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Recently, scholars have paid increased attention to affect as a structuring principle of political life, aesthetic engagement, cultural practice, and social formation (Ahmed 2010, Brown et al. 2019, Lutz 2017, Neuman 2007, Papoulias and Callard 2010, Sointu 2016, Thrift 2004, 2016). Inspired by Gilles Deleuze's (1988), Baruch Spinoza's (2002), and Brian Massumi's (1995) theoretical focus on how bodies 'affect and are affected by' one another (Deleuze 1988) in social and political contexts, a turn to affect affords ways of analyzing feelings and different forms of affective engagements (Ahmed 2004). Instead of viewing these as mediated by already given social structures or forms of active agency, these largely Deleuzean inspirations see affect as a form of material agency in itself (Anderson 2009, McManus 2011) that shapes identities, ways of being together, and new forms of politics in the making. It is in this sense that affect theory offers a conceptual alternative to earlier 'turns' that gave shape to thinking about social, cultural, political, and psychological formations such as the linguistic, discursive, and cultural 'turns' that took hold at various point in the twentieth century. Thinking under the terms of affective politics grants agency to non-discursive matters, allowing investigation into how affective engagements matter to us in ways that transcend (or preexist) language and consciousness (Thrift, 2008). All of this has vital consequences for music studies. It invites music scholars to take into account affective and political implications of music transcription and analysis (Bøhler 2020, 2021; Stover 2017, 2018), suggests new ways of reading how music enacts social collectives (Schiermer 2021, 2023), and offers new approaches to music ethnography that provide insights into the political force of musical sounds (Bøhler 2017, Gill 2017, Guilbault 2019, Hofman 2020, Hofman and Petrović 2023, Stover 2020), among other points of potential transformation. In short, a broader musicological turn to affect invites us to examine how musical affects shape identities, create (or constrain) communities, and engender forms of political comportments. This special issue takes its cue from these developments, as its contributing authors explore different ways in which music, affect, social formations and political matters interact within cross-disciplinary music studies.

The 'affective turn' suggests that we pay attention to how affects create subjectivities, build communities, and shape new forms of politics in the making. It invites us to move beyond established humanities and social science paradigms and toward richer forms of contextual analysis by studying how bodies – human and otherwise – 'act and are acted upon' (Gregg and Seigworth 2010, 1). The 'affective turn' requires sensitive attention to a host of cognate terms and concepts – sentiment, emotion, reverberation, resonance, atmosphere, and far beyond, including the more specific trans-category of 'affective politics' as well as affective reinterpretations of the social. Music has long been recognized as a site where affective politics play out. However, existing scholarship often view Baruch Spinoza, Silvan Tomkins, Gilles Deleuze, and Brian Massumi as the founding fathers of affective thinking at the expense of related work in the broader tradition of music philosophy. We address this lacuna by discussing the relationship between music, affect, and politics in the work of Plato, Aristotle, Al-Farabi, Qian Sima, Johannes Tinctoris, René Descartes, Johann Gottfried von Herder, Jean-Jacques Rousseau, Theodor Adorno, Antoine Hennion, and Tia DeNora, as we aim to broaden, nuance, sharpen, and situate contemporary understandings of affective politics in music studies. In doing so, we discuss whether the affective turn is, perhaps, better understood as a 'return' to cross-disciplinary music research that situates the understandings of affective politics, relational agency, and political emotions within a longer history of music philosophy that, taken together, provide a more robust theoretical argument for the social and political force of musical sounds.

The first collection of essays to focus on Deleuze and Guattari's writing on childrenThis collection applies the characterisations of children and childhood made in Deleuze and Guattari's work to concerns that have shaped our idea of the child. Bringing together established and new voices, the authors cover philosophy, literature, religious studies, education, sociology and film studies.These essays question the popular idea that children are innocent adults-in-the-making. They consider aspects of children's lives such as time, language, gender, affect, religion, atmosphere and schooling. As a whole, this book critically interrogates the pervasive interest in the teleology of upward growth of the child.Key FeaturesRethinks traditional approaches to children and childhood, recognising their consequences for the materialist child and adult–child relationsApproaches the figurations of children and childhood in discourses such as cultural studies, queer studies, language studies, education, sociology, psychoanalysis, religion, and economics through the lens of Deleuze and GuattariApplies new approaches to children through Deleuze and Guattari, gaining awareness about our default attitudes and assumptions about children and childhoodContributorsMarkus P.J. Bohlmann, Seneca College, CanadaMat Fournier, Ithaca College, USAAnna Hickey-Moody, RMIT University, AustraliaJane Newland, Wilfrid Laurier University, CanadaHelen Palmer, Kingston University London, UKAnna Powell, Manchester Metropolitan University, UKJon Roffe, UNSW, AustraliaChris Stover, Arizona State University, USAKenneth Surin, Duke University, USAIan Thomas, Cardiff University, UK"