Holly Rogers is Reader in Music at Goldsmiths, University of London, UK, where she directs the MA Music (Audiovisual Cultures). She is author of Sounding the Gallery: Video and the Rise of Art-Music and Twentieth Century Music in the West, and editor of 4 collections on audiovisual topics from the music and sound of documentary and experimental film to transmedia and cybermedia. Holly is co-founding editor of this Bloomsbury book series and the journal Sonic Scope.João Francisco Porfírio is currently a PhD candidate in Musicology at NOVA FCSH and a FCT PhD grant holder (SFRH/BD/136264/2018). He completed his Master's in Musical Arts at the same institution. He is a researcher at CESEM, in the Group of Critical Theory and Communication (GTCC) where he develops research on issues related to ambient music and soundscapes of domestic everyday life.Joana Freitas is a PhD candidate in Musicology at the School of Social Sciences and Humanities of the NOVA University of Lisbon, Portugal, with a FCT PhD Scholarship (SFRH/BD/139120/2018). She is an integrated researcher of the Centre for the Study of the Sociology and Aesthetics of Music (CESEM) and a member of the Group of Critical Theory and Communication (GTCC), researching on video game music and audiovisual media.

YouTube has been part of our lives for a long time now, and it is not going anywhere. YouTube and Music compellingly captures why that is the case, by providing a collection of very rich and detailed analyses of the complex and multiple contemporary configurations of the platform. The volume will be of interest to all who use YouTube on a regular basis, and who are interested in understanding how the platform has molded itself to an ever-changing media and cultural landscape.

• PrefaceJean Burgess, Digital Media Research Centre, Queensland University of Technology, AustraliaForeword: “Like, Share and Subscribe”: Finding the Music in YouTube's HistoryJoana Freitas, CESEM - NOVA FCSH, Portugal, and João Francisco Porfírio, CESEM - NOVA FCSH, PortugalIntroduction: “Welcome to your world”: YouTube and the Reconfiguration of Music's GatekeepersHolly Rogers, Goldsmiths, University of London, UKTransmedia, Performance and Digital Stages1. “Musical Personae” 2.0: The Representation and Self-Portrayal of Music Performers on YouTubeJuri Giannini, University of Music and Performing Arts of Vienna, Austria2. Quare(-in) the Mainstream: YouTube, Social Media and Augmented Realities in Lil Nas X's MONTEROEmily Thomas, Goldsmiths, University of London, UK3. “Social Composing” and “Contextual Music”: Transmedial Relations Through New Media in Jagoda Szmytka's LOST PLAYWeronika Nowak, Adam Mickiewicz University, Poland4. YouTube Logics and the Extraction of Musical Space in San Juan's La Perla and Kingston's Fleet StreetOfer Gazit and Elisa Bruttomesso, Tel Aviv University, IsraelPedagogy and Interpretation5. Watching it All Through a Screen: YouTube as a Teaching Aid for Music CompositionJoão Ricardo, CESEM - Universidade de Évora, Portugal6. The New Language of Music Theory in the Digital AgeJohn Moore, University of Liverpool, UK7. m??Re tH@n WorD$: Aspects and Appeals of the Lyric VideoCarol Vernallis, Stanford, USA, Laura McLaren, University of Toronto, Canada, Virginia Kuhn, USC School of Cinematic Arts, USA, and Martin P. Rossouw, University of the Free State, South AfricaMusic Listening and Circulation8. The Circulation of User-Appropriated Music Content on YouTubeSylvain Martet, Université du Quebec, Canada9. Musical Playlisting and Curation on YouTube: What do Algorithms Know About Music?Vinícius de Aguiar, CFCUL, Portugal10. YouTube and the Sonification of Domestic Everyday LifeJoão Francisco Porfírio, CESEM - NOVA FCSH, Portugal11. 'Talking' About Music: The Emotional Content of Comments on YouTube VideosAlexandra Lamont, Keele University, UK, Scott Bannister, University of Leeds, UK, and Eduardo Coutinho, University of Liverpool, UK12. Exploring Time-Coded Comments on YouTube Music Videos of 'Top 40' Pop, 2000–2020Eamonn Bell, University of Durham, UKIndex