Motti Regev is professor of sociology at The Open University of Israel where he works on the sociology of culture and art and popular music studies.

"Spirited, thought-provoking and replete with original perspectives that use music as a prism for understanding cultural politics and cross-border impact on traditional art forms."The Hindu "A very fine piece of work, which makes an original contribution both to our understanding of popular music and to our understanding of the global cultural order. It provides a new perspective on how sounds are produced, circulated and experienced."John Street, University of East Anglia"In this highly original book, Professor Regev considers how exploring pop-rock both taps and enriches sociological theory. Regev�s study is both empirically nuanced and theoretically sophisticated. It illuminates music as a fundamental and dynamic material of social life. As Regev shows, pop-rock�s emergence is nothing less than the re-figuration of world culture."Tia DeNora, Exeter University"Motti Regev expertly provides a much needed take on pop-rock, the field(s) in which it is produced and enjoyed, and its global diffusion. He uses the case of pop-rock to cast empirical light on aesthetic cosmopolitanism and artistic legitimation. The result is a book that is highly informative and refreshingly engaging."Professor Timothy Dowd, Emory University"This is an exceedingly important book. It really does move the fields of music and sociology on by showing how the figurative musical world we live in today is literally a musical world."Journal of World Popular Music

• Preface vii1 Theories and Concepts 1Aesthetic Cosmopolitanism: A Theoretical Framework 4Characterizing Aesthetic Cosmopolitanism 6Theoretical Framework 9Rock, Pop, and Popular Music 17Structure of the Book 23Methodological Note 262 Expressive Isomorphism 28Pop-Rock Styles and Genres 32Pop-Rock Divas 33Rock Auteurs 35Progressive Rock 37Punk and Metal 38Electronic Dance Music 40Hip-Hop 41Ethnic Rock/New Folk 43Dominance of the Musical Public Sphere 46Legitimation Discourse 50Ritual Classification: Tradition vs. Pop-Rock 52Ritual Periodization: The “Birth of Rock” 543 A Field of Cultural Production 57Working of the Field 59Production of Meaning 61Pop-Rock’s Ideology of Art 65Mechanisms of Change and Innovation 75Avant-Gardism 76Commercialism 78The Spiral of Expansion 80Structure of the Field 83National (Sub-) Fields of Pop-Rock Music 874 Long-Term Event of Pop-Rockization 91Events 93The Musical Event 95The Historical Musical Event of Pop-Rock 96Agency 97Early “Pre-History” 106Consecrated Beginning 108Consolidation and Rise to Dominance 113Diversification, Internationalization, Glorification 1175 Aesthetic Cultures 123Subcultural Scenes to Aesthetic Cultures 126Aesthetic Cultures 129Forms of Pop-Rock Knowledge 131Early Participation 133Global Microstructures 136Internet Platforms 138The Pop-Rock Intelligentsia 142Indie/Alternative Pop-Rock 142Alternative Pop-Rock on the Web 146An Extended Case: Israeli Cognoscenti 1486 Sonic Vocabularies, Spaces, and Bodies 158Sonic Vocabularies 161Tones and Timbres 162Museme Stacks and Strings 165Global Electro-Amplified Soundscapes 168Aesthetic Cosmopolitan Bodies 172Actants of Intercultural Phenomenological Proximity 177References 180Index 195

Motti Regev is professor of sociology at The Open University of Israel where he works on the sociology of culture and art and popular music studies.

"Spirited, thought-provoking and replete with original perspectives that use music as a prism for understanding cultural politics and cross-border impact on traditional art forms."The Hindu "A very fine piece of work, which makes an original contribution both to our understanding of popular music and to our understanding of the global cultural order. It provides a new perspective on how sounds are produced, circulated and experienced."John Street, University of East Anglia"In this highly original book, Professor Regev considers how exploring pop-rock both taps and enriches sociological theory. Regev�s study is both empirically nuanced and theoretically sophisticated. It illuminates music as a fundamental and dynamic material of social life. As Regev shows, pop-rock�s emergence is nothing less than the re-figuration of world culture."Tia DeNora, Exeter University"Motti Regev expertly provides a much needed take on pop-rock, the field(s) in which it is produced and enjoyed, and its global diffusion. He uses the case of pop-rock to cast empirical light on aesthetic cosmopolitanism and artistic legitimation. The result is a book that is highly informative and refreshingly engaging."Professor Timothy Dowd, Emory University"This is an exceedingly important book. It really does move the fields of music and sociology on by showing how the figurative musical world we live in today is literally a musical world."Journal of World Popular Music

• Preface vii1 Theories and Concepts 1Aesthetic Cosmopolitanism: A Theoretical Framework 4Characterizing Aesthetic Cosmopolitanism 6Theoretical Framework 9Rock, Pop, and Popular Music 17Structure of the Book 23Methodological Note 262 Expressive Isomorphism 28Pop-Rock Styles and Genres 32Pop-Rock Divas 33Rock Auteurs 35Progressive Rock 37Punk and Metal 38Electronic Dance Music 40Hip-Hop 41Ethnic Rock/New Folk 43Dominance of the Musical Public Sphere 46Legitimation Discourse 50Ritual Classification: Tradition vs. Pop-Rock 52Ritual Periodization: The “Birth of Rock” 543 A Field of Cultural Production 57Working of the Field 59Production of Meaning 61Pop-Rock’s Ideology of Art 65Mechanisms of Change and Innovation 75Avant-Gardism 76Commercialism 78The Spiral of Expansion 80Structure of the Field 83National (Sub-) Fields of Pop-Rock Music 874 Long-Term Event of Pop-Rockization 91Events 93The Musical Event 95The Historical Musical Event of Pop-Rock 96Agency 97Early “Pre-History” 106Consecrated Beginning 108Consolidation and Rise to Dominance 113Diversification, Internationalization, Glorification 1175 Aesthetic Cultures 123Subcultural Scenes to Aesthetic Cultures 126Aesthetic Cultures 129Forms of Pop-Rock Knowledge 131Early Participation 133Global Microstructures 136Internet Platforms 138The Pop-Rock Intelligentsia 142Indie/Alternative Pop-Rock 142Alternative Pop-Rock on the Web 146An Extended Case: Israeli Cognoscenti 1486 Sonic Vocabularies, Spaces, and Bodies 158Sonic Vocabularies 161Tones and Timbres 162Museme Stacks and Strings 165Global Electro-Amplified Soundscapes 168Aesthetic Cosmopolitan Bodies 172Actants of Intercultural Phenomenological Proximity 177References 180Index 195

Motti Regev is professor of sociology at The Open University of Israel where he works on the sociology of culture and art and popular music studies.

"Spirited, thought-provoking and replete with original perspectives that use music as a prism for understanding cultural politics and cross-border impact on traditional art forms."The Hindu "A very fine piece of work, which makes an original contribution both to our understanding of popular music and to our understanding of the global cultural order. It provides a new perspective on how sounds are produced, circulated and experienced."John Street, University of East Anglia"In this highly original book, Professor Regev considers how exploring pop-rock both taps and enriches sociological theory. Regev�s study is both empirically nuanced and theoretically sophisticated. It illuminates music as a fundamental and dynamic material of social life. As Regev shows, pop-rock�s emergence is nothing less than the re-figuration of world culture."Tia DeNora, Exeter University"Motti Regev expertly provides a much needed take on pop-rock, the field(s) in which it is produced and enjoyed, and its global diffusion. He uses the case of pop-rock to cast empirical light on aesthetic cosmopolitanism and artistic legitimation. The result is a book that is highly informative and refreshingly engaging."Professor Timothy Dowd, Emory University"This is an exceedingly important book. It really does move the fields of music and sociology on by showing how the figurative musical world we live in today is literally a musical world."Journal of World Popular Music

• Preface vii1 Theories and Concepts 1Aesthetic Cosmopolitanism: A Theoretical Framework 4Characterizing Aesthetic Cosmopolitanism 6Theoretical Framework 9Rock, Pop, and Popular Music 17Structure of the Book 23Methodological Note 262 Expressive Isomorphism 28Pop-Rock Styles and Genres 32Pop-Rock Divas 33Rock Auteurs 35Progressive Rock 37Punk and Metal 38Electronic Dance Music 40Hip-Hop 41Ethnic Rock/New Folk 43Dominance of the Musical Public Sphere 46Legitimation Discourse 50Ritual Classification: Tradition vs. Pop-Rock 52Ritual Periodization: The “Birth of Rock” 543 A Field of Cultural Production 57Working of the Field 59Production of Meaning 61Pop-Rock’s Ideology of Art 65Mechanisms of Change and Innovation 75Avant-Gardism 76Commercialism 78The Spiral of Expansion 80Structure of the Field 83National (Sub-) Fields of Pop-Rock Music 874 Long-Term Event of Pop-Rockization 91Events 93The Musical Event 95The Historical Musical Event of Pop-Rock 96Agency 97Early “Pre-History” 106Consecrated Beginning 108Consolidation and Rise to Dominance 113Diversification, Internationalization, Glorification 1175 Aesthetic Cultures 123Subcultural Scenes to Aesthetic Cultures 126Aesthetic Cultures 129Forms of Pop-Rock Knowledge 131Early Participation 133Global Microstructures 136Internet Platforms 138The Pop-Rock Intelligentsia 142Indie/Alternative Pop-Rock 142Alternative Pop-Rock on the Web 146An Extended Case: Israeli Cognoscenti 1486 Sonic Vocabularies, Spaces, and Bodies 158Sonic Vocabularies 161Tones and Timbres 162Museme Stacks and Strings 165Global Electro-Amplified Soundscapes 168Aesthetic Cosmopolitan Bodies 172Actants of Intercultural Phenomenological Proximity 177References 180Index 195