| “A Place for Everything, and Everything in its Place”—The (Ab) uses of Music Ecology B Keogh, I Collinson MUSICultures 43 (1), 2016 | 23 | 2016 |
| Sonic branding and the aesthetic infrastructure of everyday consumption S Khamis, B Keogh Popular Music 40 (2), 281-296, 2021 | 14 | 2021 |
| 'A tale of five festivals': Exploring the cultural intermediary function of Australian jazz festivals B Keogh Jazz Research Journal 8 (1/2), 182, 2014 | 6 | 2014 |
| An interview with Damian Wright: Flamenco and the discourse of world music in contemporary Australia B Keogh Perfect Beat, 2016 | 3 | 2016 |
| The Wizard of Oud-A Case Study of Sydney Based Oud Player Joseph Tawadros B Keogh Journal of Music Research Online 6, 2015 | 3 | 2015 |
| Popular Music and the Religious Screen M EVANS, B KEOGH The Bloomsbury Handbook of Religion and Popular Music, 338, 2017 | 2 | 2017 |
| Between theory, representation and practice of maqām: rethinking the representation of the Arabic maqāmāt B Keogh Analytical approaches to world music 3 (2), 1-16, 2014 | 2 | 2014 |
| Sounds Like Australia? Listening to Australia’s Eurovision Song Performances B Keogh, S Brunt, L Giuffre Eurovision and Australia, 101-121, 2019 | 1 | 2019 |
| Analyzing World Music Discourse in Australia BG Keogh Macquarie University, Faculty of Arts, Department of Media, Music …, 2014 | 1 | 2014 |
| Some Preliminary Thoughts on Patterns of Programming in Australia’s World Music and Folk Festivals A Alter, B Keogh Proceedings of the 2012 ANZ-IASPM Conference, ed. Oli Wilson and Sarah …, 2013 | 1 | 2013 |
| Jack Johnson’s quiet activism I Collinson, B Keogh Continuum, 1-16, 2024 | | 2024 |
| Film and Television Music B Keogh, M Evans The Bloomsbury Handbook for Religion and Popular Music, 2023 | | 2023 |
| “The Pro Tooling of the World”: Digital Music Production, Democracy and Environmentality B Keogh, I Collinson Journal of World Popular Music 7 (1), 51-68, 2020 | | 2020 |
| From Here, There and Everywhere: Recording Popular Music in the “Field” B Keogh Journal of World Popular Music 7 (1), 31-50, 2020 | | 2020 |
| Matt Brennan. 2017. When Genres Collide: Down Beat, Rolling Stone, and the Struggle between Jazz and Rock. B Keogh Perfect Beat 20 (1), 101–104-101–104, 2019 | | 2019 |
| Star-spangled Shamisen: In search of the Jimi Hendrix of the…[insert instrument here] B Keogh Perfect Beat 19 (1), 68-85, 2018 | | 2018 |
| On the limitations of music ecology B Keogh Journal of Music Research Online 4, 2013 | | 2013 |
| Some Preliminary Thoughts on Patterns of Programming in Australia’s World Music and Folk Festivals BG Keogh Selected papers from the 2012 Australia/New Zealand IASPM Conference, 2013 | | 2013 |
| The CALD front: A summary report of arts funding for diverse musical disciplines in Australia B Keogh Shifting Sounds: Musical Flow: A Collection of Papers from the 2012 IASPM …, 2013 | | 2013 |
| The oud, the bad and the ugly: Transmitting'roots' in the discourse and experience of World music in Australia B Keogh Routes, Roots and Routines: Selected papers from the 2011 Australia/New …, 2012 | | 2012 |
Ian CollinsonMacquarie UniversityVerified email at mq.edu.au
