Shane Homan is Associate Professor of Media, Film, and Journalism at Monash University, Australia. He is a leading international researcher on the music industries and music policy, including work with various Australian governments. He is the co-author of Popular Music and the State (2015), and co-editor of Popular Music and Cultural Policy (2015), Sounds of Then, Sounds of Now (2008), and Access All Eras (2006).

The Bloomsbury Handbook of Popular Music Policy is a fascinating deep dive into the efficacy of popular music policy. From the behaviour of audiences, ownership and streaming to Brexit, creative industries and urban regeneration, it offers a brilliant documentation of the factors affecting policy decisions and the impact of those decisions. I highly recommend this book as an important addition to this area of research and an excellent set text for the study of popular music.

• List of FiguresNotes on ContributorsAcknowledgements1. Introduction: Situating Popular Music PolicyShane Homan, Monash University, AustraliaPart I: Policy Contexts2. Distributing Rights and Resources: The Cultural Politics of Popular Music Policy John Street, University of East Anglia, UK3. The presence and Absence of Policy in the Digital Music Industries Daniel Nordgård, University of Agder, Norway4. Property or Status? Music and Musicians Under CopyrightThomas Dillon, Barrister, UKPart II: Policy Sectors5. Conceptualising Popular Music's Heritage as an Object of Policy: Preservation, Performance and Promotion Paul Long, Monash University, Australia, Zelmarie Cantillon, Western Sydney University, Australia, and Sarah Baker, Griffith University, Australia6. Popular Music, Policy and EducationGareth Dylan Smith, Boston University, USA, and Zack Moir, Edinburgh Napier University, UK7. Music ExportsShane Homan, Monash University, Australia8. Broadcasting and Popular Music PolicyMark Percival, Queen Margaret University, UK9. Live Music InfrastructureAdam Behr, Newcastle University, UKPart III: National Policy10. Audible, Visible and Experiential: Reflections on South Korean Popular Music PolicySoojin Kim, Korea National University of Arts, South Korea11. The Canadian Conundrum: Robust Policies Catching Up with the TimesRichard Sutherland, Mount Royal University, Canada12. The New Great Leap Forward of China: National and Local Music Policy in ChengduQian Wang, Yibin University, China13. Australian Popular Music PolicySarah Taylor, RMIT University, Australia, and Shane Homan, Monash University, Australia14. More Than Dots on Maps: Locating Live Venues in the German Music Policy FrameworkNiklas Blömeke, Paderborn University, Germany; Jan Üblacker, EBZ Business School, University of Applied Science, Bochum, Germany' Johannes Krause, Heinrich-Heine-University, Düsseldorf, Germany; Heiko Rühl, Independent Scholar, Germany; and Katharina Huseljic, Independent Scholar, Germany15. From National Identity to the Well-Being of Future Generations: Popular Music Within Devolved Welsh Policy-Making Between 1999-2020Luke Thomas, Independent Scholar, UK, and Paul Carr, University of South Wales, UKPart IV: Contemporary Debates16. Ticketing: Why Is It a Problem?Mike Waterson, University of Warwick, UK17. Gender and Popular Music PolicySam de Boise, Örebro University, Sweden, Maura Edmond, Monash University, Australia, and Catherine Strong, RMIT University, Australia18. When Music Becomes Datafied: Streaming Services and the Case of SpotifyJonas Anderson Schwarz, Södertörn University, Sweden, and Sofia Johanssson, Sodertorn University, Sweden19. Music CitiesSarah Taylor, RMIT University, Australia20. Brexit and the UK Live Music IndustryPatrycja Rozbicka, Aston University, Birmingham, UK, Adam Behr, Newcastle University, UK, and Craig Hamilton, Birmingham City University, UKBibliographyIndex

Shane Homan is Associate Professor of Media, Film, and Journalism at Monash University, Australia. He is a leading international researcher on the music industries and music policy, including work with various Australian governments. He is the co-author of Popular Music and the State (2015), and co-editor of Popular Music and Cultural Policy (2015), Sounds of Then, Sounds of Now (2008), and Access All Eras (2006).

The Bloomsbury Handbook of Popular Music Policy is a fascinating deep dive into the efficacy of popular music policy. From the behaviour of audiences, ownership and streaming to Brexit, creative industries and urban regeneration, it offers a brilliant documentation of the factors affecting policy decisions and the impact of those decisions. I highly recommend this book as an important addition to this area of research and an excellent set text for the study of popular music.

• List of FiguresNotes on ContributorsAcknowledgements1. Introduction: Situating Popular Music PolicyShane Homan, Monash University, AustraliaPart I: Policy Contexts2. Distributing Rights and Resources: The Cultural Politics of Popular Music Policy John Street, University of East Anglia, UK3. The presence and Absence of Policy in the Digital Music Industries Daniel Nordgård, University of Agder, Norway4. Property or Status? Music and Musicians Under CopyrightThomas Dillon, Barrister, UKPart II: Policy Sectors5. Conceptualising Popular Music's Heritage as an Object of Policy: Preservation, Performance and Promotion Paul Long, Monash University, Australia, Zelmarie Cantillon, Western Sydney University, Australia, and Sarah Baker, Griffith University, Australia6. Popular Music, Policy and EducationGareth Dylan Smith, Boston University, USA, and Zack Moir, Edinburgh Napier University, UK7. Music ExportsShane Homan, Monash University, Australia8. Broadcasting and Popular Music PolicyMark Percival, Queen Margaret University, UK9. Live Music InfrastructureAdam Behr, Newcastle University, UKPart III: National Policy10. Audible, Visible and Experiential: Reflections on South Korean Popular Music PolicySoojin Kim, Korea National University of Arts, South Korea11. The Canadian Conundrum: Robust Policies Catching Up with the TimesRichard Sutherland, Mount Royal University, Canada12. The New Great Leap Forward of China: National and Local Music Policy in ChengduQian Wang, Yibin University, China13. Australian Popular Music PolicySarah Taylor, RMIT University, Australia, and Shane Homan, Monash University, Australia14. More Than Dots on Maps: Locating Live Venues in the German Music Policy FrameworkNiklas Blömeke, Paderborn University, Germany; Jan Üblacker, EBZ Business School, University of Applied Science, Bochum, Germany' Johannes Krause, Heinrich-Heine-University, Düsseldorf, Germany; Heiko Rühl, Independent Scholar, Germany; and Katharina Huseljic, Independent Scholar, Germany15. From National Identity to the Well-Being of Future Generations: Popular Music Within Devolved Welsh Policy-Making Between 1999-2020Luke Thomas, Independent Scholar, UK, and Paul Carr, University of South Wales, UKPart IV: Contemporary Debates16. Ticketing: Why Is It a Problem?Mike Waterson, University of Warwick, UK17. Gender and Popular Music PolicySam de Boise, Örebro University, Sweden, Maura Edmond, Monash University, Australia, and Catherine Strong, RMIT University, Australia18. When Music Becomes Datafied: Streaming Services and the Case of SpotifyJonas Anderson Schwarz, Södertörn University, Sweden, and Sofia Johanssson, Sodertorn University, Sweden19. Music CitiesSarah Taylor, RMIT University, Australia20. Brexit and the UK Live Music IndustryPatrycja Rozbicka, Aston University, Birmingham, UK, Adam Behr, Newcastle University, UK, and Craig Hamilton, Birmingham City University, UKBibliographyIndex