Popular Music is an international multi-disciplinary journal covering all aspects of the subject from the formation of social group identities through popular music, to the workings of the global music industry, or how particular pieces of music are put together. Relating to any kind of popular music, from the global commercial sphere to local folk or traditional music from any historical era or geographical location, the journal carries articles by scholars from a large variety of perspectives. Each issue contains substantial, authoritative and influential articles, shorter topical pieces, and reviews of a wide range of books. Recent thematic issues are on gender, sexuality and popular music, and music and television.

Cambridge University Press (www.cambridge.org) is the publishing division of the University of Cambridge, one of the world’s leading research institutions and winner of 81 Nobel Prizes. Cambridge University Press is committed by its charter to disseminate knowledge as widely as possible across the globe. It publishes over 2,500 books a year for distribution in more than 200 countries. Cambridge Journals publishes over 250 peer-reviewed academic journals across a wide range of subject areas, in print and online. Many of these journals are the leading academic publications in their fields and together they form one of the most valuable and comprehensive bodies of research available today. For more information, visit http://journals.cambridge.org.