(2015) Selling Digital Music, Formatting Culture. Berkley, CA: University of California Press.


Edited Collections:

(2018), with Sarah Murray, Appified: Culture in the Age of Apps. Ann Arbor, MI: University of Michigan Press.


Journals and Chapters:

(2021). “Engineering culture: logics of optimization in music, games, and apps“. Review of Communication. 21(2): 161-175. Co-authored with Robert Prey and David Nieborg.

(2018). “Hearing the Past: The Sonic Web from MIDI to Music Streaming” in The SAGE Handbook of Web History. Niels Brugger and Ian Milligan (eds.). Thousand Oaks, CA: Sage Publications. 491-504.

(2018). “Introduction” in Appified: Culture in the Age of Apps. Jeremy Wade Morris and Sarah Murray, eds. Ann Arbor: University of Michigan Press. 1-19.

(2018). “Is it Tuesday: Novelty Apps and Digital Solutionism” in Appified: Culture in the Age of Apps. Jeremy Wade Morris and Sarah Murray, eds. Ann Arbor: University of Michigan Press. 91-101

(2018). “Platform Fandom” in The Routledge Companion to Media Fandom. Melissa Click and Suzanne Scott (eds.). New York: Routledge. 356-364.

(2016). “App Music” in The Oxford Handbook of Music and Virtuality. Sheila Whiteley and Shara Rambarran (eds.). New York: Oxford University Press. 477-494.

(2015) “Control, Curation and Musical Experience in Streaming Music Services.” Creative Industries Journal. 8(2): 106-122. Co-authored with Devon Powers

(2015) “Podcasting and its Apps: Software, Sound and the Interfaces of Digital Audio.” Journal of Radio and Audio Media. 22(2): 220-230. Co-authored with Eleanor Patterson

(2015) There’s a History for That: Apps and Mundane Software as CommodityFiberculture. 25(1): 62-87. Co-authored with Evan Elkins

(2015) “Anti-Market Research: Piracy, New Media Metrics and Commodity Communities”. Popular Communication: The International Journal of Media and Culture. 13(1): 32-44

(2015) “Curation by Code: Infomediaries and the Data-Mining of Taste“. European Journal of Cultural Studies. 18(4-5): 446-463.

(2014) “Non-Practical Entities: Patents and the Digitization of Culture” Critical Studies in Media Communication. 31(3): 212-229

(2012) “‘The Person Behind the Music We Adore’: Artists, Profiles, and the Circulation of Music”Wi: Journal of Mobile Media. 7(1).

(2012) “Hear Here: Location-Based Music Commodities”Journal of Popular Music Studies Online. Sounds of the City Issue. Oct. 15, 2012.

(2012) “Making Music Behave: Metadata and the Digital Music Commodity.” New Media and Society.

(2011) “Sounds in the Cloud: Cloud Computing and the Digital Music Commodity” First Monday. 16(5).

(2008) “The Politics of Podcasting.” Fiberculture. 13(1). Co-authored with Jonathan Sterne, Michael Baker and Ariana Moscote-Freire.

(2008) “Delegating the Live: Musicians, Machines, and the Loops they Create” in Sonic Mediations: Body, Sound, Technology. Carolyn Birdsall and Anthony Enns (eds.). Newcastle: Cambridge Scholars: 77-92.

(2007) “Repeating the Live: Repetition and the Line 6 Digital Delay Pedal.” Avenue 1(1).

(2005, March). “Developments in music technology: Hybrid activity in popular music.” Intersections Conference Journal 1(1), 91-101.

PhD Dissertation
Morris, Jeremy Wade (2010). Understanding the Digital Music Commodity. (McGill University, 2010)