The relationship among music, politics, and the economy has been an object of intense interest for critical scholars of music from Theodor Adorno onwards. The seemingly wholesale transformation of politics, the economy, and the arts following the so-called neoliberal turn has only made the topic more alluring, and more difficult to account for. Where we once found musicians we now encounter arts-entrepreneurs. Instead of listening to musical genres we now hear brands with musical features. And where we once might have indulged fantasies about (nonexistent) realms of musical transcendence and/or authenticity it is now impossible to deny that any and all musical sounds that reach our...

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