerheim & O. Larsen (eds.) Musikk, folk og landskap, Stamsund: Orkana forlag, 175–200.
- Dolmen, B. D. (2014) Om "progressiv rock" i Pekka Pohjolas musikk og komposisjonspraksis, in: Norwegian Journal of Musicology Online (http://journal.uia.no/index.php/NTM/article/view/122), Volume 2, 2014.
- Nordgård, D. (2014) Rapport fra Musikernes fellesorganisasjons utvalg på strømming. Musikernes fellesorganisasjon; http://www.musikerorg.no/text.cfm/0_1915/rapport-fra-mfos-strxmmeutvalg.
- Nordgård, D. (2013) Norske festivaler og en musikkbransje i omveltning: Kunsten å balansere ønsker, forventninger og behov in Festival! Mellom rølp, kultur og næring, Tjora, A (ed) Cappelen Damm.
- Nordgård, D. (2013) Rapport fra Nordgård-utvalget. The Norwegian Ministry of Culture.
- Rauhut, M. (2013) Standing at the Crossroads. Konstruktionen von Authentizität in der deutschen Rezeption des Blues, in: Uta Daur (ed.): Authentizität und Wiederholung. Künstlerische und kulturelle Manifestationen eines Paradoxes, Bielefeld: transcript, 215–236.