Why Music Matters by Hesmondhalgh, David -- Read -- Imperial Library of Trantor

Index

Cover Title page Copyright page 1 Music as Intimate and Social, Private and Public 2 Feeling and Flourishing

3 Love and Sex

3.1 Sex and Love and Rock and Roll 3.2 Two Approaches to Music, Sex, and Sexuality 3.3 The Pop-Rock Divide and Rock’s Sexual Politics 3.4 Post-War Pop’s Emotional Resources 3.5 Sex and Love on the Dance Floor 3.6 Critiques of Countercultural Sexual Freedom 3.7 Sex and Love in Punk, Alternative Rock, and Metal 3.8 Sexuality in Twenty-First-Century Pop 3.9 Black Music and Racialized Sexuality

4 Sociability and Place

4.1 Ways of Being Together: Forms of Publicness 4.2 Celebrations of Musical Participation and Their Limitations 4.3 That Syncing Feeling 4.4 Ordinary Sociability I: Singing Together 4.5 Ordinary Sociability II: Dancing Together 4.6 Playing Together: Amateur Musicians 4.7 Theorizing Positive Musical Sociality 4.8 Spectres of Capitalist Modernity Revisited: Class and Inequality 4.9 Uneven Musical Development 4.10 Elements of Thriving Musical Places 4.11 Quality of Working Life of Professional Musicians

5 Commonality and Cosmopolitanism

5.1 Mediated Commonality in Modern Societies 5.2 Aesthetic Experience and Aspirations to Commonality 5.3 Redeeming Aesthetic Experience? 5.4 Talk About Music, What It Tells Us, and What It Doesn,t 5.5 Music, Politics, and Publicness 5.6 Communities of Shared Taste? Subcultures, Scenes, and Fans 5.7 Nations, Ethnicity, Cosmopolitanism 5.8 Rock as Cosmopolitanism? 5.9 Complexities of Music and Nation 5.10 Strange Journeys: Working-Class and Ethnic Musics Become National Musics 5.11 Sentimental Citizenship 5.12 Music, the Nation, and the Popular 5.13 Music of the African Diaspora: Life-Affirming Collectivity in Decline? 5.14 A Critical Defense of Music

Acknowledgments References Index

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