This is a multilingual volume, written by a group of transnational scholars, with chapters in German and English. It comprises chapters about heterogeneous popular music practices, largely, but not exclusively, from Europe. Addressing the relation between popular music practices and political struggles, postcolonialities, dense and layered urban settings and a certain understanding of cultural heritage, this volume turns noise into sound, revealing the invisible landscapes of Europe.

Popular music is as much about places as it is about sounds.

Its production is forged in studios, rehearsal areas and bedrooms, places often mythologised in popular music history. Popular music is also recorded using studio techniques designed to recreate space, through reverb and other effects. Its collective consumption happens in concert halls, clubs and bars while its individual consumption takes place in streets, homes and at bus stops; all physical places. In addition, popular music often represents or sounds like certain urban or rural, real or imagined places of various scales. These places are often invisible, intangible and hidden behind the music, or recreated on record covers and music videos.

This is a multilingual volume, written by a group of transnational scholars, with chapters in German and English. It comprises chapters about heterogeneous popular music practices, largely, but not exclusively, from Europe. Addressing the relation between popular music practices and political struggles, postcolonialities, dense and layered urban settings and a certain understanding of cultural heritage, this volume turns noise into sound, revealing the invisible landscapes of Europe.

Autorentext
Giacomo Bottà is adjunct professor in urban studies at the University of Helsinki. Between 2010 and 2012 he was Von Humboldt Foundation experienced researcher at the Deutsches Volksliedarchiv in Freiburg (now Zentrum für Populäre Kultur und Musik - University of Freiburg). His main interests are urban culture and popular music in Europe at a comparative level. Giacomo Bottà is adjunct professor in urban studies at the University of Helsinki. Between 2010 and 2012 he was Von Humboldt Foundation experienced researcher at the Deutsches Volksliedarchiv in Freiburg (now Zentrum für Populäre Kultur und Musik - University of Freiburg). His main interests are urban culture and popular music in Europe at a comparative level. Thomas Burkhalter ist Musikethnologe und Gründer/Chefredakteur von Norient, dem Network for Local and Global Sounds and Media Culture (www.norient.com). Sein Buch Local Music Scenes and Globalization: Transnational Platforms in Beirut ist 2013 bei Routledge erschienen, sein co-editiertes Buch The Arab Avant-Garde: Music, Politics and Modernity erschien 2013 bei Wesleyan University Press. Christina M. Heinen ist Musikethnologin, freie Autorin und Künstlerin. Sie ist Assoziierte des Georg-Simmel-Zentrums für Metropolenforschung an der Humboldt-Universität zu Berlin. Ihre anthropologischen Untersuchungen konzentrieren sich auf den Stadtraum. Für ihre Website www.coconut-farm.org gestaltet sie Cartoons, Plattencover und Comics. Zudem wirkt sie regelmäßig als Texterin und Musikerin in diversen Musik- und Radioprojekten mit. Sie zeichnete das Titelbild für das vorliegende Buch. Fernand Hörner ist Professor für Kulturwissenschaft, insbesonderefür Sozio-, Trans- und Medienkultur, an der Hochschule Düsseldorf. Zuvor war er Stellvertretender Kommissarischer Leiter des Deutschen Volksliedarchivs, an dessen Weiterentwicklung zum Zentrum für Populäre Kultur und Musik er maßgeblich beteiligt war. Er ist Mitherausgeber des Songlexikons. Meri Kytö is a post-doctoral researcher in music studies at the School of Communication, Media and Theatre at the University of Tampere, Finland. Carlo Nardi received his PhD in Sciences of Music from the University of Trento in 2005. He is Research Associate at Rhodes University and teaches at CDM - Centro Didattico MusicaTeatroDanza. His work has focused on the use of technology from a sensory perspective, authorship in relation to technological change, the organization of labour in music-making and screen sound. Between 2011 and 2013 he was General Secretary of IASPM, the International Association for the Study of Popular Music. Leonard Nevarez is a Professor of Sociology at Vassar College. He writes in the fields of urban studies and social theory and blogs at musicalurbanism.org E. Sirin Özgün teaches at Istanbul Technical University (ITU), the Turkish Music State Conservatory Musicology Department and the ITU Centre for Advanced Studies in Music. Philipp Rhensius ist Autor, Soziologe & Musikwissenschaftler (Magister), Musiker (Kl.ne, aphtc, INRA) und Redakteur (Norient Magazine, Kunst+Film). Seine Interessen umkreisen Musik, die Politik des Alltags, Filme, Literatur, Philosophie, Metanoia und Pareidolie. Seine Texte erscheinen u.a. in: Taz, Spex, Süddeutsche, FAZ und diversen Buchbänden.

Zusammenfassung
In total, this edited volume provides valuable insights into the interrelation of music and its places of production and performance. [...] This edited collection offers many interesting case studies for urban and popular music studies that can be valuable for further theoretical work. Jan Peter Herbst in: Journal of the International Association for the Study of Popular Music, 1/2017.