This collection of essays aims to reflect the views of music scholars who bring critical theory to bear on the theory and analysis of music. The essayists intend to avoid fixation on aesthetics and focus instead on the social and psychological concerns that are sometimes considered marginal to the subject. In general, this text is a response to the question, "Must the practise of music analysis and music theory always re-inscribe the ideology of aesthetic autonomy?" It is hoped that these responses should appeal not only to cultural theorists but also to a larger audience engaged in critical theory.