Contents: Introduction; Part I Aesthetics and Authenticity: 'Sing it for me': posthuman ventriloquism in recent popular music, Joseph Auner; Art versus technology: the strange case of popular music, Simon Frith; Pearls and swine: the intellectuals and the mass media, Simon Frith and Jon Savage; Remodeling Britney Spears: matters of intoxication and mediation, Stan Hawkins and John Richardson; The production of success: an anti-musicology of the pop song, Antoine Hennion; In excess? Body genres, 'bad' music, and the judgment of audiences, Leslie M. Meier; Hits and misses: crafting a pop single for the top-40 market in the 1960s, Robert Toft. Part II Groove, Sampling and Production: Frank Sinatra: the television years – 1950–1960, Albert Auster; Mediating music: materiality and silence in Madonna's Don't Tell Me, Anne Danielsen and Arnt Maasø; Sample and hold: pop music in the digital age of reproduction, Andrew Goodwin; 'Caught in a whirlpool of aching sound': the production of dance music in Britain in the 1920s, Mark Hustwitt; Spice world: constructing femininity the popular way, Dafna Lemish; Modelling the groove: conceptual structure and popular music, Lawrence M. Zbikowski. Part III Subjectivity, Ethnicity and Politics: Like a virgin-mother? Materialism and maternalism in the songs of Madonna, Barbara Bradby; 'That ill, tight sound': telepresence and biopolitics in post-Timbaland rap production, Dale Chapman; Sex, pulp and critique, Eric F. Clarke and Nicola Dibben; Pop and the nation-state: towards a theorisation, Martin Cloonan; Believe? Vocoders, digitalized female identity and camp, Kay Dickinson; Music and Canadian nationhood post 9/11: an analysis of Music Without Borders: Live, Susan Fast and Karen Pegley; Black pop songwriting 1963–1966: an analysis of US top 40 hits by Cooke, Mayfield, Stevenson, Robinson, and Holland-Dozier-Holland, Jon Fitzgerald; 'A fifth of Beethoven': disco, classical music, and the politics of inclusion, Ken McLeod; 'The digital won't let me go': constructions of the virtual and the real in Gorillaz' Clint Eastwood, John Richardson; Navigating the 'channel': recent scholarship on African-American popular music, David Sanjek; Prince as queer poststructuralist, Robert Walser; Name index.