Social networks are critical for the creation and consumption of music. This edited collection, Social Networks and Music Worlds, introduces students and scholars of music in society to the core concepts and tools of social network analysis. The collection showcases the use of these tools by sociologists, historians and musicologists, examining a variety of distinct 'music worlds', including post-punk, jazz, rap, folk, classical music, Ladyfest and the world of 'open mic' performances, on a number of different scales (local, national and international). In addition to their overarching Introduction, the editors offer a very clear and detailed introduction to the methodology of social network analysis for the uninitiated. The collection builds upon insights from canonic texts in the sociology of music, with the crucial innovation of examining musical network interaction via formal methods. With network analysis in the arts and humanities at an emergent stage, Social Networks and Music Worlds highlights its possibilities for non-scientists. Contributions hail from leading and emerging scholars who present social network graphs and data to represent different music worlds, locating individuals, resources and styles within them. The collection sits at the nexus of sociological, musicological and cultural studies traditions. Its range should ensure a large scholarly readership.

Crossley argues that music is a form of social interaction, interwoven in the fabric of society and in constant interplay with its other threads. Musical interactions are often also economic interactions, for example, and sometimes political interactions. They can be forms of identity work, for both individuals and collectives, contributing to the reproduction or bridging of social divisions. Successive chapters of the book track and explore these interplays, in each case combining a critical consideration of existing literature with the development of an original, ‘relational’ approach to music sociology. The result is a grand sociological vision of music which captures not only music’s context but ‘the music itself’. The book will appeal to social scientists, musicologists and cultural scholars more widely.

Virtual worlds are the latest manifestation of the internet's inexorable appetite for development. Organisations of all kinds are enthusiastically pursuing the commercial opportunities offered by the growth of this phenomenon. But if you believe that there are no laws which govern internet social networks and virtual worlds this book will persuade you otherwise. There is law, and a good deal of it. Why would there not be? As with many other aspects of the world wide web, this new medium is unregulated and offers many opportunities for companies to damage their reputation, run into a whole host of problems relating to intellectual property, trade marks and copyrights, and compromise the rights of individuals participating within the virtual environment. By reading The Law of Virtual Worlds and Internet Social Networks you will gain a good understanding of the legal issues which govern this expanding and fascinating world - are you ready for the leap from internet plaything to meaningful social and business tool? The Law of Virtual Worlds and Internet Social Networks is an essential reference for advertising and media agencies; television broadcast producers; academic institutions including university law, knowledge and information departments. In fact, it has been written for anyone interested in virtual worlds and social networks whether commercially because you want to explore the possibilities such environments present, or for academic curiosity.

Social networks are critical for the creation and consumption of music. This edited collection, Social Networks and Music Worlds, introduces students and scholars of music in society to the core concepts and tools of social network analysis. The collection showcases the use of these tools by sociologists, historians and musicologists, examining a variety of distinct 'music worlds', including post-punk, jazz, rap, folk, classical music, Ladyfest and the world of 'open mic' performances, on a number of different scales (local, national and international). In addition to their overarching Introduction, the editors offer a very clear and detailed introduction to the methodology of social network analysis for the uninitiated. The collection builds upon insights from canonic texts in the sociology of music, with the crucial innovation of examining musical network interaction via formal methods. With network analysis in the arts and humanities at an emergent stage, Social Networks and Music Worlds highlights its possibilities for non-scientists. Contributions hail from leading and emerging scholars who present social network graphs and data to represent different music worlds, locating individuals, resources and styles within them. The collection sits at the nexus of sociological, musicological and cultural studies traditions. Its range should ensure a large scholarly readership.

This book examines the birth of punk in the UK and its transformation, within a short period of time, into post-punk. Deploying innovative concepts of ‘critical mass’, ‘social networks’ and ‘music worlds’, and using sophisticated techniques of ‘social network analysis’, it teases out the events and mechanisms involved in punk’s ‘micro-mobilisation’, its diffusion across the UK and its transformation in certain city-based strongholds into a variety of interlocking post-punk forms. Nick Crossley offers a detailed review of prior work in this area, a rich exploration of new empirical data and a highly innovative and robust approach to the study of ‘music worlds’. Written in an accessible style, this book is essential reading for anybody with an interest in either UK punk and post-punk or the impact of social networks on cultural life and the potential of social network analysis to explore this impact.

The Bloomsbury Handbook of Popular Music and Youth Culture provides a comprehensive and fully up-to-date overview of key themes and debates relating to the academic study of popular music and youth culture. While this is a highly popular and rapidly expanding field of research, there currently exists no single-source reference book for those interested in this topic. The handbook is comprised of 32 original chapters written by leading authors in the field of popular music and youth culture and covers a range of topics including: theory; method; historical perspectives; genre; audience; media; globalization; ageing and generation.

This book draws upon a relational sociological paradigm to explore the processes of collective action in football fandom across Europe and the UK. Through a range of case studies, the authors address pertinent themes in football fandom, including anti-discrimination, ‘home,’ ticketing, name changes, ‘ownership,’ and broader leftist politics. Each of these case studies engages with the theoretical framework of cultural relational sociology, highlighting the different social and cultural changes English and European football has undergone, often over a very short period of time.