Books
Anderton, C. and Burns, L. (eds.) (under contract) Progressive Rock, Metal and the Literary Imagination. London: Routledge.
Anderton, C., Hannam, J. and Hopkins, J. (2022) Music Management, Marketing & PR. London and New York: Sage.
Anderton, C. and James, M. (eds.) (2022) Media Narratives in Popular Music. New York and London: Bloomsbury.
Anderton, C. and Pisfil, S. (eds.)(2022) Researching Live Music. Gigs, Concerts, Tours and Festivals. Abingdon and New York: Routledge.
Anderton, C. (2019) Music Festivals in the UK. Beyond the Carnivalesque. New York and London: Routledge.
Anderton, C, Dubber, A. and James, M. (2013) Understanding the Music Industries. London and New York: Sage.
Journal articles
Anderton, C. and Pisfil, S. (2021) ‘Introduction to the Special Issue: Contemporary Issues in Live Music’, Arts and the Market, Vol. 11, No.2, pp. 1-7.
Anderton, C. and Pisfil, S. (2021) Guest editor: Arts and the Market (special issue on live music), Vol. 11, No. 2.
Anderton, C. (2020) ‘Book Review: Half a Million Strong: Crowds and Power from Woodstock to Coachella, by Gina Arnold (University of Iowa Press)’, Journal of Popular Music Studies, Vol. 32, No. 4, pp. 166-168.
Anderton, C. (2020) ‘Book Review: Henry Cow: The World is a Problem, by Benjamin Piekut, Duke University Press’, IASPM Journal, Vol. 10, No. 1, pp. 99-101.
Anderton, C. (2019) ‘Introduction to the Special Issue on Progressive Rock’, Rock Music Studies, Vol 7. No. 1, pp. 1-7.
Anderton, C. and Atton, C. (2019) ‘The absent presence of progressive rock in the British music press, 1968-1974’, Rock Music Studies, Vol. 7, No. 1, pp. 8-22.
Anderton, C. (2019) Guest editor: Rock Music Studies (special issue on progressive rock), Vol. 7, No. 1.
Anderton, C (2019) ‘From Woodstock to Glastonbury to the Isle of Wight: the role of festival films in the construction of the countercultural carnivalesque’, Popular Music and Society, Vol. 43, No. 2, pp. 201-215.
Anderton, C. (2016) ‘Sonic artefacts: ‘record collecting’ in the digital age’, IASPM Journal, Vol. 6, No. 1, pp. 85-113.
Anderton, C. (2011) ‘Music Festival Sponsorship: Between Commerce and Carnival’, Arts Marketing, Vol. 1, No. 2, pp. 145-158.
Anderton, C. (2010) ‘A many-headed beast: progressive rock as European meta-genre’, Popular Music, Vol. 29, No. 3, pp. 417-436.
Anderton, C. (2009) ‘Commercializing the carnivalesque: the V Festival and image/risk management’, Event Management, Vol. 12, No. 1, pp. 39-51.
Book chapters
Anderton, C. (in press) ‘“Clutching at Straws? Progressive Rock Revivals of the 1980s and 1990s.”’ In S. Hill and A. Moore (eds), The Oxford Handbook of Progressive Rock. Oxford: Oxford University Press.
Anderton, C. (in press) ‘Youth, Music and Festivals.’ In A. Bennett (ed.), The Bloomsbury Handbook of Popular Music and Youth Culture. London: Bloomsbury.
Anderton, C. (2022) ‘Festivals.’ In G. Stahl and M. Percival (eds.), The Bloomsbury Handbook of Popular Music, Space and Place [Chapter 28]. London: Bloomsbury.
Anderton, C. and James, M. (2022) ‘Introduction: media narratives and music histories.’ In C. Anderton and M. James (eds), Media Narratives in Popular Music, pp. 1-14. New York and London: Bloomsbury.
Anderton, C. (2022) ‘“Exiles in Madison Square Garden”: Critical Reception and Journalistic Narratives of Progressive Rock in Melody Maker Magazine, 1971–1976.’ In C. Anderton and M. James (eds), Media Narratives in Popular Music, pp. 91-108. New York and London: Bloomsbury.
Anderton, C. and Pisfil, S. (2022) ‘Live music studies in perspective.’ In C. Anderton and S. Pisfil (eds.), Researching Live Music. Gigs, Concerts, Tours and Festivals, pp. 1-16. Abingdon and New York: Routledge.
Anderton, C (2022) ‘Disruption and Continuity: Covid-19, Live Music, and Cyclic Sociality.’ In C. Anderton and S. Pisfil (eds.), Researching Live Music. Gigs, Concerts, Tours and Festivals, pp. 68-83. Abingdon and New York: Routledge.
Anderton, C. (2021) ‘Music festivals and capitalism.’ In S. Kruger Bridge (ed.), The Oxford Handbook of Global Popular Music. Oxford: Oxford University Press.
Anderton, C. (2019) ‘Just For the Fun of it? Contemporary Strategies for Making, Distributing and Gifting Music.’ In I.Medic and M. Dumnic (eds.), Contemporary Popular Music Studies, pp. 269-277. Berlin: Springer.
Anderton, C. (2018) ‘Festival Spaces / Festival Places: Ephemerality, Continuity and a Sense of Place.’ Available at: https://figshare.com/s/91346c432ef0fca737f2.
Anderton, C. (2016) ‘Fire in Harmony: the 1980s UK British progressive rock revival.’ In P. Gonin (ed.), Prog Rock in Europe. Overview of a Persistent Musical Style, pp.151-164. Dijon: Editions Universitaires de Dijon.
Anderton, C. (2016) ‘Musikfestivals als >>zyklische Orte<<: Fairport’s Cropredy Convention.’ In J. Springer and T. Doren (eds.), Draußen: Zum neuen Naturbezug in der Popkultur der Gegenwart, pp. 119-138. Transcript-Verlag.
Anderton, C. (2015) ‘Branding, sponsorship and the music festival.’ In G. McKay (ed.), The Pop Festival. History, Music, Media, Culture, pp. 199-212. London: Bloomsbury.
Anderton, C. (2013) ‘Portfolio careers.’ In A. Dubber (ed), The 360 Deal. Leanpub.
Anderton, C. (2009) ‘“Full-grown from the head of Jupiter”? Lay discourses and Italian progressive rock.’ In V. Kurkela and L. Väkevä (eds), De-Canonizing Music History, pp. 97-112. Cambridge: Cambridge Scholars Publishing.
Anderton, C. (2007) ‘Beating the bootleggers: fan creativity, ‘lossless’ audio trading, and commercial opportunities.’ In M. Ayers (ed.), Cybersounds. Essays on Virtual Music Culture, pp. 161-184. New York: Peter Lang.
Conference papers
Anderton, C. (2022) ‘Global Prog: Ideoscapes, Idiolects and taste cultures.’ The 5th Biennial International Conference of the Progect Network for the Study of Progressive Rock, University of Oxford, August 2022.
Anderton, C. (2022) ‘Music Festival Experience: Cyclic Place and Cyclic Sociality.’ XXI Biennial IASOM conference 2022, July 2022.
Anderton, C. and James, M. (2022) ‘Threats to the talent pipeline: examining the post-pandemic third-tier cultural city.’ IASPM UK & Ireland 2022 - Challenge and Change in Popular Music, University of Liverpool, September 2022.
Anderton, C. (2021) ‘Brand Glastonbury: contradictions and continuities.’ Glastonbury at 50: Origins, Evolution and Impact, Victoria & Albert Museum, London, June 2021.
Anderton,C. (2021) ‘Re-evaluating the ‘death of progressive rock’: critical reception and journalistic narratives in Melody Maker magazine, 1973-76.’ The 4th Biennial International Conference of the Progect Network for the Study of Progressive Rock, Ottawa, Canada, May 2021.
Anderton, C. (2021) ‘Perpetual Change? Genre, Style and Idiolect in Progressive Rock.’ The 4th Biennial International Conference of the Progect Network for the Study of Progressive Rock, Ottawa, Canada, May 2021.
Anderton, C. (2020) ‘From Hedonism to Domestication: Liminality, Cyclic Place and the Outdoor Music Festival.’ CTM Festival 2020, Berlin, January/February 2020.
Anderton, C. (2019) ‘Global Prog: Exploring the ‘progression’ of progressive rock.’ Rethinking Progressive Rock, Griffith University, Australia, June 2019.
Anderton, C. (2019) ‘From Woodstock to the Isle of Wight: narrative influences and the countercultural carnivalesque in the mediation of music festivals on film.’ XX Biennial IASPM Conference, The Australian National University, Canberra, Australia, June 2019.
Anderton, C. (2019) ‘A Contextual History of British Music Festivals: the carnivalesque, moral panics and commercialisation.’ Carnival and Counter-Culture – trouble and fun at the music festival, Royal College of Art, 7th February 2019
Anderton, C. (2018) ‘Festival Spaces / Festival Places: Ephemerality, Continuity and a Sense of Place.’ Burning Man and Transformational Event Cultures, University of Fribourg, Switzerland, November 2018.
Anderton, C. (2018) ‘The Absent Presence of “Progressive Rock”: an analysis of music magazines from the early 1970s.’ Third International Conference of The Progect Network for the Study of Progressive Rock, University of Lund, Sweden. May 2018.
Anderton, C. and James, M. (2017) ‘Solent – Music – Research.’ Presentation to the Solent University Postgraduate Research Seminar, December 2017.
Anderton, C. (2017) ‘Just For the Fun of it? Contemporary Strategies for Making, Distributing and Gifting Music.’ 19th Biennial International Association for the Study of Popular Music conference, University of Kassel, Germany, June 2017.
Anderton, C. (2017) ‘The Great British Music Festival: Exploring the Rural Idyll of Outdoor Music Festivals in the UK.’ Music, Festivals, Heritage conference, Siena Jazz Archive, Italy, May 2017.
Anderton, C. (2016) ‘Branded environments: Music Festivals, Creativity and Experiential Marketing’. International Association for the Study of Popular Music UK & Ireland conference, University of Sussex and the British and Irish Modern Music Institute (Brighton), September 2016.
Anderton, C. (2016) ‘Final Thoughts.’ Second International Conference of The Progect Network for the Study of Progressive Rock, University of Edinburgh, May 2016.
Anderton, C. (2016) ‘Progressive Rock Fandom: Creating, Curating and Archiving through Blogs and Bootlegs.’ Second International Conference of The Progect Network for the Study of Progressive Rock, University of Edinburgh, May 2016.
Anderton, C. (2016) ‘Sonic archaeology: curation, cultural memory, and fan labour.’ Fringes, Outsides and Undergrounds: The Aesthetics and Politics of Unpopular Music conference, Goldsmiths College, May 2016.
Anderton, C. (2016) ‘Festivals Research.’ Impact of Festivals launch event, Cheltenham Jazz Festival, April 2016.
Anderton, C. (2015) ‘The Branded Landscapes of Music Festivals in the UK: Sponsorship, Ideology and the Rural.’ RGS-IBG Annual International Conference, University of Exeter, September 2015.
Anderton, C. (2015) ‘Branding and Sponsorship at Music Festivals.’ Festival Cultures: Media, Music, Place conference at the University of East Anglia, May 2015.
Anderton, C. (2015) ‘Curating, Collecting and Archiving: Fan Labour and the Conflicts of Copyright.’ Popular Music Fandom conference, University of Chester, April 2015.
Anderton, C. and James, M (2015) ‘Seven Years of SMILEfest: a Case Study in Innovation, Collaboration and Enterprise.’ 4th Solent Learning and Teaching Community Conference, Southampton Solent University, March 2015.
Anderton, C. (2014) ‘Fire in Harmony: the Rise and Fall of the 1980s UK Progressive Revival.’ First International Conference of the ACADPROG Network, Université de Bourgogne, Dijon, December 2014.
Anderton, C. (2014) ‘Pseudo- Record Labels: Creative Fandom and Networks of Distribution.’ One Century of Record Labels – Mapping Place, Stories and Communities of Sound conference, Newcastle University, November 2014.
Anderton, C. (2011) ‘Between Commerce and Carnival: Corporate Sponsorship and the outdoor Rock/Pop Music Festival Sector.’ Business of Live Music conference, University of Edinburgh, April 2011.
Anderton, C. (2010) ‘Reconsidering the ‘Symphonic Orthodoxy’: Progressive Rock’s Formative Years in Europe.’ IASPM – UK and Ireland conference, Cardiff University, September 2010.
Anderton, C. (2010) ‘Early European Contributions to the Progressive Rock Meta-Genre: Krautrock and Rock Progressivo Italiano.’ RGS-IBG Annual International Conference at the Royal Geographical Society, London, September 2010.
Anderton, C. (2009) ‘Rethinking ‘progression’: progressive rock since the late 1970s.’ IASPM International Conference, University of Liverpool, July 2009.
Anderton, C. (2008) ‘A weekend in the country: Fairport’s Cropredy Convention, the rural idyll, and Englishness.’ IASPM – UK and Ireland conference, University of Glasgow, September 2008.
Anderton, C. (2008) ‘Out of place in the country? Music festivals, rurality, and the English country village: Fairport’s Cropredy Convention.’ RGS-IBG Annual International Conference at the Royal Geographical Society, London, September 2008.
Anderton, C. (2007) ‘‘Full grown from the head of Jupiter’? Rethinking the history of progressive rock and its European contributions.' De-Canonizing Music Histories conference at the Sibelius Academy, Helsinki, November 2007.
Anderton, C. (2007) ‘Commercialising the Carnivalesque: the V Festival and Image/Risk Management.’ Exploring Festival Economies conference, City University, London, October 2007.
