Raphaël Nowak is a Lecturer in the Department of Sociology at the University of York, United Kingdom.Andy Bennett is Professor of Cultural Sociology in the School of Humanities, Languages and Social Science at Griffith University, Australia

• AcknowledgementsIntroduction: Music in (the Context of ) SociologyWhat we mean by music sociologyThe focus of this bookReferencesChapter 1 Situating the Sociology of Music1.1 A brief perspective on the discipline1.2 The constructivist sociological approach to music1.3 The structuralist sociological approach to music1.4 Where do we go from here? Music as a cultural objectConclusionNoteReferencesChapter 2 The Techno-Cultural Transformations of Music in the Digital Age2.1 Key trends of the ‘digital age’ of music2.2 Framing musical experiences: from participation to branding2.3 Streaming services and the datafication of music2.4 Streaming services, listening, and the economy of attentionConclusionReferencesChapter 3 Aesthetics and Value in Music Sociology3.1 The problems with aesthetics3.2 Sociology and aesthetics – identifying the mediators and mediations of value3.3 Music, genres, and the ‘social’ConclusionReferencesChapter 4 Sound Environments and Everyday Music Listening Practices4.1 Accounting for the sounds of everyday life4.2 Technologies of manipulation and/or of control?4.3 A dynamic system for mediated music listening practices4.4 Listening and the search for adequate musicConclusion ReferencesChapter 5 Music Taste: What Is Liking Music?5.1 The social distribution of music taste – structural homology, omnivorousness, or eclecticism?5.2 Social expressions of music taste: distinction or differentiation?5.3 Taste as activityConclusionReferencesChapter 6 Music, Identity, and Ageing6.1 From youth to post-youth6.2 Music and ageing identity6.3 Music, ageing, and lifestyleConclusionReferencesChapter 7 Popular Music Heritage and the Obsession with Preservation7.1 What is popular music heritage and what is it for? 7.2 How does popular music heritage change the value of music?ConclusionReferencesConclusionReferencesIndex

Raphaël Nowak is a Lecturer in the Department of Sociology at the University of York, United Kingdom.Andy Bennett is Professor of Cultural Sociology in the School of Humanities, Languages and Social Science at Griffith University, Australia

• AcknowledgementsIntroduction: Music in (the Context of ) SociologyWhat we mean by music sociologyThe focus of this bookReferencesChapter 1 Situating the Sociology of Music1.1 A brief perspective on the discipline1.2 The constructivist sociological approach to music1.3 The structuralist sociological approach to music1.4 Where do we go from here? Music as a cultural objectConclusionNoteReferencesChapter 2 The Techno-Cultural Transformations of Music in the Digital Age2.1 Key trends of the ‘digital age’ of music2.2 Framing musical experiences: from participation to branding2.3 Streaming services and the datafication of music2.4 Streaming services, listening, and the economy of attentionConclusionReferencesChapter 3 Aesthetics and Value in Music Sociology3.1 The problems with aesthetics3.2 Sociology and aesthetics – identifying the mediators and mediations of value3.3 Music, genres, and the ‘social’ConclusionReferencesChapter 4 Sound Environments and Everyday Music Listening Practices4.1 Accounting for the sounds of everyday life4.2 Technologies of manipulation and/or of control?4.3 A dynamic system for mediated music listening practices4.4 Listening and the search for adequate musicConclusion ReferencesChapter 5 Music Taste: What Is Liking Music?5.1 The social distribution of music taste – structural homology, omnivorousness, or eclecticism?5.2 Social expressions of music taste: distinction or differentiation?5.3 Taste as activityConclusionReferencesChapter 6 Music, Identity, and Ageing6.1 From youth to post-youth6.2 Music and ageing identity6.3 Music, ageing, and lifestyleConclusionReferencesChapter 7 Popular Music Heritage and the Obsession with Preservation7.1 What is popular music heritage and what is it for? 7.2 How does popular music heritage change the value of music?ConclusionReferencesConclusionReferencesIndex

Raphaël Nowak is a Lecturer in the Department of Sociology at the University of York, United Kingdom.Andy Bennett is Professor of Cultural Sociology in the School of Humanities, Languages and Social Science at Griffith University, Australia

• AcknowledgementsIntroduction: Music in (the Context of ) SociologyWhat we mean by music sociologyThe focus of this bookReferencesChapter 1 Situating the Sociology of Music1.1 A brief perspective on the discipline1.2 The constructivist sociological approach to music1.3 The structuralist sociological approach to music1.4 Where do we go from here? Music as a cultural objectConclusionNoteReferencesChapter 2 The Techno-Cultural Transformations of Music in the Digital Age2.1 Key trends of the ‘digital age’ of music2.2 Framing musical experiences: from participation to branding2.3 Streaming services and the datafication of music2.4 Streaming services, listening, and the economy of attentionConclusionReferencesChapter 3 Aesthetics and Value in Music Sociology3.1 The problems with aesthetics3.2 Sociology and aesthetics – identifying the mediators and mediations of value3.3 Music, genres, and the ‘social’ConclusionReferencesChapter 4 Sound Environments and Everyday Music Listening Practices4.1 Accounting for the sounds of everyday life4.2 Technologies of manipulation and/or of control?4.3 A dynamic system for mediated music listening practices4.4 Listening and the search for adequate musicConclusion ReferencesChapter 5 Music Taste: What Is Liking Music?5.1 The social distribution of music taste – structural homology, omnivorousness, or eclecticism?5.2 Social expressions of music taste: distinction or differentiation?5.3 Taste as activityConclusionReferencesChapter 6 Music, Identity, and Ageing6.1 From youth to post-youth6.2 Music and ageing identity6.3 Music, ageing, and lifestyleConclusionReferencesChapter 7 Popular Music Heritage and the Obsession with Preservation7.1 What is popular music heritage and what is it for? 7.2 How does popular music heritage change the value of music?ConclusionReferencesConclusionReferencesIndex