Richard Middleton is Emeritus Professor of Music at Newcastle University, UK

• Contents: Introduction; Selected bibliography; All shook up? Innovation and continuity in Elvis Presley's vocal style; Articulating musical meaning/reconstructing musical history/locating the popular; Authorship, gender and the construction of meaning in the Eurythmics' hit recordings; The 'problem' of popular music; Were the Rockers right? Revolution and legitimation in British pop music of the 1960s; Musical belongings: Western music and its low-other; Work-in(g)-practice: configurations of the popular music intertext; Locating the people: music and the popular; Performing culture, appropriating the phallus; The real thing? The spectre of authenticity in modern musical thought; 'Last night a DJ saved my life': avians, cyborgs and gendered bodies in the era of phonographic technology; O Brother, let's go down home: loss, nostalgia and the Blues; Mum's the word: men's singing and maternal law; Global, national, local: or, a hysteric's account of negative dialectics; Jazz: music of the multitude?; Vox populi, vox dei or, imagine, I'm losing my religion (hallelujah!): musical politics after God; Index.

Richard Middleton is Emeritus Professor of Music at Newcastle University, UK

• Contents: Introduction; Selected bibliography; All shook up? Innovation and continuity in Elvis Presley's vocal style; Articulating musical meaning/reconstructing musical history/locating the popular; Authorship, gender and the construction of meaning in the Eurythmics' hit recordings; The 'problem' of popular music; Were the Rockers right? Revolution and legitimation in British pop music of the 1960s; Musical belongings: Western music and its low-other; Work-in(g)-practice: configurations of the popular music intertext; Locating the people: music and the popular; Performing culture, appropriating the phallus; The real thing? The spectre of authenticity in modern musical thought; 'Last night a DJ saved my life': avians, cyborgs and gendered bodies in the era of phonographic technology; O Brother, let's go down home: loss, nostalgia and the Blues; Mum's the word: men's singing and maternal law; Global, national, local: or, a hysteric's account of negative dialectics; Jazz: music of the multitude?; Vox populi, vox dei or, imagine, I'm losing my religion (hallelujah!): musical politics after God; Index.

Richard Middleton is Emeritus Professor of Music at Newcastle University, UK

• Contents: Introduction; Selected bibliography; All shook up? Innovation and continuity in Elvis Presley's vocal style; Articulating musical meaning/reconstructing musical history/locating the popular; Authorship, gender and the construction of meaning in the Eurythmics' hit recordings; The 'problem' of popular music; Were the Rockers right? Revolution and legitimation in British pop music of the 1960s; Musical belongings: Western music and its low-other; Work-in(g)-practice: configurations of the popular music intertext; Locating the people: music and the popular; Performing culture, appropriating the phallus; The real thing? The spectre of authenticity in modern musical thought; 'Last night a DJ saved my life': avians, cyborgs and gendered bodies in the era of phonographic technology; O Brother, let's go down home: loss, nostalgia and the Blues; Mum's the word: men's singing and maternal law; Global, national, local: or, a hysteric's account of negative dialectics; Jazz: music of the multitude?; Vox populi, vox dei or, imagine, I'm losing my religion (hallelujah!): musical politics after God; Index.