There are undercurrents and peripheral taste preferences that are a defining part of our individual and collective cultural experience. Music is no exception. George Plasketes adapts the iconic "A-side/B-side" dichotomy from the 45 r.p.m. for use as a unique conceptual, critical, historical, and cultural framework for exploring and threading together a variety of popular music and media texts. The profiles and perspectives focus on the peripheries; on texts which might be considered "B-sides""overlooked, underappreciated, and unsung cases, creators, patterns and productions that have unassumingly, but significantly, marked popular culture, music and media during the past 40 years. The underappreciated yet enduring contributions of a variety of creative individuals in music, television and film are a centerpiece of this volume: actress Doris Day's son, Terry Melcher, a 1960s music producer whose imprint is on the surf, country blues, garage pop and most importantly the folk rock genre; Hans Fenger's kid chorus cover project, a musical variation of "outsider art" that became representative of the tribute wave that began in the 1990s and continues today; versatile guitarist virtuoso Ry Cooder's extensive film soundtrack work; World Music "missionary efforts" of American artists beyond Paul Simon's Graceland, including Neil Diamond's precursor with Tap Root Manuscript in the 1970s and the exotic adventures of Henry Kaiser and David Lindley in Madagascar and Norway"to name just a few examples. These B-sides represent undercurrents, but they resonate as overtones in the mainstream of music and culture, many as historical hinges. Collectively, these B-sides are an A-side antidote of outskirt observations, individual snapshots of artists, artifacts and rituals, genres and generations, producers and musical productions in television, film and video. They constitute an important connect-the-dots cultural chronicle with a multi-layered context"social, legal, historic, economic, technological, generational, aesthetic"for interpreting the interrelations between creators and institutions, the music market place, the production of culture and important connections between the peripheral and the popular.

Coughing and Clapping: Investigating Audience Experience explores the processes and experiences of attending live music events from the initial decision to attend through to audience responses and memories of a performance after it has happened. The book brings together international researchers who consider the experience of being an audience member from a range of theoretical and empirical perspectives. Whether enjoying a drink at a jazz gig, tweeting at a pop concert or suppressing a cough at a classical recital, audience experience is affected by motivation, performance quality, social atmosphere and group and personal identity. Drawing on the implications of these experiences and attitudes, the authors consider the question of what makes an audience, and argue convincingly for the practical and academic value of that question.

Seditious Theology explores the much analysed British punk movement of the 1970s from a theological perspective. Imaginatively engaging with subjects such as subversion, deconstruction, confrontation and sedition, this book highlights the stark contrasts between the punk genre and the ministry of Jesus while revealing surprising similarities and, in so doing, demonstrates how we may look at both subjects in fresh and unusual ways. Johnson looks at both punk and Jesus and their challenges to symbols, gestures of revolt, constructive use of conflict and the shattering of relational norms. He then points to the seditious pattern in Jesus' life and the way it can be discerned in some recent trends in theology. The imaginative images that he creates provide a challenging image of Jesus and of those who have relooked radically in recent years at what being a 'seditious' follower of Christ means for the church. Introducing both a new partner for theological conversation and a fresh way of how to go about the task, this book presents a powerful approach to exploring the life of Christ and a new way of engaging with both recent theological trends and the more challenging expressions of popular culture.

The silent attentiveness expected of concert audiences is one of the most distinctive characteristics of modern Western musical culture. This is the first book to examine the concept of attention in the history of musical thought and its foundations in the writings of German musical commentators of the late eighteenth century. Those critics explained numerous technical features of the music of their time as devices for arousing, sustaining or otherwise influencing the attention of a listener, citing in illustration works by Gluck, C. P. E. Bach, Georg Benda and others. Two types of attention were identified: the uninterrupted experience of a single emotional state conveyed by a piece of music as a whole, and the fleeting sense of 'wonder' or 'astonishment' induced by a local event in a piece. The relative validity of these two modes was a topic of heated debate in the German Enlightenment, encompassing issues of musical communication, compositional integrity and listener competence. Matthew Riley examines the significant writers on the topic (Descartes, Leibniz, Wolff, Baumgarten, Rousseau, Meier, Sulzer and Forkel) and provides analytical case studies to illustrate how these perceived modes of attention shaped interpretations of music of the period.

This book investigates the discursive and performative strategies employed by Australian Indigenous rappers to make sense of the world and establish a position of authority over their identity and place in society. Focusing on the aesthetics, the language, and the performativity of Hip Hop, this book pays attention to the life stance, the philosophy, and the spiritual beliefs of Australian Indigenous Hip Hop artists as 'glocal' producers and consumers. With Hip Hop as its main point of analysis, the author investigates, interrogates, and challenges categories and preconceived ideas about the critical notions of authenticity, 'Indigenous' and dominant values, spiritual practices, and political activism. Maintaining the emphasis on the importance of adopting decolonizing research strategies, the author utilises qualitative and ethnographic methods of data collection, such as semi-structured interviews, informal conversations, participant observation, and fieldwork notes. Collaborators and participants shed light on some of the dynamics underlying their musical decisions and their view within discussions on representations of 'Indigenous identity and politics'. Looking at the Indigenous rappers' local and global aspirations, this study shows that, by counteracting hegemonic narratives through their unique stories, Indigenous rappers have utilised Hip Hop as an expressive means to empower themselves and their audiences, entertain, and revive their Elders' culture in ways that are contextual to the society they live in.

In Terminated for Reasons of Taste, veteran rock critic Chuck Eddy writes that "rock'n'roll history is written by the winners. Which stinks, because the losers have always played a big role in keeping rock interesting." Rock's losers share top billing with its winners in this new collection of Eddy's writing. In pieces culled from outlets as varied as the Village Voice, Creem magazine, the streaming site Rhapsody, music message boards, and his high school newspaper, Eddy covers everything from the Beastie Boys to 1920s country music, Taylor Swift to German new wave, Bruce Springsteen to occult metal. With an encyclopedic knowledge, unabashed irreverence, and a captivating style, Eddy rips up popular music histories and stitches them back together using his appreciation of the lost, ignored, and maligned. In so doing, he shows how pop music is bigger, and more multidimensional and compelling than most people can imagine.

Drawing on methodologies and approaches from media and cultural studies, sociology, social history and the study of popular music, this book outlines the development of the study of men and masculinities, and explores the role of cultural texts in bringing about social change. It is against this backdrop that The Beatles, as a cultural phenomenon, are set, and their four live action films, spanning the years 1964-1970, are examined as texts through which to read changing representations of men and masculinity in 'the Sixties'. Dr Martin King considers ideas about a male revolt predating second-wave feminism, The Beatles as inheritors of the possibilities of the 1950s and The Beatles' emergence as men of ideas: a global cultural phenomenon that transgressed boundaries and changed expectations about the role of popular artists in society. King further explores the chosen Beatle texts to examine discourses of masculinity at work within them. What emerges is the discovery of discourses around resistance, non-conformity, feminized appearance, pre-metrosexuality, the male star as object of desire, and the emergence of The Beatles themselves as a text that reflected the radical diversity of a period of rapid social change. King draws valuable conclusions about the legacy of these discourses and their impact in subsequent decades.

Who are pop dandies? Why are stars like David Bowie, Jarvis Cocker, Pete Doherty and Robbie Williams so dandified? Taking up a wide range of British pop stars, Hawkins seeks to find out why so many have cast themselves in roles that often take style to absurd extremes. In this study, male pop artists are mapped against a cultural and historical background through a genealogy of personalities, such as Oscar Wilde, W.H. Auden, Andy Warhol, NoA"l Coward, Derek Jarmen, David Beckham and countless others. A critical analysis of issues and approaches to musical performance through masculinity becomes the focal point of this fascinating study. Ranging from the sixties to beyond the twentieth century, The British Pop Dandy considers the construction of the male pop icon through the spectacle of videos, live concerts and films. Why do we derive pleasure from the performing body, and how is entertainment linked to categories of gender and sexuality? The author insists that pop performances can be understood through human characteristics that relate to the particulars of dandyism, camp and glamour, and this he theorizes through the work of Charles Baudelaire. One of the political objectives of the dandy is to liberate himself through a denial of the structures that assume fixed identity. Not least, it is acts of queering in pop music that characterize entire generations of male artists in the UK. Setting out to discover what distinguishes the British pop dandy, Hawkins considers the role of music and performance in the articulation of hyperbolic display. It is argued that the recorded voice is a construction that idealizes self-representation, and absorbs the listener's attention. Particularly, camp address in singing practice is taken up in conjunction with a discussion of intimacy, which forms part of the strategy of the performer. In a range of songs and videos selected for music analysis, Hawkins points to the uniqueness of the voice as it expresses a transgressive quality that often comes across 'put-on', naive and vulnerable. To this end, vocal performativity is considered part of music's discursive disciplining through some of the greatest pop tracks, videos, concerts and films of our time. It is also argued that shifting signs of masculinity can be understood through musical process and style. While musicological in its main focus, this study is interdisciplinary and sets out to open new modes of thinking on the complex issues surrounding how masculinity, music and culture have developed in the UK.

The late Jan Fairley (1949-2012) was a key figure in making world music a significant topic for popular music studies and an influential contributor to such world music magazines as fRoots and Songlines. This book celebrates her contribution to popular music scholarship by gathering her most important work together in a single place. The result is a richly informed and entertaining volume that will be of interest to all scholars in the field while also serving as an excellent introduction for students interested in popular music as a global phenomenon. Fairley's work was focused on the problems and possibilities of cross-cultural musical influences, fantasies and flows and on the importance of performing circuits and networks. Her interest in the details of music-making and in the lives of music-makers means that this collection is also an original and illuminating study of music and politics. In drawing on Jan Fairley's journalism, this volume also offers students a guide to various genres of world music, from Cuban son to flamenco, as well as an insight into the lives of such world music stars as Mercedes Sosa and Silvio RodrA guez. This is inspiring as well as essential reading.

In the 1960s, Welsh-language popular music emerged as a vehicle for mobilizing a geographically dispersed community into political action. As the decades progressed, Welsh popular music developed beyond its acoustic folk roots, adopting the various styles of contemporary popular music, and ultimately gaining the cultural self-confidence to compete in the Anglo-American mainstream market. The resulting tensions, between Welsh and English, amateur and professional, rural and urban, the local and the international, necessitate the understanding of Welsh pop as part of a much larger cultural process. Not merely a 'Celtic' issue, the cultural struggles faced by Welsh speakers in a predominantly Anglophone environment are similar to those faced by innumerable other minority communities enduring political, social or linguistic domination. The aim of 'Blerwytirhwng?' The Place of Welsh Pop Music is to explore the popular music which accompanied those struggles, to connect Wales to the larger Anglo-American popular culture, and to consider the shift in power from the dominant to the minority, the centre to the periphery. By surveying the development of Welsh-language popular music from 1945-2000, 'Blerwytirhwng?' The Place of Welsh Pop examines those moments of crisis in Welsh cultural life which signalled a burgeoning sense of national identity, which challenged paradigms of linguistic belonging, and out of which emerged new expressions of Welshness.

Music and Irish Identity represents the latest stage in a life-long project for Gerry Smyth, focusing here on the ways in which music engages with particular aspects of Irish identity. The nature of popular music and the Irish identity it supposedly articulates have both undergone profound change in recent years: the first as a result of technological and wider industrial changes in the organisation and dissemination of music as seen, for example, with digital platforms such as YouTube, Spotify and iTunes. A second factor has been Ireland's spectacular fall from economic grace after the demise of the "Celtic Tiger", and the ensuing crisis of national identity. Smyth argues that if, as the stereotypical association would have it, the Irish have always been a musical race, then that association needs re-examination in the light of developments in relation to both cultural practice and political identity. This book contributes to that process through a series of related case studies that are both scholarly and accessible. Some of the principal ideas broached in the text include the (re-)establishment of music as a key object of Irish cultural studies; the theoretical limitations of traditional musicology; the development of new methodologies specifically designed to address the demands of Irish music in all its aspects; and the impact of economic austerity on musical negotiations of Irish identity. The book will be of seminal importance to all those interested in popular music, cultural studies and the wider fate of Ireland in the twenty-first century.

At the end of his life, Pierre Schaeffer commented that his musical and sound experiments had attempted to go beyond 'do-re-mi'. This had a direct bearing on EinstA1/4rzende Neubauten's musical philosophy and work, with the musicians always striving to extend the boundaries of music in sound, instrumentation and purpose. The group are one of the few examples of 'rock-based' artists who have been able to sustain a breadth and depth of work in a variety of media over a number of years while remaining experimental and open to development. Jennifer Shryane provides a much-needed analysis of the group's important place in popular/experimental music history. She illustrates their innovations with found- and self-constructed instrumentation, their Artaudian performance strategies and textual concerns, as well as their methods of independence. EinstA1/4rzende Neubauten have also made a consistent and unique contribution to the development of the independent German Language Contemporary Music scene, which although often acknowledged as influential, is still rarely examined.

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.

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.

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.

Towards a Twenty-First-Century Feminist Politics of Music opens up a new way of thinking about the absence of women's music. It does not aim to find 'a solution' in a liberal feminist sense, but to discover new potentialities, new possibilities for thought and action. Sally Macarthur encourages us, with the assistance of Deleuze, and feminist-Deleuzian work, to begin the important work of imagining what else might be possible, not in order to provide answers but to open up the as yet unknown. The power of thought - or what Deleuze calls the 'virtual' - opens up new possibilities. Macarthur suggests that the future for women's 'new' music is not tied to the predictable and known but to futures beyond the already-known. Previous research concludes that women's music is virtually absent from the concert hall, and yet fails to find a way of changing this situation. Macarthur finds that the flaw in the recommendations flowing from past research is that it envisages the future from the standpoint of the present, and it relies on a set of pre-determined goals. It thus replicates the present reality, so reinforcing rather than changing the status quo. Macarthur challenges this thinking, and argues that this repetitive way of thinking is stuck in the present, unable to move forward. Macarthur situates her argument in the context of current dominant neoliberal thought and practice. She argues that women have generally not thrived in the neoliberal model of the composer, which envisages the composer as an individual, autonomous creator and entrepreneur. Successful female composers must work with this dominant, modernist aesthetic and exploit the image of the neo-romantic, entrepreneurial creator. This book sets out in contrast to develop a new conception of subjectivity that sows the seeds of a twenty-first-century feminist politics of music.

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.

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.

DISCOVER THE REALITY OF LIFE AS A SUPERSTAR DJ IN THIS SENSATIONAL EXPOSÉ OF WHAT REALLY GOES ON BEHIND THE BPMs.

The glamour, the parties, the excess, the highs and, of course, the lows. In The Secret DJ, a globally renowned DJ takes us on a breakneck journey, plunging us into a life lived in the hedonistic fast lane of club culture over the last thirty years, from the dawn of acid house to the dusk of EDM. Whether playing to ten thousand fans in Ibiza's superclubs or in a local pub function room, this DJ's experiences are a cautionary tale - an addictive and shockingly honest account of the hidden world behind the DJ booth.

Musical Rhythm in the Age of Digital Reproduction presents new insights into the study of musical rhythm through investigations of the micro-rhythmic design of groove-based music. The main purpose of the book is to investigate how technological mediation - in the age of digital music production tools - has influenced the design of rhythm at the micro level. Through close readings of technology-driven popular music genres, such as contemporary R&B, hip-hop, trip-hop, electro-pop, electronica, house and techno, as well as played folk music styles, the book sheds light on how investigations of the musical-temporal relationships of groove-based musics might be fruitfully pursued, in particular with regard to their micro-rhythmic features. This book is based on contributions to the project Rhythm in the Age of Digital Reproduction (RADR), a five-year research project running from 2004 to 2009 that was funded by the Norwegian Research Council.

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.

No music scholar has made as profound an impact on contemporary thought as Susan McClary, a central figure in what has been termed the 'new musicology'. In this volume seventeen distinguished scholars pay tribute to her work, with essays addressing three approaches to music that have characterized her own writings: reassessing music's role in identity formation, particularly regarding gender, sexuality, and race; exploring music's capacity to define and regulate perceptions and experiences of time; and advancing new modes of analysis more appropriate to those aspects and modes of musicking ignored by traditional methods. Contributors include, in overlapping categories, many fellow pioneers, current colleagues, and former students, and their essays, like McClary's own work, address a wide range of repertories ranging from the established canon to a variety of popular genres. The collection represents the generational arrival of the 'new' musicology into full maturity, dividing fairly evenly between pre-eminent scholars of music and a group of younger scholars who have already made their mark in significant ways. But the collection is also, and fundamentally, interdisciplinary in nature, in active conversation with such fields as history, anthropology, philosophy, aesthetics, media studies, film music studies, dramatic criticism, women's studies, and cultural studies.