Here you can find a listing of published work by RPMS members, including collaborations with others from outside the research group.

Berkers, P., & J. Hoegaerts (2019). Editorial: Music, gender, inequalities. Tijdschrift voor Genderstudies, 22 (1), 1-6. doi: 10.5117/TVGN2019.1.001.BERK.

Berkers, P., & M. Eeckelaer (2014). Rock and roll or rock and fall? Gendered framing of the rock and roll lifestyles of Amy Winehouse and Pete Doherty in British broadsheets. Journal of Gender Studies, 23 (1):17. doi: 10.1080/09589236.2012.754347.

Berkers, P., & Schaap, J. (2015). YouTube as a virtual springboard: Circumventing gender dynamics in offline and online metal music careers. Metal Music Studies, 1 (3), 303-318. doi: 10.1386/mms.1.3.303_1.

Berkers, P., & Schaap, J. (2018). From thrash to cash: Forging and legitimizing Dutch metal. In G. Keunen & L. Mutsaers (Eds.), Made in the Low Countries: Studies in Popular Music (Routledge Global Popular Music Series). London: Routledge.

Berkers, P., & Schaap, J. (2018). Gender Inequality in Metal Music Production. (Emerald Studies in Metal Music and Culture). Bingley: Emerald Publishing. doi: 10.1108/9781787146747

Berkers, P., (2012). Gendered scrobbling: Listening behavior of young adults on Interactions (Bristol): Studies in Communication & Culture, 2 (3), 279-296. doi: 10.1386/iscc.2.3.279_1.

Berkers, P., (2012). Rock Against Gender Roles: Performing Femininities and Doing Feminism Among Women Punk Performers in the Netherlands, 1976-1982. Journal of Popular Music Studies, 24 (2), 155-175. doi: 10.1111/j.1533-1598.2012.01323.x.

Berkers, P., Schaap, J. & Weij, F. (2018). Winds of change? Longitudinal trends and cross-national differences. In Gender Inequality in Metal Music Production (pp. 27-45). Bingley, UK: Emerald Publishing Limited.

Berkers, P.P.L., Smeulders, E. & Berghman, M.J. (2019). Music creators and gender inequality in the Dutch music sector. Tijdschrift voor Genderstudies, 22 (1), 27-44. doi:

Calkins, T. (2019). More than sound: record stores in majority black neighborhoods in Chicago, Milwaukee, and Detroit, 1970–2010. City & Community, 18(3), 853-873.

Eijck, K. van & J. Lievens. (2008). Cultural omnivorousness as a combination of higbrow, pop, and folk elements: The relation between taste patterns and attitudes concerning social integration. Poetics, 36, 217-242.

Eijck, K. van & J. Michael (2019). Worse than screaming frogs or a warm blanket? The impact of repeated listening on how people experience music. Paper presented at 14th conference of the European Sociological Association, August 20-23, Manchester.

Eijck, K. van (2019). “Wordt muziek mooier als je het vaker hoort? Deze professor gaat het voor ons onderzoeken” Interview Algemeen Dagblad, 24-10-2019.

Eijck, K. van. (1999). ‘Jazzed up, brassed off: Sociale differentiatie in muzikale genrevoorkeuren’. Mens en Maatschappij 74: 43-61.

Eijck, K. van. (2000). ‘Richard A. Peterson and the culture of consumption.’ Poetics 28: 207-224.

Eijck, K. van. (2001). ‘Social differentiation in musical taste patterns’. Social Forces 79(3): 1163-1185.

Eijck, K. van. (2018). A classic experiment: How does attendance affect the attitudes and beliefs of Dutch non-visitors of classical music concerts? In S. Dorin (Ed.), Dechiffrer les publics de la musique classique: Perspectives comparatives, historiques et sociologiques / Unraveling classical music audiences: Historical, sociological and comparative perspectives. (pp. 93-111). Paris: éditions des Archives Contemporaines.

Erdbrink, A., J. Michael, R. Kortmann, M. Hamel, K. van Eijck & A. Verbraeck (in press). Listening Space: An exploratory case study on a persuasive game designed to enrich the experience of classical music concerts. Journal on Computing and Cultural heritage (accepted for publication).

Everts, R., & Haynes, J. (2021). Taking care of business: The routines and rationales of early-career musicians in the Dutch and British music industries. International Journal of Cultural Studies.

Everts, R., Hitters, E., & Berkers, P. (2021) The working life of musicians: mapping the work activities and values of early-career pop musicians in the Dutch music industry, Creative Industries Journal, DOI: 10.1080/17510694.2021.1899499

Hitters, E., & Mulder, M. (2020). Live music ecologies and festivalisation: the role of urban live music policies. International Journal of Music Business Research, 9(2), 38–57.

Hopkins E., & Berkers, P. (2019). Engineering a place for women: Gendered experiences of the music technology classroom. In C. Strong & S. Raine (Eds.), Towards Gender Equality in the Music Industries: Education, Practice and Strategies for Change (pp. 45-58). London: Bloomsbury.

Mogoş, P., & Berkers, P., (2018). Navigating the margins between consent and dissent: Mechanisms of creative control and rock music in late socialist Romania. East European Politics and Societies, 32 (1), 56-77. doi: 10.1177/0888325417736807.

Mulder, M. & Hitters, E. (2021). Visiting pop concerts and festivals: measuring the value of an integrated live music motivation scale. Cultural Trends. In press.

Mulder, M. (2019). Leisure! Inleiding in de vrije tijd [3rd edition]. Bussum: Countinho

Mulder, M. (2020). Het grote LIVE publieksonderzoek [report]. Rotterdam: POPLIVE.

Mulder, M. (2020). Waarom de evenementensector deze crisis overleeft. Vrijetijdstudies, 38(3), 35-38.

Mulder, M. (2021). De Rotterdamse nachtcultuur, een mooie toekomst? [report]. Rotterdam: POPLIVE

Mulder, M. (2021). Missing the Masses. responses to the lack of nightlife activities during the pandemic. SHIT! Corona Chronicles (blog post).

Mulder, M., Berkers, P, Everts, R., Hitters, E. & Van der Hoeven, A. (2019). Live popmuziek in stedelijke ruimten. Agora, 35(1), 24-27.

Mulder, M., Hitters, E., & Rutten, P. (2020). The impact of festivalization on the Dutch live music action field: a thematic analysis. Creative Industries Journal. Vol. ahead-of-print No. ahead-of-print.

Nagy-Sándor, Z., & Berkers, P., (2018). Culture, heritage, art: Navigating authenticities in contemporary Hungarian folk singing. Cultural Sociology (print), 12 (3), 400-417. doi: 10.1177/1749975518780770.

Peters, J. K. van Eijck & J. Michael. (2018). Secretly serious? Maintaining and crossing cultural boundaries in the karaoke bar through ironic consumption. Cultural Sociology, 12(1), 58-74.

Peters, J., van der Jagt, L., van Eijck, K., Michael, J. & Berkers, P., (2015). Lolbroek of liefhebber? Het handhaven en overschrijden van culturele scheidslijnen door ironische consumptie in de karaokebar. Sociologie, 11 (1), 31-50. doi: 10.5553/Sociologie/157433142015011001002.

Schaap, J. & Berkers, P., (2014). Grunting Alone? Online Gender Inequality in Extreme Metal Music. IASPM@Journal, 4 (1), 101-116.

Schaap, J. & Berkers, P., (2019). “Maybe it’s … skin colour?” How race-ethnicity and gender function in consumers’ formation of classification styles of cultural content. Consumption Markets & Culture, 23 (6), 599-615. doi: 10.1080/10253866.2019.1650741.

Schaap, J. & Berkers, P., (2019). De nieuwe Hendrix: witheid als scheidslijn in de evaluatie van rockmuziek in Nederland en de Verenigde Staten. Sociologie, 14 (2-3), 119-146. doi: 10.5117/SOC2018.2/3.004.SCH.

Schaap, J., & Berkers, P., (2020). “You’re Not Supposed to Be into Rock Music”: Authenticity Maneuvering in a White Configuration. Sociology of Race and Ethnicity, 6 (3), 416-430. doi: 10.1177/2332649219899676.

Schaap, J., Vandenberg, F., & Berghman, M. (2020). Balkonconcerten, lockdownsessies en quarantunes: muziek als sociale geleider tijdens de COVID-19- pandemie. Tijdschrift Sociologie, 1(dossier Corona), 101–114.

Thompson, C. (2013). Embracing the Extreme : Norwegian Black Metal and the Use of History. Fortid, (1), 118-127.

Thompson, C. (2014). Blasts from the Past : The Uses of History, Romantic Identity, and Norwegian Black Metal. In Coda : Andra antologin om Musik och Samhälle (64-73).

Thompson, C. (2018). Norges Våpen : Cultural Memory and Uses of History in Norwegian Black Metal (PhD dissertation).

van Bohemen, S., Schaap, J. & Berkers, P. (2020). The Sex Playlist: How Race and Ethnicity Mediate Musically “Composed” Sexual Self-formation. In E. Barna & T. Tofalvy (Eds.), Popular Music, Technology, and the Changing Media Ecosystem. Pop Music, Culture and Identity (pp. 115-128). London: Palgrave Macmillan, Cham doi: 10.1007/978-3-030-44659-8_7.

Van der Gulden, P. (2018). Kun je elke muziek leren waarderen? Interview in Quest Psychology, zomernummer 3, p.42.

van der Hoeven A., Hitters, E., Berkers, P., Mulder, M., & Everts, R. (2020). Theorizing the production and consumption of live music: A critical review. In E. Mazierska, L. Gillon & T. Rigg (Eds.), The Future of Live Music (pp. 19-33). New York: Bloomsbury Academic doi: 10.5040/9781501355905.0006.

Van der Hoeven, A., Behr, A., Hamilton, C., Mulder, M., & Rozbicka, P. (2021). 1-2-3-4! Measuring the values of live music: methods, models and motivations. Arts and the Market. Vol. ahead-of-print No. ahead-of-print.

Vandenberg, F., Berghman, M., & Schaap, J. (2020). The ‘lonely raver’: music livestreams during COVID-19 as a hotline to collective consciousness? European Societies, 23(sup1), S141–S152.

Vandenberg, F., Berghman, M., & van Eijck, K. (2020). ‘Wear Clogs and just Act Normal’: Defining Collectivity in Dutch Domestic Music Concerts. Cultural Sociology, 174997552096161.

Venkatesh, V., Nelson, B., Thomas, T., Thompson, C., et al. (2016). Exploring the language and spectacle of online hate speech in the black metal scene : Developing theoretical and methodological intersections between the social sciences and humanities. In Heavy Metal Music and the Communal Experience (127-150).

Weij, F., Berkers, P., & Engelbert, J. (2015). Western solidarity with Pussy Riot and the Twittering of cosmopolitan selves. International Journal of Consumer Studies, 39 (5), 489-494. doi: 10.1111/ijcs.12215.

Weij. F., & Berkers, P., (2017). The politics of musical activism: Western YouTube reception of Pussy Riot’s punk performances. Convergence: The International Journal of Research into New Media Technologies. doi: 10.1177/1354856517706493.