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| Notes on editors | |
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| Notes on contributors | |
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| Acknowledgements | |
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| Introduction | |
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| Music as Sound, Music as Text | |
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| Introduction to Part One | |
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| In the Groove or Blowing Your Mind?: The Pleasures of Musical Repetition | |
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| This is Not a Story My People Tell: Musical Time and Space According to Laurie Anderson | |
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| 'Home is Living Like a Man on the Run': John Cale's Welsh Atlantic | |
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| Family Values in Music?: Billie Holiday's and Bing Crosby's 'I'll Be Seeing You' | |
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| Subjectivity and Soundscape, Motorbikes and Music | |
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| Making Music | |
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| Introduction to Part Two | |
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| Little Girl Blue | |
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| Black Sound, Black Body: Jimi Hendrix, the Electric Guitar, and the Meanings of Blackness | |
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| Making Up and Showing Off: What Musicians Do | |
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| War in the Jungle | |
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| Liveness: Performance and the Anxiety of Simulation | |
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| Subcultures, Scenes and Tribes | |
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| Introduction to Part Three | |
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| Understanding Hipness: 'Subcultural Capital' as Feminist Tool | |
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| Subcultures or Neotribes?: Rethinking the Relationship Between Youth, Style and Musical Taste | |
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| Punk Rock at Raul's: The Performance of Contradiction | |
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| Rules of Rebellion: Slamdancing, Moshing and the American Alternative Scene | |
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| 'Roots'?: The Relationship Between the Global and the Local within the Extreme Metal Scene | |
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| Popular Music and Everyday Life | |
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| Introduction to Part Four | |
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| Music and Self-Identity | |
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| Filmic Cities: The Aesthetic Experience of the Personal-Stereo User | |
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| 'Beautiful Music': The Rise of Easy-Listening FM | |
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| Scanning: Aether Talk | |
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| Musical Diasporas | |
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| Introduction to Part Five | |
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| "'Jewels Brought from Bondage': Black Music and the Politics of Authenticity" | |
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| Zouk and the Isles of the Caribees | |
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| The Local and Global in North African Popular Music | |
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| Asian Kool?: Bhangra and Beyond | |
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| Technobanda and the Politics of Identity | |
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| Voices from the Margins: Rap Music and Contemporary Cultural Production | |
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| Music Industry | |
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| Introduction to Part Six | |
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| The Industrialization of Music | |
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| Musicians in Hollywood: Work and Technological Change in Entertainment Industries, 1926-1940 | |
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| The British Dance Music Industry: A Case Study of Independent Cultural Production | |
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| Profiting from Creativity? The Music Industry in Stockholm, Sweden and Kingston, Jamaica | |
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| Popular Music and Technology | |
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| Introduction to Part Seven | |
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| The Material Heterogeneity of Recorded Sound | |
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| Rationalization and Democratization in the New Technologies of Popular Music | |
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| Music/Technology/Practice: Musical Knowledge in Action | |
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| Futurhythmachine: [An Interview with Kodwo Eshun] | |
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| Home on the Page: A Virtual Place of Music Community | |
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| Popular Music Media | |
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| Introduction to Part Eight | |
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| Commercial Radio and Popular Music: Processes of Selection and Factors of Influence | |
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| 'Yo Quiero mi MTV!': Making Music Television for Latin America | |
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| Popular Songs and Comic Allusion in Contemporary Cinema | |
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| Anglo-American Music Journalism: Texts and Contexts | |
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| Popular Music, Gender and Sexuality | |
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| Introduction to Part Nine | |
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| Women Making Music: Some Material Constraints | |
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| Smells Like Teen Spirit: Riot Grrrls, Revolution, and Women in Independent Rock | |
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| Rethinking Issues of Gender and Sexuality in Led Zeppelin: A Woman's View of Pleasure and Power in Hard Rock | |
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| Women and the Early British Rave Scene | |
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| Housewives' Choice: Female Fans and Unmanly Men | |
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| References | |
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| Index | |