Turbo-folk music is the most controversial form of popular culture in the new states of former Yugoslavia. Theoretically ambitious and innovative, this book is a new account of popular music that has been at the centre of national, political and cultural debates for over two decades. Beginning with 1970s Socialist Yugoslavia, Uros Cvoro explores the cultural and political paradoxes of turbo-folk: described as 'backward' music, whose misogynist and Serb nationalist iconography represents a threat to cosmopolitanism, turbo-folk's iconography is also perceived as a 'genuinely Balkan' form of resistance to the threat of neo-liberalism. Taking as its starting point turbo-folk's popularity across national borders, Cvoro analyses key songs and performers in Serbia, Slovenia and Croatia. The book also examines the effects of turbo on the broader cultural sphere - including art, film, sculpture and architecture - twenty years after its inception and popularization. What is proposed is a new way of reading the relationship of contemporary popular music to processes of cultural, political and social change - and a new understanding of how fundamental turbo-folk is to the recent history of former Yugoslavia and its successor states.

Studies of opera, film, television, and literature have demonstrated how constructions of madness may be referenced in order to stigmatise but also liberate protagonists in ways that reinforce or challenge contemporaneous notions of normality. But to date very little research has been conducted on how madness is represented in popular music. In an effort to redress this imbalance, Nicola Spelman identifies links between the anti-psychiatry movement and representations of madness in popular music of the 1960s and 1970s, analysing the various ways in which ideas critical of institutional psychiatry are embodied both verbally and musically in specific songs by David Bowie, Lou Reed, Pink Floyd, Alice Cooper, The Beatles, and Elton John. She concentrates on meanings that may be made at the point of reception as a consequence of ideas about madness that were circulating at the time. These ideas are then linked to contemporary conventions of musical expression in order to illustrate certain interpretative possibilities. Supporting evidence comes from popular musicological analysis - incorporating discourse analysis and social semiotics - and investigation of socio-historical context. The uniqueness of the period in question is demonstrated by means of a more generalised overview of songs drawn from a variety of styles and eras that engage with the topic of madness in diverse and often conflicting ways. The conclusions drawn reveal the extent to which anti-psychiatric ideas filtered through into popular culture, offering insights into popular music's ability to question general suppositions about madness alongside its potential to bring issues of men's madness into the public arena as an often neglected topic for discussion.

Inside British Jazz explores specific historical moments in British jazz history and places special emphasis upon issues of race, nation and class. Topics covered include the reception of jazz in Britain in the 1910s and 1920s, the British New Orleans jazz revival of the 1950s, the free jazz innovations of the Joe Harriott Quintet in the early 1960s, and the formation of the all-black jazz band, the Jazz Warriors, in 1985. Using both historical and ethnographical approaches, Hilary Moore examines the ways in which jazz, an African-American music form, has been absorbed and translated within Britain's social, political and musical landscapes. Moore considers particularly the ways in which music has created a space of expression for British musicians, allowing them to re-imagine their place within Britain's social fabric, to participate in transcontinental communities, and to negotiate a position of belonging within jazz narratives of race, nation and class. The book also champions the importance of studying jazz beyond the borders of the United States and contributes to a growing body of literature that will enrich mainstream jazz scholarship.

Elisabeth Lutyens (1906-1983), Elizabeth Maconchy (1907-1994) and Grace Williams (1906-1977) were contemporaries at the Royal College of Music. The three composers' careers were launched with performances in the Macnaghten-Lemare Concerts in the 1930s - a time when, in Britain, as Williams noted, a woman composer was considered 'very odd indeed'. Even so, by the early 1940s all three had made remarkable advances in their work: Lutyens had become the first British composer to use 12-note technique, in her Chamber Concerto No. 1 (1939-40); Maconchy had composed four string quartets of outstanding quality and was busy rethinking the genre; and Williams had won recognition as a composer with great flair for orchestral writing with her Fantasia on Welsh Nursery Tunes (1940) and Sea Sketches (1944). In the following years, Lutyens, Maconchy and Williams went on to compose music of striking quality and to attain prominent positions within the British music scene. Their respective achievements broke through the 'sound ceiling', challenging many of the traditional assumptions which accompanied music by female composers. Rhiannon Mathias traces the development of these three important composers through analysis of selected works. The book draws upon previously unexplored material as well as radio and television interviews with the composers themselves and with their contemporaries. The musical analysis and contextual material lead to a re-evaluation of the composers' positions in the context of twentieth-century British music history.

Giulio Cesare Brancaccio was a Neapolitan nobleman with long practical experience of military life, first in the service of Charles V and later as both soldier and courtier in France and then at the court of Alfonso II d'Este at Ferrara. He was also a virtuoso bass singer whose performances were praised by both Tasso and Guarini - he was even for a while the only male member of the famous Ferrarese court Concerto delle dame, who established a legendary reputation during the 1580s. Richard Wistreich examines Brancaccio's life in detail and from this it becomes possible to consider the mental and social world of a warrior and courtier with musical skills in a broader context. A wide-ranging study of bass singing in sixteenth- and early seventeenth-century Italy provides a contextual basis from which to consider Brancaccio's reputation as a performer. Wistreich illustrates the use of music in the process of 'self-fashioning' and the role of performance of all kinds in the construction of male noble identity within court culture, including the nature and currency of honour, chivalric virtA(1) and sixteenth-century notions of gender and virility in relation to musical performance. This fascinating examination of Brancaccio's social world significantly expands our understanding of noble culture in both France and Italy during the sixteenth century, and the place of music-making within it.

Despite the musical and social roles they play in many parts of the world, wind bands have not attracted much interest from sociologists. The Sociology of Wind Bands seeks to fill this gap in research by providing a sociological account of this musical universe as it stands now. Based on a qualitative and quantitative survey conducted in northeastern France, the authors present a vivid description of the orchestras, the backgrounds and practices of their musicians, and the repertoires they play. Their multi-level analysis, ranging from the cultural field to the wind music subfield and to everyday life relationships within bands and local communities, sheds new light on the social organisation, meanings and functions of a type of music that is all too often taken for granted. Yet they go further than merely portraying a musical genre. As wind music is routinely neglected and socially defined in terms of its poor musical quality or even bad taste, the book addresses the thorny issue of the effects of cultural hierarchy and domination. It proposes an imaginative and balanced framework which, beyond the specific case of wind music, is an innovative contribution to the sociology of lowbrow culture.

'A boy sings...a beautiful thing' (www.boychoirs.org), but is it? What kinds of boy, singing what kinds of music and to whom? Martin Ashley presents a unique consideration of boys' singing that shows the high voice to be historically, culturally and physiologically more problematic even than is commonly assumed. Through Ashley's extensive conversations with young performers and analysis of their reception by 'peer audiences', the research reveals that the common supposition that 'boys don't want to sound like girls' is far from adequate in explaining the 'missing males' syndrome that can perplex choir directors. The book intertwines the study of singing with the study of identity to create a rich resource for musicians, scholars, teachers and all those concerned with young male involvement in music through singing. The conclusions of the book will challenge many attitudes and unconsidered positions through its argument that many boys actually want to sing but are discouraged by a failure of the adult world to understand the boy mind. Ashley intends the book to stand as an indictment of much complacency and myopia with regard to the young male voice. A substantial grant from the Arts and Humanities Research Council has enabled the production of a multi-media resource for schools, choirs and youth organizations called Boys Keep Singing. Based on the contents of this book, the resource shows how, once the interest of boys is captured in primary schools, their singing can be sustained and developed through the difficult but vital early secondary years of ages 11 - 14, about which this book says so much. The resource is lavishly illustrated by short films of boys singing, supported by interviews with boys and their teachers, and a wealth of of animated diagrams and cartoons. It is available to schools and organizations involved in musical education through registration at www.boys-keep-singing.com.

Nick Cave is now widely recognized as a songwriter, musician, novelist, screenwriter, curator, critic, actor and performer. From the band, The Boys Next Door (1976-1980), to the spoken-word recording, The Secret Life of the Love Song (1998), to the recently acclaimed screenplay of The Proposition (2005) and the Grinderman project (2008), Cave's career spans thirty years and has produced a comprehensive (and sometimes controversial) body of work that has shaped contemporary alternative culture. Despite intense media interest in Cave, there have been remarkably few comprehensive appraisals of his work, its significance and its impact on understandings of popular culture. In addressing this absence, the present volume is both timely and necessary. Cultural Seeds brings together an international range of scholars and practitioners, each of whom is uniquely placed to comment on an aspect of Cave's career. The essays collected here not only generate new ways of seeing and understanding Cave's contributions to contemporary culture, but set up a dialogue between fields all-too-often separated in the academy and in the media. Topics include Cave and the Presley myth; the aberrant masculinity projected by The Birthday Party; the postcolonial Australian-ness of his humour; his interventions in film and his erotics of the sacred. These essays offer compelling insights and provocative arguments about the fluidity of contemporary artistic practice.

Brazilian Popular Music, or MAsica Popular Brasileira (MPB), developed in the mid 1960s as a response to the re-thinking of Brazilian national identity following the establishment of the post-1964 military regime. A leading figure in MPB at this time was Caetano Veloso, and it is his music and its reception that form the focus of this book. A leader of the Tropicalist movement, Veloso sought to initiate a critical debate on Brazilian Popular Music and the political and ideological foundations which underpinned its aesthetic. Lorraine Leu examines Veloso's musical and vocal styles, revealing the ways in which they play with traditional expectations between the performer and listener, and argues that they represent an important response to the severe censorship and repression of the military regime.

Music has been used as a cure for disease since as far back as King David's lyre, but the notion that it might be a serious cause of mental and physical illness was rare until the late eighteenth century. At that time, physicians started to argue that excessive music, or the wrong kind of music, could over-stimulate a vulnerable nervous system, leading to illness, immorality and even death. Since then there have been successive waves of moral panics about supposed epidemics of musical nervousness, caused by everything from Wagner to jazz and rock 'n' roll. It was this medical and critical debate that provided the psychiatric rhetoric of "degenerate music" that was the rationale for the persecution of musicians in Nazi Germany and the Soviet Union. By the 1950s, the focus of medical anxiety about music shifted to the idea that "musical brainwashing" and "subliminal messages" could strain the nerves and lead to mind control, mental illness and suicide. More recently, the prevalence of sonic weapons and the use of music in torture in the so-called War on Terror have both made the subject of music that is bad for the health worryingly topical. This book outlines and explains the development of this idea of pathological music from the Enlightenment until the present day, providing an original contribution to the history of medicine, music and the body.

This is the first full-length study of British women's instrumental chamber music in the early twentieth century. Laura Seddon argues that the Cobbett competitions, instigated by Walter Willson Cobbett in 1905, and the formation of the Society of Women Musicians in 1911 contributed to the explosion of instrumental music written by women in this period and highlighted women's place in British musical society in the years leading up to and during the First World War. Seddon investigates the relationship between Cobbett, the Society of Women Musicians and women composers themselves. The book's six case studies - of Adela Maddison (1866-1929), Ethel Smyth (1858-1944), Morfydd Owen (1891-1918), Ethel Barns (1880-1948), Alice Verne-Bredt (1868-1958) and Susan Spain-Dunk (1880-1962) - offer valuable insight into the women's musical education and compositional careers. Seddon's discussion of their chamber works for differing instrumental combinations includes an exploration of formal procedures, an issue much discussed by contemporary sources. The individual composers' reactions to the debate instigated by the Society of Women Musicians, on the future of women's music, is considered in relation to their lives, careers and the chamber music itself. As the composers in this study were not a cohesive group, creatively or ideologically, the book draws on primary sources, as well as the writings of contemporary commentators, to assess the legacy of the chamber works produced.

The musical genre of taarab is played for entertainment at weddings and other festive occasions all along the Swahili Coast in East Africa. Taarab contains all the features of a typical 'Indian Ocean' music, combining influences from Egypt, the Arabian Peninsula, India and the West with local musical practices. In Taarab, Music in Zanzibar, Janet Topp Fargion traces the development of the genre in Zanzibar, from the late nineteenth century to the end of the twentieth. Of special interest is the role of women. Although men play the main role in the composition and performance of the genre, Topp Fargion argues that the modernization of the genre owes a debt to the participation of women - as audiences and primary consumers, but also as poets and innovators of musical concepts. The book weaves together the historical, social, economic, religious and political dynamics involved in the development of the genre, and investigates how these are played out in the performance of taarab music on Zanzibar.

The term 'Popular Music' has traditionally denoted different things in France and Britain. In France, the very concept of 'popular' music has been fiercely debated and contested, whereas in Britain and more largely throughout what the French describe as the 'Anglo-saxon' world 'popular music' has been more readily accepted as a description of what people do as leisure or consume as part of the music industry, and as something that academics are legitimately entitled to study. French researchers have for some decades been keenly interested in reading British and American studies of popular culture and popular music and have often imported key concepts and methodologies into their own work on French music, but apart from the widespread use of elements of 'French theory' in British and American research, the 'Anglo-saxon' world has remained largely ignorant of particular traditions of the study of popular music in France and specific theoretical debates or organizational principles of the making and consuming of French musics. French, British and American research into popular music has thus coexisted - with considerable cross-fertilization - for many years, but the barriers of language and different academic traditions have made it hard for French and anglophone researchers to fully appreciate the ways in which popular music has developed in their respective countries and the perspectives on its study adopted by their colleagues. This volume provides a comparative and contrastive perspective on popular music and its study in France and the UK.

In an era of the rise of the free market and economic globalization, Martin Cloonan examines why politicians and policymakers in the UK have sought to intervene in popular music - a field that has often been held up as the epitome of the free market form. Cloonan traces the development of government attitudes and policies towards popular music from the 1950s to the present, discovering the prominence of two overlapping concerns: public order and the political economy of music. Since the music industry began to lobby politicians, particularly on the issue of copyright in relation to the internet, an inherent tension has become apparent with economic rationale on one side, and Romantic notions of 'the artist' on the other. Cloonan examines the development of policy under New Labour; numerous reports which have charted the economics of the industry; the New Deal for Musicians scheme and the impact of devolution on music policy in Scotland. He makes the case for the inherently political nature of popular music and asserts that the development of popular music policies can only be understood in the context of an increasingly close working relationship between government and the cultural industries. In addition he argues that a rather myopic view of the music industries has meant that policy initiatives have lacked cohesion and have generally served the interests of multinational corporations rather than struggling musicians.

Canons are central to our understanding of our culture, and yet in the last thirty years there has been much conflict and uncertainty created by the idea of the canon. In essence, the canon comprises the works and artists that are widely accepted to be the greatest in their field. Yet such an apparently simple construct embodies a complicated web of values and mechanisms. Canons are also inherently elitist; however, Carys Wyn Jones here explores the emerging reflections of values, terms and mechanisms from the canons of Western literature and classical music in the reception of rock music. Jones examines the concept of the canon as theorized by scholars in the fields of literary criticism and musicology, before moving on to search for these canonical facets in the reception of rock music, as represented by ten albums: Bob Dylan's Highway 61 Revisited, The Beach Boys' Pet Sounds, The Beatles' Revolver, The Velvet Underground's The Velvet Underground & Nico, Van Morrison's Astral Weeks, Marvin Gaye's What's Going On, The Rolling Stones' Exile on Main St., Patti Smith's Horses, The Sex Pistols' Never Mind the Bollocks: Here's the Sex Pistols, and Nirvana's Nevermind. Jones concludes that in the reception of rock music we are not only trying to organize the past but also mediate the present, and any canon of rock music must now negotiate a far more pluralized culture and possibly accept a greater degree of change than has been evident in the canons of literature and classical music in the last two centuries.

The first in-depth biography of Bon Iver mainman Justin Vernon, Bon Iver will tell his story via extensive and exclusive original interviews with those around him throughout his rise from his failed Wisconsin bands to the illness and isolation that forged his breakthrough album For Emma, Forever Ago, and his subsequent critical and commercial success as the latest US alternative icon. Also features an overview of the US alternative scene that Bon Iver sprung from.

Play everybody's favorite songs The 300 pages of piano/vocal/guitar sheet music in this collection allow music makers to bring dozens of the most memorable songs of the 1960s, '70s, and early '80s to life. Classic rock fans who love to play will have a blast applying their talent to more than 40 enduring songs made famous by legendary artists like The Beatles, David Bowie, Journey, Led Zeppelin, Pink Floyd, The Rolling Stones, Rush, The Who, and many more. The arrangements feature piano parts that accurately reflect each song's familiar original recording. Basic chord fingering grids are provided for optional guitar accompaniment, along with vocal melodies and complete lyrics. Titles: 50 Ways to Leave Your Lover (Paul Simon) * Africa (Toto) * All Along the Watchtower (Jimi Hendrix) * All My Love (Led Zeppelin) * Behind Blue Eyes (The Who) * Big Yellow Taxi (Joni Mitchell) * Blinded by the Light (Manfred Mann's Earth Band) * Blowin' in the Wind (Bob Dylan) * Born to Run (Bruce Springsteen) * Bridge Over Troubled Water (Simon and Garfunkel) * Closer to the Heart (Rush) * Dancing in the Moonlight (King Harvest) * Do You Feel Like We Do (Peter Frampton) * Don't Stop Believin' (Journey) * Faithfully (Journey) * Fool in the Rain (Led Zeppelin) * From Me to You (The Beatles) * Give Up the Funk (Tear the Roof off the Sucker) (Parliament) * Going Up the Country (Canned Heat) * The Great Gig in the Sky (Pink Floyd) * I Love L.A. (Randy Newman) * I Saw Her Standing There (The Beatles) * Like a Rolling Stone (Bob Dylan) * Live and Let Die (Paul McCartney) * The Load Out (Jackson Browne) * Love Reign O'er Me (The Who) * Money (Pink Floyd) * Nights in White Satin (The Moody Blues) * Paranoid (Black Sabbath) * P-Funk (Wants to Get Funked Up) (Parliament) * Pinball Wizard (The Who) * River (Joni Mitchell) * Saturday in the Park (Chicago) * She Loves You (The Beatles) * She's a Rainbow (The Rolling Stones) * The Sound of Silence (Simon and Garfunkel) * Space Oddity (David Bowie) *

The term 'flow' refers to experiences where the musician moves into a consciousness in which time seems to be suspended and perception of reality is blurred by unconscious forces. An essential part of the jazz tradition, which often serves as the foundation of the musician's identity, flow is recognised within the greater jazz community as a critical factor in accomplished musicianship. Flow as a concept is so deeply embedded in the scene that these experiences are not generally discussed. It contributes to the musicians' work motivation, providing a vital level of satisfaction and accomplishment. The power of the experience, consciously or unconsciously, has given rise to the creation of heroic images, in which jazz musicians are seen as being bold, yet vulnerable, strong and masculine, but still capable of expressing emotions. In this discourse, musicians are pictured as people constantly putting themselves on the line, exposing themselves and their hearts to one another as well as to the audience. Heroic profiles are richly constructed within the jazz scene, and their incorporation into narratives of flow suggests that such images are inseparable from jazz. It is thus unclear how far the musicians are simply reporting personal experience as opposed to unconsciously perpetuating a profoundly internalised mythology. Drawing on eighteen interviews conducted with professional jazz musicians from around the world, Elina HytAnen-Ng examines the fundamentals of the phenomenon of flow in jazz that has led to this genre's popularity. Furthermore, she draws on how flow experiences are viewed and constructed by jazz musicians, the meanings they attach to it, and the quality of music that it inspires.

Covering"the musical practice of one artist recording or performing another composer's song"has always been an attribute of popular music. In 2009, the internet database Second Hand Songs estimated that there are 40,000 songs with at least one cover version. Some of the more common variations of this "appropriationist" method of musical quotation include traditional forms such as patriotic anthems, religious hymns such as Amazing Grace, Muzak's instrumental interpretations, Christmas classics, and children's songs. Novelty and comedy collections from parodists such as Weird Al Yankovic also align in the cover category, as does the "larcenous art" of sampling, and technological variations in dance remixes and mash-ups. Film and television soundtracks and advertisers increasingly rely on versions of familiar pop tunes to assist in marketing their narratives and products. The cover phenomenon in popular culture may be viewed as a postmodern manifestation in music as artists revisit, reinterpret and re-examine a significant cross section of musical styles, periods, genres, individual records, and other artists and their catalogues of works.The cover complex, with its multiple variations, issues, contexts, and re-contextualizations comprises an important and rich popular culture text. These re-recordings represent artifacts which embody artistic, social, cultural, historical, commercial, biographical, and novel meanings. Through homage, allusion, apprenticeship, and parody, among other modes, these diverse musical quotations express, preserve, and distribute popular culture, popular music and their intersecting historical narratives. Play it Again represents the first collection of critical perspectives on the many facets of cover songs in popular music.

Susan Burney (1755-1800) was the third daughter of the music historian Charles Burney and the younger sister of the novelist Frances (Fanny) Burney. She grew up in London, where she was able to observe at close quarters the musical life of the capital and to meet the many musicians, men of letters, and artists who visited the family home. After her marriage in 1782 to Molesworth Phillips, a Royal Marines officer who served with Captain Cook on his last voyage, she lived in Surrey and later in rural Ireland. Burney was a knowledgeable enthusiast for music, and particularly for opera, with discriminating tastes and the ability to capture vividly musical life and the personalities involved in it. Her extensive journals and letters, a selection from which is presented here, provide a striking portrait of social, domestic and cultural life in London, the Home Counties and in Ireland in the late eighteenth century. They are of the greatest importance and interest to music and theatre historians, and also contain much that will be of significance and interest for Burney scholars, social historians of England and Ireland, women's historians and historians of the family.

Puerto Rico is often depicted as a "racial democracy" in which a history of race mixture has produced a racially harmonious society. In Remixing Reggaeton, Petra R. Rivera-Rideau shows how reggaeton musicians critique racial democracy's privileging of whiteness and concealment of racism by expressing identities that center blackness and African diasporic belonging. Stars such as Tego Calderon criticize the Puerto Rican mainstream's tendency to praise black culture but neglecting and marginalizing the island's black population, while Ivy Queen, the genre's most visible woman, disrupts the associations between whiteness and respectability that support official discourses of racial democracy. From censorship campaigns on the island that sought to devalue reggaeton, to its subsequent mass marketing to U.S. Latino listeners, Rivera-Rideau traces reggaeton's origins and its transformation from the music of San Juan's slums into a global pop phenomenon. Reggaeton, she demonstrates, provides a language to speak about the black presence in Puerto Rico and a way to build links between the island and the African diaspora.

This collection of essays, documented by an international and interdisciplinary array of scholars, represents the first academically focused volume exploring the creative idiolect of Frank Zappa. Several of the authors are known for contributing significantly to areas such as popular music, cultural, and translation studies, with expertise and interests ranging from musicology to poetics. The publication presents the reader with an understanding of the ontological depth of Zappa's legacy by relating the artist and his texts to a range of cultural, social, technological and musicological factors, as encapsulated in the book's title - Frank Zappa and the And. Zappa's interface with religion, horror, death, movies, modernism, satire, freaks, technology, resistance, censorship and the avant-garde are brought together analytically for the first time, and approached non chronologically, something that strongly complies with the non linear perspective of time Zappa highlights in both his autobiography and recordings. The book employs a variety of analytical approaches, ranging from literary and performance theory, 'horrality' and musicology, to post modern and textually determined readings, and serves as a unique and invaluable guide to Zappa's legacy and creative force.

Popular music is a cultural form much rooted in space and place. This book interprets the meaning of music from a spatial perspective and, in doing so it furthers our understanding of broader social relations and trends, including identity, attachment to place, cultural economies, social activism and politics. The book's editors have brought together a team of scholars to discuss the latest innovative thinking on music and its geographies, illustrated with a fascinating range of case studies from the USA, Canada, the Caribbean, Australia and Great Britain.

Joanna Newsom, Will Oldham (a.k.a. 'Bonnie Prince Billy'), and Devendra Banhart are perhaps the best known of a generation of independent artists who use elements of folk music in contexts that are far from traditional. These (and other) so called 'new folk' artists challenge our notions of 'finished product' through their recordings, intrinsically guided by practices and rhetoric inherited from punk. This book traces a fractured trajectory that includes Harry Smith's Anthology of American Folk Music, Bob Dylan, psych-folk of the sixties (from Vashti Bunyan to John Fahey), lo-fi and outsider recordings (from Captain Beefheart and The Residents to Jandek, Daniel Johnston and Smog), and recent experimental folk (Animal Collective, Six Organs of Admittance, Charalambides) to contextualise the first substantial consideration of new folk. In the process, Encarnacao reviews the literature on folk and punk to argue that tropes of authenticity, though constructions, carry considerable power in the creation and reception of recorded works. New approaches to music require new analytical tools, and through the analysis of some 50 albums, Encarnacao introduces the categories of labyrinth, immersive and montage forms. This book makes a compelling argument for a reconsideration of popular music history that highlights the eternal compulsion for spontaneous, imperfect and performative recorded artefacts.

From the ragtime one-step of the early twentieth century to the contemporary practices of youth club cultures, popular dance and music are inextricably linked. This collection reveals the intimate connections between the corporeal and the sonic in the creation, transmission and reception of popular dance and music, which is imagined here as 'bodies of sound'. The volume provokes a wide-ranging, interdisciplinary conversation that includes scholarship from Asia, Europe and the United States, which explores topics from the nineteenth century through to the present day and engages with practices at local, national and transnational levels. In Part I: Constructing the Popular, the authors explore how categories of popular music and dance are constructed and de-stabilized, and their proclivity to appropriate and re-imagine cultural forms and meanings. In Part II: Authenticity, Revival and Reinvention, the authors examine how popular forms produce and manipulate identities and meanings through their attraction to and departure from cultural traditions. In Part III: (Re)Framing Value, the authors interrogate how values are inscribed, silenced, rearticulated and capitalized through popular music and dance. And in Part IV: Politics of the Popular, the authors read the popular as a site of political negotiation and transformation.