Consolidates the research field of topic theory by clarifying its basic concepts and exploring its historical foundations.

With the ongoing development of algorithmic composition programs and communities of practice expanding, algorithmic music faces a turning point. Joining dozens of emerging and established scholars alongside leading practitioners in the field, chapters in this Handbook both describe the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music. Organized into four sections, chapters explore the music's history, utility, community, politics, and potential for mass consumption. Contributors address such issues as the role of algorithms as co-performers, live coding practices, and discussions of the algorithmic culture as it currently exists and what it can potentially contribute society, education, and ecommerce. Chapters engage particularly with post-human perspectives - what new musics are now being found through algorithmic means which humans could not otherwise have made - and, in reciprocation, how algorithmic music is being assimilated back into human culture and what meanings it subsequently takes. Blending technical, artistic, cultural, and scientific viewpoints, this Handbook positions algorithmic music making as an essentially human activity.

2) How has organization theory developed over time, and what structure has the field taken? What assumptions does knowledge produced in organization theory incorporate, and what forms do its knowledge claims take as they are put forward for public adoption? 3) How have certain well-known controversies in organization theory, such as for example, the structure/agency dilemma, the study of organizational culture, the different modes of explanation, the micro/macro controversy, and the differnet explanations produced by organizational economists and sociologists, been dealt with? 4) How, and in what ways, is knowledge generated in organization theory related to action? What features must organization theory knowledge have in order to be actionable, and of relevance to the world 'out there'? How have ethical concerns been taken into account in organization theory? 5) What is the future of organization theory? What direction should the field take? What must change in the way research is conducted and key theoretical terms are conceptualized so that organization theory enhances its capacity to generate valid and relevant knowledge?

In recent years neo-Riemannian theory has established itself as the leading approach of our time, and has proven particularly adept at explaining features of chromatic music. The Oxford Handbook of Neo-Riemannian Music Theories assembles an international group of leading music theory scholars in an exploration of the music-analytical, theoretical, and historical aspects of this new field.

Value theory, or axiology, looks at what things are good or bad, how good or bad they are, and, most fundamentally, what it is for a thing to be good or bad. Questions about value and about what is valuable are important to moral philosophers, since most moral theories hold that we ought to promote the good (even if this is not the only thing we ought to do). This Handbook focuses on value theory as it pertains to ethics, broadly construed, and provides a comprehensive overview of contemporary debates pertaining not only to philosophy but also to other disciplines-most notably, political theory and economics. The Handbook's twenty-two newly commissioned chapters are divided into three parts. Part I: Foundations concerns fundamental and interrelated issues about the nature of value and distinctions between kinds of value. Part II: Structure concerns formal properties of value that bear on the possibilities of measuring and comparing value. Part III: Extensions, finally, considers specific topics, ranging from health to freedom, where questions of value figure prominently.

Fifteen years ago, Jeffrey Jensen Arnett proposed emerging adulthood as a new life stage at ages 18-29, one distinct from both the adolescence that precedes it and the young adulthood that eventually follows. Rather than marrying and becoming parents in their early 20s, most people in developed countries now postpone these transitions until at least their late 20s, spending these years in self-focused explorations as they try out different possibilities in their education, careers, and relationships. Since Arnett proposed his theory of emerging adulthood in 2000, it has turned into a full-fledged academic field, and the ideas have been applied in practical areas as well, such as mental health and education. The Oxford Handbook of Emerging Adulthood brings together for the first time the wealth of theory and research that has developed in this new and burgeoning field. It includes chapters by many prominent scholars on a wide range of topics, such as brain development, relations with friends, relations with parents, expectations for marriage, sexual relationships, media use, substance use and abuse, and resilience. The chapters both summarize the existing research and point the way to new prospects for research in the years to come.

The Oxford Handbook of Cinematic Listening explores the intersection between the history of listening and the history of the moving image. Featuring established and emergent scholars from musicology, film studies, and literary studies, ethnomusicology and sound studies, popular music,sociology, media and communications, and psychology, this Handbook offers a wide range of case studies and methodological perspectives on the archaeologies, aesthetics, and extensions of cinematic listening.Chapters are structured around six themes: Part I ("Genealogies and Beginnings") considers film sound in light of pre-existing genres such as opera and shadow theatre, and explores changes in listening taking place at critical junctures in the early history of cinema. Part II ("Locations andRelocations") focuses on specific venues and presentational practices (from roadshow movies to and contemporary live-score screenings). Part III ("Representations and Re-presentations") zooms into the formal properties of specific films, analysing representations of listening on screen as well as onthe role of sound as a representational surplus. Part IV ("The Listening Body") focuses on cinematic sound as a powerful and sensual stimulus that has the power to engage the full body sensorium. Part V ("Listening again") discusses a range of ways in which film sound is encountered andreinterpreted outside the cinema, through ancillary materials like songs and soundtrack albums, in experimental conditions, and in pedagogical contexts. Part VI ("Between Media") compares the listening protocols of cinema with those of TV series and music video, promenade theatre and personalstereos, video games and Virtual Reality.