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David Hesmondhalgh, Why Music Matters, Wiley-Blackwell, August 2013.DescriptionIn what ways might music enrich the lives of people and of societies? What prevents it from doing so? Why Music Matters explores the role of music in our lives, and investigates the social and political significance of music in modern societies.First book of its kind to explore music through a variety of theories and approaches and unite these theories using one authoritative voiceCombines a broad yet theoretically sophisticated approach to music and society with real clarity and accessibilityA historically and sociologically informed understanding of music in relation to questions of social power and inequalityBy drawing on both popular and academic talk about a range of musical forms and practices, readers will engage with a wide musical terrain and a wealth of case studiesAuthor InformationDavid Hesmondhalgh is Professor of Media and Music Industries at the University of Leeds. He is the author of The Cultural Industries, now in its third edition (2013) and co-author (with Sarah Baker) of a study of working life in three cultural industries, including music, Creative Labour (2011). He is also the editor or co-editor of various collections, including Western Music and its Others (with Georgina Born, 2000) and Popular Music Studies (with Keith Negus, 2002). ContentsChapter 1       Music as Intimate and Social, Private and PublicChapter 2       Feeling and Flourishing2.1 Music, affect, emotion2.2 Emotions, narrative play and music2.3 Human flourishing, aesthetic experience and music2.4 Musical flourishing beyond contemplative cultivation2.5 Musical aesthetics and bodily experience: dancing2.6 Approaches to music and emotion in everyday life: contributions and limitations2.7 Problems of self-realisation in modern life and their relation to music2.8 Competitive individualism and status competition through music2.9 Review: music’s constrained enrichment of livesChapter 3       Love and Sex3.1 Sex and love and rock and roll3.2 Two approaches to music, sex and sexuality3.3 The pop-rock divide and rock’s sexual politics3.4 Post-war pop’s emotional resources3.5 Sex and love on the dance floor3.6 Critiques of countercultural sexual freedom3.7 Sex and love in punk, alternative rock and metal3.8 Sexuality in twenty first century pop3.9 Black music and racialised sexualityChapter 4       Sociability and Place4.1 Ways of being together: forms of publicness4.2 Celebrations of musical participation and their limitations4.3 That syncing feeling4.4 Ordinary sociability I: singing together4.5 Ordinary sociability II: dancing together4.6 Playing together: amateur musicians4.7 Theorising positive musical sociality4.8 Spectres of capitalist modernity revisited: class and inequality4.9 Uneven musical development4.10 Elements of thriving musical places4.11 Quality of working life of professional musiciansChapter 5       Commonality and Cosmopolitanism5.1 Mediated commonality in modern societies5.2 Aesthetic experience and aspirations to commonality5.3 Redeeming aesthetic experience?5.4 Talk about music, what it tells us, and what it doesn’t5.5 Music, politics and publicness5.6 Communities of shared taste? Subcultures, scenes and fans5.7 Nations, ethnicity, cosmopolitanism5.8 Rock as cosmopolitanism?5.9 Complexities of music and nation5.10 Strange journeys: working-class and ethnic musics become national musics5.11 Sentimental citizenship5.12 Music, the nation and the popular5.13 Music of the African diaspora: life-affirming collectivity in decline?5.14 A critical defence of musichttp://www.wiley.com