ABSTRACT
The final chapter draws out three major themes that run through the preceding chapters. First, I consider how the various findings and discussions respond to the core questions of why popular music is so valued and what it can do. Second, I sum up how peak music experiences play a role in both affective sociality and reflexive individualisation, demonstrating the co-existence and interaction of these ostensibly opposed, macro-level theories of late- or post-modern social being. Third, I underline the ways that peak music experiences are shown to be collective productions, demonstrating the role of collective memory and shared aesthetics in structuring both narrative and affective aspects of individual identity and practice, especially in the context of music scenes. The chapter then proposes further applications and extensions of the study of peak music experiences.
