Liam Maloney is an Associate Lecturer in Music and Sound Recording in the Music Research Centre at the University of York (UK). John Schofield is Director of Studies in Cultural Heritage Management in the Department of Archaeology at the University of York (UK).

'In this ground-breaking and thoughtful volume, Liam Maloney and John Schofield have brought together a series of excellent contributions that focus on the role of sound and sonic identity in a wide-ranging set of environments. Some of the case studies focus on rural, urban, and deindustrialized landscapes and others concentrate on particular soundscapes such as music making venues, and places of commemoration, memory, and archiving. Within the volume is a sort of mini monograph, an intensive multi-angled examination of the sonic environments of Manchester, UK. The work offers new and original insights into what heritage can do and be as the volume shifts effortlessly between tangible and intangible heritage. The book reorients the scope of heritage research in a manner that will be of great interest to scholars, students, and anyone interested in the many ways that sound is threaded through human experience.'~Carolyn L. White, University of Nevada, USA 'Music and Heritage is an exciting and timely contribution to understanding the significance of popular music as cultural heritage. This collection includes an impressive range of international perspectives, capturing the dynamic interactions between time, place, and music as makers of local and global identities. Accessibly written and engaging, Music and Heritage draws original parallels with archaeology and frames the concept of heritage as a living archive. For academic researchers, cultural workers, and music audiences, this book can expand intellectual horizons and inform creative ideas.'~Dr Asya Draganova, Birmingham City University, UK 'At a time when the culture sector is under increasing threat, this collection offers fresh perspectives on music heritage and how music shapes and is shaped by place. Particularly welcome is its examination of heritage through a focus on sound and sound-making, and through cross-disciplinary approaches and perspectives. The contributors cover a wide range of topics, from English Morris dancing to Chicago House Music, and the chapters are engaging and accessible. Together, they illustrate the importance of sonic identity for characterising places, and enable music heritage to be discussed in relation to the iconic and everyday, the tangible and intangible. The book will be essential reading for students and researchers working across a range of disciplines, and interested in music, sound, place-making and cultural heritage.'~Sara Cohen, University of Liverpool, UK

• 1. Sonic identity and the making of heritage: ‘This must be the place’; I. Parklife: (New) Town and (Old) Country; 2. The soundscape and cosmology of the Norwegian band Wardruna: Guardians of runes and makers of memories; 3. Pastoral longing in popular music: From Skye to Tennessee; 4. Composing archaeology: The problems of recreating heritage in music; 5. Space and place in English morris dance; 6. Heritage culture and artistic reciprocity: Remediating the mythical; II. On & On: Cities/Industry/Infrastructure; 7. Decentring Liverpool’s popular music heritage: Routes Jukebox; 8. Music and Community in 1980s Malta: the unconventional heritage of Fort Tigné; 9. The City as Archive: How industry and electronic music forged Sheffield's sonic identity; 10. Music heritage, cultural justice and the Steel City: archiving and curating popular music history in Wollongong, Australia; 11. House music, Chicago and the uncomfortable heritage of racial segregation; 12. Intersections of genre, heritage, and place in the New Wave of American Heavy Metal; III. Interzone: Comparative Notes on a Northern Town; 13. How a Northern Quarter music venue was crucial in the reinterpretation of 19th-century Broadside Ballads: Manchester’s Improving Daily; 14. Community archaeology, identity and the excavation of Manchester’s Reno Nightclub; 15. Morrissey, memory and traces of lost time in Manchester: from the archive to the anti-archive; IV. No Future: Remembrance; 16. Hardcore heritage: consecrating the northern anxiety of Terveet Kädet; 17. Historically Authentic Truths (the HAT trick): facts, fancies, and footnotes; 18. Relating ruin experience with the creative process in Radcliffe Tower: Redirected Reflections; 19. An experimental approach to heritage and music through a SOUNDmound at Sandby borg, Sweden: developments in method and practice; 20. Hearing the past in the present: an augmented reality approach to site reconstruction through architecturally informed new music; 21. Station to station: rock music memorial roots and routes in London

Liam Maloney is an Associate Lecturer in Music and Sound Recording in the Music Research Centre at the University of York (UK). John Schofield is Director of Studies in Cultural Heritage Management in the Department of Archaeology at the University of York (UK).

'In this ground-breaking and thoughtful volume, Liam Maloney and John Schofield have brought together a series of excellent contributions that focus on the role of sound and sonic identity in a wide-ranging set of environments. Some of the case studies focus on rural, urban, and deindustrialized landscapes and others concentrate on particular soundscapes such as music making venues, and places of commemoration, memory, and archiving. Within the volume is a sort of mini monograph, an intensive multi-angled examination of the sonic environments of Manchester, UK. The work offers new and original insights into what heritage can do and be as the volume shifts effortlessly between tangible and intangible heritage. The book reorients the scope of heritage research in a manner that will be of great interest to scholars, students, and anyone interested in the many ways that sound is threaded through human experience.'~Carolyn L. White, University of Nevada, USA 'Music and Heritage is an exciting and timely contribution to understanding the significance of popular music as cultural heritage. This collection includes an impressive range of international perspectives, capturing the dynamic interactions between time, place, and music as makers of local and global identities. Accessibly written and engaging, Music and Heritage draws original parallels with archaeology and frames the concept of heritage as a living archive. For academic researchers, cultural workers, and music audiences, this book can expand intellectual horizons and inform creative ideas.'~Dr Asya Draganova, Birmingham City University, UK 'At a time when the culture sector is under increasing threat, this collection offers fresh perspectives on music heritage and how music shapes and is shaped by place. Particularly welcome is its examination of heritage through a focus on sound and sound-making, and through cross-disciplinary approaches and perspectives. The contributors cover a wide range of topics, from English Morris dancing to Chicago House Music, and the chapters are engaging and accessible. Together, they illustrate the importance of sonic identity for characterising places, and enable music heritage to be discussed in relation to the iconic and everyday, the tangible and intangible. The book will be essential reading for students and researchers working across a range of disciplines, and interested in music, sound, place-making and cultural heritage.'~Sara Cohen, University of Liverpool, UK

• 1. Sonic identity and the making of heritage: ‘This must be the place’; I. Parklife: (New) Town and (Old) Country; 2. The soundscape and cosmology of the Norwegian band Wardruna: Guardians of runes and makers of memories; 3. Pastoral longing in popular music: From Skye to Tennessee; 4. Composing archaeology: The problems of recreating heritage in music; 5. Space and place in English morris dance; 6. Heritage culture and artistic reciprocity: Remediating the mythical; II. On & On: Cities/Industry/Infrastructure; 7. Decentring Liverpool’s popular music heritage: Routes Jukebox; 8. Music and Community in 1980s Malta: the unconventional heritage of Fort Tigné; 9. The City as Archive: How industry and electronic music forged Sheffield's sonic identity; 10. Music heritage, cultural justice and the Steel City: archiving and curating popular music history in Wollongong, Australia; 11. House music, Chicago and the uncomfortable heritage of racial segregation; 12. Intersections of genre, heritage, and place in the New Wave of American Heavy Metal; III. Interzone: Comparative Notes on a Northern Town; 13. How a Northern Quarter music venue was crucial in the reinterpretation of 19th-century Broadside Ballads: Manchester’s Improving Daily; 14. Community archaeology, identity and the excavation of Manchester’s Reno Nightclub; 15. Morrissey, memory and traces of lost time in Manchester: from the archive to the anti-archive; IV. No Future: Remembrance; 16. Hardcore heritage: consecrating the northern anxiety of Terveet Kädet; 17. Historically Authentic Truths (the HAT trick): facts, fancies, and footnotes; 18. Relating ruin experience with the creative process in Radcliffe Tower: Redirected Reflections; 19. An experimental approach to heritage and music through a SOUNDmound at Sandby borg, Sweden: developments in method and practice; 20. Hearing the past in the present: an augmented reality approach to site reconstruction through architecturally informed new music; 21. Station to station: rock music memorial roots and routes in London

Liam Maloney is an Associate Lecturer in Music and Sound Recording in the Music Research Centre at the University of York (UK). John Schofield is Director of Studies in Cultural Heritage Management in the Department of Archaeology at the University of York (UK).

'In this ground-breaking and thoughtful volume, Liam Maloney and John Schofield have brought together a series of excellent contributions that focus on the role of sound and sonic identity in a wide-ranging set of environments. Some of the case studies focus on rural, urban, and deindustrialized landscapes and others concentrate on particular soundscapes such as music making venues, and places of commemoration, memory, and archiving. Within the volume is a sort of mini monograph, an intensive multi-angled examination of the sonic environments of Manchester, UK. The work offers new and original insights into what heritage can do and be as the volume shifts effortlessly between tangible and intangible heritage. The book reorients the scope of heritage research in a manner that will be of great interest to scholars, students, and anyone interested in the many ways that sound is threaded through human experience.'~Carolyn L. White, University of Nevada, USA 'Music and Heritage is an exciting and timely contribution to understanding the significance of popular music as cultural heritage. This collection includes an impressive range of international perspectives, capturing the dynamic interactions between time, place, and music as makers of local and global identities. Accessibly written and engaging, Music and Heritage draws original parallels with archaeology and frames the concept of heritage as a living archive. For academic researchers, cultural workers, and music audiences, this book can expand intellectual horizons and inform creative ideas.'~Dr Asya Draganova, Birmingham City University, UK 'At a time when the culture sector is under increasing threat, this collection offers fresh perspectives on music heritage and how music shapes and is shaped by place. Particularly welcome is its examination of heritage through a focus on sound and sound-making, and through cross-disciplinary approaches and perspectives. The contributors cover a wide range of topics, from English Morris dancing to Chicago House Music, and the chapters are engaging and accessible. Together, they illustrate the importance of sonic identity for characterising places, and enable music heritage to be discussed in relation to the iconic and everyday, the tangible and intangible. The book will be essential reading for students and researchers working across a range of disciplines, and interested in music, sound, place-making and cultural heritage.'~Sara Cohen, University of Liverpool, UK

• 1. Sonic identity and the making of heritage: ‘This must be the place’; I. Parklife: (New) Town and (Old) Country; 2. The soundscape and cosmology of the Norwegian band Wardruna: Guardians of runes and makers of memories; 3. Pastoral longing in popular music: From Skye to Tennessee; 4. Composing archaeology: The problems of recreating heritage in music; 5. Space and place in English morris dance; 6. Heritage culture and artistic reciprocity: Remediating the mythical; II. On & On: Cities/Industry/Infrastructure; 7. Decentring Liverpool’s popular music heritage: Routes Jukebox; 8. Music and Community in 1980s Malta: the unconventional heritage of Fort Tigné; 9. The City as Archive: How industry and electronic music forged Sheffield's sonic identity; 10. Music heritage, cultural justice and the Steel City: archiving and curating popular music history in Wollongong, Australia; 11. House music, Chicago and the uncomfortable heritage of racial segregation; 12. Intersections of genre, heritage, and place in the New Wave of American Heavy Metal; III. Interzone: Comparative Notes on a Northern Town; 13. How a Northern Quarter music venue was crucial in the reinterpretation of 19th-century Broadside Ballads: Manchester’s Improving Daily; 14. Community archaeology, identity and the excavation of Manchester’s Reno Nightclub; 15. Morrissey, memory and traces of lost time in Manchester: from the archive to the anti-archive; IV. No Future: Remembrance; 16. Hardcore heritage: consecrating the northern anxiety of Terveet Kädet; 17. Historically Authentic Truths (the HAT trick): facts, fancies, and footnotes; 18. Relating ruin experience with the creative process in Radcliffe Tower: Redirected Reflections; 19. An experimental approach to heritage and music through a SOUNDmound at Sandby borg, Sweden: developments in method and practice; 20. Hearing the past in the present: an augmented reality approach to site reconstruction through architecturally informed new music; 21. Station to station: rock music memorial roots and routes in London