Setting out to address a range of approaches to theorizing music and promulgating modes of analysis across a wide range of repertories, the essays in this collection can be read as a coming of age of critical musicology through its active dialogue with other disciplines such as sociology, feminism, ethnomusicology, history, anthropology, philosophy, cultural studies, aesthetics, media studies, film music studies, and gender studies. The volume provides music researchers and graduate students with an up to date authoritative reference to all matters dealing with the state of critical musicology today.

Festschrift; List of Publications by Derek Scott; Great, Scott!, Stan Hawkins; Evidence of things not seen: history, subjectivities, music, Susan McClary; Musical identities, learning and education: some cross-cultural issues, Lucy Green; Bela Bartok: reintegrating the semantic and syntactic axes in Duke Bluebeard's Castle, David Cooper; Amusing the cultivated classes and cultivating the masses: changes in concert repertoires in 19th-century Helsinki, Vesa Kurkela; From schizophonia to paraphonia: on the cultural matrix of digitally generated pop-sounds, Peter Wicke; Material culture and decentred selfhood (socio-visual typologies of musical excess), Richard Leppert; 'As fast as one possibly can...': virtuosity, a truth of musical performance?, Antoine Hennion; On music criticism and affect: two cases of the disaffected acoustic imaginary, John Richardson; The development of Bob Dylan's rhythmic sense: 'the times they were a'changin' (1958-1964), Charles Ford; How genres are born, change, die: conventions, communities and diachronic processes, Franco Fabbri; Anatomy of the encounter: intercultural analysis as relational musicology, Nicholas Cook; One way of feeling: contextualizing a hermeneutics of spatialization, Allan F. Moore; The virtuoso body, or, the two births of musical performance, Lawrence Kramer; Epilogue, Sheila Whiteley; Index.