This innovative collection of articles offers a major comprehensive overview of new developments in cultural theory as applied to western music. Addressing a broad range of primarily 20th century music, the authors examine two related phenomena: musical borrowing or appropriations, and how music has been used to construct, evoke, or represent difference of a musical or a socio-cultural kind. The essays scrutinise a diverse body of music and discuss a range of significant examples, among them musical modernism's idealising or ambivalent relations with popular, ethnic, and non-western music; exoticism and orientalism in the experimental music tradition; the representation of others in Hollywood film music; music's role in the formation and contestation of collective identities, with reference to Jewish and Turkish popular music; and issues of representation and difference in jazz, world music, hip, hop, and electronic dance music. Written by leading scholars from disciplines including historical musicology, sociology, ethno-musicology, anthropology, popular music studies and film studies, the essays provide unprecedented insights into how cultural identities and differences are const