(Amadeus). The sociology of music is a young discipline, and this book addresses the seminal issues, explaining the role musical activity plays in our social and cultural life. It also contains practical aspects in how music is structured and tonal material is used.

In 'Music as Social Life', Thomas Turino explores why it is that music and dance are so often at the centre of our most profound personal and social experiences.

Go-go is the conga drum–inflected black popular music that emerged in Washington, D.C., during the 1970s. The guitarist Chuck Brown, the "Godfather of Go-Go," created the music by mixing sounds borrowed from church and the blues with the funk and flavor that he picked up playing for a local Latino band. Born in the inner city, amid the charred ruins of the 1968 race riots, go-go generated a distinct culture and an economy of independent, almost exclusively black-owned businesses that sold tickets to shows and recordings of live go-gos. At the peak of its popularity, in the 1980s, go-go could be heard around the capital every night of the week, on college campuses and in crumbling historic theaters, hole-in-the-wall nightclubs, backyards, and city parks. Go-Go Live is a social history of black Washington told through its go-go music and culture. Encompassing dance moves, nightclubs, and fashion, as well as the voices of artists, fans, business owners, and politicians, Natalie Hopkinson's Washington-based narrative reflects the broader history of race in urban America in the second half of the twentieth century and the early twenty-first. In the 1990s, the middle class that had left the city for the suburbs in the postwar years began to return. Gentrification drove up property values and pushed go-go into D.C.'s suburbs. The Chocolate City is in decline, but its heart, D.C.'s distinctive go-go musical culture, continues to beat. On any given night, there's live go-go in the D.C. metro area.

This new edition of Popular Music and Society, fully revised and updated, continues to pioneer an approach to the study of popular music that is informed by wider debates in sociology and media and cultural studies. Astute and accessible, it continues to set the agenda for research and teaching in this area. The textbook begins by examining the ways in which popular music is produced, before moving on to explore its structure as text and the ways in which audiences understand and use music. Packed with examples and data on the contemporary production and consumption of popular music, the book also includes overviews and critiques of theoretical approaches to this exciting area of study and outlines the most important empirical studies which have shaped the discipline. Topics covered include: • The contemporary organisation of the music industry; • The effects of technological change on production; • The history and politics of popular music; • Gender, sexuality and ethnicity; • Subcultures; • Fans and music celebrities. For this new edition, two whole new chapters have been added: on performance and the body, and on the very latest ways of thinking about audiences and the spaces and places of music consumption. This second edition of Popular Music and Society will continue to be required reading for students of the sociology of culture, media and communication studies, and popular culture.

This first definitive reference resource to take a broad interdisciplinary approach to the nexus between music and the social and behavioral sciences examines how music affects human beings and their interactions in and with the world. The interdisciplinary nature of the work provides a starting place for students to situate the status of music within the social sciences in fields such as anthropology, communications, psychology, linguistics, sociology, sports, political science and economics, as well as biology and the health sciences. Features: Approximately 450 articles, arranged in A-to-Z fashion and richly illustrated with photographs, provide the social and behavioral context for examining the importance of music in society. Entries are authored and signed by experts in the field and conclude with references and further readings, as well as cross references to related entries. A Reader's Guide groups related entries by broad topic areas and themes, making it easy for readers to quickly identify related entries. A Chronology of Music places material into historical context; a Glossary defines key terms from the field; and a Resource Guide provides lists of books, academic journals, websites and cross-references. The multimedia digital edition is enhanced with video and audio clips and features strong search-and-browse capabilities through the electronic Reader’s Guide, detailed index, and cross references. Music in the Social and Behavioral Sciences, available in both multimedia digital and print formats, is a must-have reference for music and social science library collections.

Music sociology occupies a special position in the social and cultural sciences. The terminology alone – in German it is ‘Musiksoziologie’ and not ‘Soziologie der Musik’ – indicates many possible approaches: Is ‘music sociology’ a subdiscipline within sociology or musicology? Or is it a discipline on its own, espousing significant differences from sociology and musicology alike? On the occasion of its 50th anniversary, the Department of Music Sociology at the mdw – University of Music and Performing Arts Vienna – probably the only one in the world to bear the name as a separate department – decided to clarify the state of music sociology. Some of the world’s most prominent representatives of the discipline were invited to participate in this project and present their own viewpoints on the various approaches to music sociology. Their contributions address the particular research objects of music sociology (institutions of musical life; production, distribution and consumption of music; music-making; ‘works’, genres and repertoires; etc.) as well as the different methods of research (stock-taking, surveys, interviews, music analysis, biographical research, etc.).

Opens a conversation about the life and work of the music teacher. The author regards music teaching as interrelated with the rest of lived life, and her themes encompass pedagogical skills as well as matters of character, disposition, value, personality, and musicality. She urges music teachers to think and act artfully.