This book is the second of Springer's series on listening as social practice (Auditive Vergesellschaftungen: Hörsinn-Audiotechnik-Musikerleben). The contributions to this edited volume deal with the role of popular music in times of change. More specifically, the book argues that popular music is not only a reflection of political, social and cultural change but also functions as a catalyst. The theoretical framework that the editors develop in their introduction is to help identify the intrinsic properties of music that carry the potential for societal change. For this reason, the editors focus on the concept of Eigenzeit, a sense of time that is created through music and unrelated to linear/physical time. Eigenzeit is proposed to be understood as a space in which identities can be explored as social control mechanisms are partly suspended. It signifies change: change of the perception or production of music and its performance, change of behaviour or change in the assessment of music. Mostly, the book portrays change as a beginning (Aufbruch); the evolution of music and society. This is achieved through an interdisciplinary approach, combining musical analysis and social science methods. The methods that are employed vary and include the analysis of interviews, song lyrics, album reviews, music videos and Stasi files. Eigenzeit as the space for change is then applied to a variety of social phenomena: the experience of music on the dance floor (rock discos), scenes (punk) and events (Love Parade).

The book is divided into four parts. The first part constitutes the ‘theory section’ in that it features two commissioned translations: Tia DeNora's ‘“Turn, Turn, Turn!” Musicalizing Cultural Sociology with the “in Action” Perspective’, originally published in the 2016 Sage Handbook of Cultural Sociology (Almila and Inglis Reference Almila and Inglis2016), and a chapter from Simon Frith's Performing Rites, ‘Rhythm: Time, Sex, and the Mind’ (Frith Reference Frith1998). Both contributions discuss the relationship of time and music, and develop ideas that the editors argue are crucial in order for the readership to understand the book's concept. Subsequently, Schrage and Schwetter's chapter in this part is to be understood as further developing DeNora's and Frith's ideas by discussing the role of music in times of societal change.

The second part of the book discusses youth cultures and their music in times of transformation. The historical moments that are addressed are characterised by portraying features of two seemingly opposing ‘systems’, whereby these systems can be social class (Nathaus), stages of the life course (Audehm and Corsten) or ideologies (Rauhut). They are moments of transition, of neither here nor there. By being both antagonistic and paradoxical, they show how popular music is able to mediate societal change. Rauhut's chapter on rock music in the GDR provides insight into an under-researched topic. Revealing various practices of music production and performance in the GDR, Rauhut convincingly argues that rock music was never fully appropriated as an ideological tool in the GDR and offered, instead, opportunities to resist.

Part three could be seen as a contribution to the debate on the value of popular music. Heavily influenced by the Frankfurt School (in particular Adorno) and its assessment of popular culture as mass culture, the authors aim to show that increased appreciation of popular music is evident in the discourses of the middle classes. Detlef Siegfried's chapter on mass culture and distinction (Massenkultur und Distinktion) stands out. Siegfried argues against the popular opinion that the consumption of popular culture in both working class and middle class has led to a blurring of class distinction. He shows that the idea of the cultural omnivore is flawed. He argues that, as early as the 1950s, the middle classes started to apply their aesthetic criteria to phenomena of popular culture. However, rather than the consumption of popular culture across classes leading to social mobility, it leads to social distinction. Echoing Bourdieu, Siegfried makes a case for the middle classes benefitting from the consumption of popular culture in addition to high culture in that it increases their cultural capital. Popular culture, then, does not lead to a blurring of class divisions but to their reinforcement.

The final part consists of chapters which explore Eigenzeit in relation to specific case studies. They include a discussion on rock discos in the 1970s, a comparison between the values and practices of hippies and ravers, the love parade and punk. Maren Lehmann's contribution on punk is fascinating for various reasons. First, although the slogan of ‘too much future’ has been discussed elsewhere, Lehmann shows convincingly how punk's Eigenzeit is unrelated to a past or a future. She develops the argument that punk in the GDR was insubordinate because it was neither waiting for better times nor was it predicting doom. It existed in the here and now – without direction and progression. Second, and related to the first point, Lehmann interprets Aufbruch (change) not as the beginning of something that will develop. Instead, she applies the notion of a life without progress to the notion of change differently in that it represents rupture – the rupture of time as a linear, processual and sequential concept. Third, the language that is used is almost lyrical, and song lyrics are used throughout to convey meaning and evidence a particular mood. And yet, the argument is strong and many examples are used to show why the GDR was so concerned about/frightened of punks. For all these reasons, Lehmann's contribution might be placed last. However, it is one of the most aesthetically beautiful writings on punk I have seen.

With its focus on popular music as a catalyst for societal change, this book offers new insights in the role of music in society. As with many books written in academic German, one needs a high level of language competency to understand it. It would be great to see some, if not all, contributions becoming more accessible through translations.