Musical Ties That Bind: Nostalgia,Affect, and Heritage in Festival Narratives

Affective heritage embracement, a collective narrative of nostalgia, is identified at two popular music festivals. “MusicFest” embraces a tradition of “Red Dirt” country music through performance (music festival), whereas the “Walnut Valley Festival” embraces a bluegrass/folk musical heritage through performance and participation (musicians' festival). The symbolic importance of musical interaction is explored to highlight the experienced emotionality that leads to the affective ties that bind these otherwise temporary communities. This collective narrative reveals the various functions of nostalgia wherein collective sentiment both reflects and creates the perceived authentic experiences of festival attendees.     

Max Weber and the Sociology of Music

The sociology of music has been an area largely left to European sociologists. In an effort to generate greater domestic interest in the field, an examination of Max Weber's methodology and an update to his study of music is proposed. Fewer occupations or cultural projects are more social than making music, and the domestic sociological community's absence from the debate is deplorable given the dominant position our country possesses regarding musical production. Weber's Sociology of Music, which combines urban theory, class/labor theory, rationalization theory, and even climatic changes, is an excellent place to begin a thorough discussion of the social components of music. Our present understanding of cultural theories, urban theories, and Habermas's Communicative Action Theory can be employed to improve on Weber's theory; toward a new approach for the study of the sociology of music.     

The politics of the Digital Single Market: culture vs. competition vs. copyright

This paper examines the implications for European music culture of the European Union’s (EU) Digital Single Market strategy. It focuses on the regulatory framework being created for the management of copyright policy, and in particular the role played by collective management organisations (CMOs or collecting societies). One of the many new opportunities created by digitalisation has been the music streaming services. These depend on consumers being able to access music wherever they are, but such a system runs counter to the management of rights on a national basis and through collecting organisations which act as monopolies within their own territories. The result has been ‘geo-blocking’. The EU has attempted to resolve this problem in a variety of ways, most recently in a Directive designed to reform the CMOs. In this paper, we document these various efforts, showing them to be motivated by a deep-seated and persisting belief in the capacity of ‘competition’ to resolve problems that, we argue, actually lie elsewhere – in copyright policy itself. The result is that the EU’s intervention fails to address its core concern and threatens the diversity of European music culture by rewarding those who are already commercially successful.     

Weber's concept of rationalization and the electronic revolution in western classical music

In examining the electronic revolution in Western Classical music, this article considers many of the important issues which Weber addresses in his work on the sociology of music—particularly the definitional problems related to Weber's concept of rationalization and the disenchantment of the world. The article examines Weber's concepts of rational action and rationalization in relation to music, then through analysis of developments in electronic music, raises questions regarding Weber's conclusions regarding the effect of rationalization in Western culture. Thanks to Leo D. Papa for technical assistance. Thanks also to Larry E. Simons, French Horn and Daniel McCollum, Cello, for providing musical examples. Steven Smith provided some sound criticism.     

Our favourite melodies: musical consumption and teenage lifestyles

The present study explores the determinants and lifestyle correletes of musical preferences among a large sample of high school students in Toronto, Ontario. Our work is informed by theory and research on cultural stratification and adolescent subcultures. In terms of cultural stratification, we engage with Bourdieu's (1984) and Peterson's (1996) conceptualizations of elite taste, while subcultural theory encourages us to focus upon more dissenting tastes and to explore connections between musical tastes and peer group activity. Our findings suggest that racial and ethnic identity, school experiences and cultural capital are significant sources of variation in musical tastes that loosely correspond to existing typologies; they also confirm what has often been inferred - that musical tastes and peer group cultural practices are closely linked. Our findings are then discussed in the light of current debates about the nature and dimensions of listening audiences for music.     

Make me Wanna Holler: Meshell Ndegeocello,Black Queer Aesthetics,and Feminist Critiques

This article examines the music and performance of Meshell Ndegeocello, arguing that they are part of a cross-Atlantic conversation that pushes the boundaries of Black feminist thought on masculinity and desire. From the time of her debut album in 1993, Ndegeocello has resisted categorization both in her public personae and in her music. Ndegeocello's refusal to be restricted in her stage performance and in her musical expression has created a rich text through which to read Black female masculinity. Her work has been particularly productive in rethinking (Black) feminist couplings of patriarchy with male anatomy. Ndegeocello's music challenges any one representation of female masculinity, mixing critiques of masculine privilege and violence with celebrations of pleasure and pansexual desire.     

A ‘desi’ diaspora? The production of ‘desiness’ and London's Asian urban music scene

Increasingly, the term ‘desi’ amongst British Asians has been commonly used to describe South Asian diasporic cultural forms and practices, particularly regarding musical genres and styles. This article opens up debate on its contested meanings and usage within the London Asian urban music scene. In unpacking the complex and contradictory meanings and uses of ‘desi’ across time, space and place, ‘desiness’ becomes exemplary of the ambivalent spaces of youthful diasporic identities in process. I argue that cultural practices, such as music production and consumption, provide critical tools to critique one-dimensional notions of ‘Britishness’ and ‘Asianness’, as well as to reassert normative notions of belonging and diaspora. The exploration of diasporic identities in the making within the spaces of London Asian cultural production highlights the importance of everyday forms and practices and fosters a better understanding of multiculture and new modes of belonging in London.     

Bourdieu and the Sociology of Music Consumption: A Critical Assessment of Recent Developments

The French sociologist Pierre Bourdieu has been an extraordinarily influential figure in the sociology of music. For over three decades, his concepts have helped to generate both empirical and theoretical interventions in the field of study. His impact on the sociology of music taste, in particular, has been profound, his ideas directly informing our understandings of how musical preferences reflect and reproduce inequalities between social classes. But, recently his legacy has been under question and newer approaches to the music/society problematic have emerged. These have made important claims about the nature of the sociological enterprise when confronted with the specificity of cultural works, as well as how social change impacts on our relations with musical forms. This paper takes stock of the impact of Bourdieu’s ideas on the sociology of music, the debates sparked in their wake and the attempt at something like a “post‐Bourdieusian” sociology more faithful to music’s material properties. It will ask to what extent Bourdieu’s claims about social stratification and music consumption are still relevant and whether they are sophisticated enough to deal with the specific ways that we interact with musical forms.     

Why Did Adorno 'Hate' Jazz?

Adorno's jazz essays have attracted considerable notoriety not only for their negative and dismissive evaluation of jazz as music but for their outright dismissal of all the claims made on behalf of jazz by its exponents and admirers, even of claims concerning the black origins of jazz music. This paper offers a critical exposition of Adorno's views on jazz and outlines an alternative theory of the culture industry as the basis of a critique of Adorno's critical theory. Adorno's arguments are discussed in the context of his wider theoretical commitment to a model of structuration—in both musical and social relations—that establishes a dividing line between a moral aesthetic praxis that can be approved as having 'truth-value' and one that betrays and subverts the truth. In Adorno's analysis, jazz finds itself positioned on the wrong side of that line and, accordingly, is condemned. It is argued that it is Adorno's commitment to a formalist model of art works that has been superseded by modern aesthetic practice in both so-called 'serious' art as well as in the works of the culture industries that binds him to a regressive model of aesthetic praxis. An alternative theory of the culture industry is outlined that explores its positive functions in enhancing the resources available for culture creation through its transmission of aesthetic codes, and in mediating relations between so-called high and low art.     

Methodological,Ideological, and Conceptual-Theoretical Criticisms of the Field of Collective Behavior: A Critical Evaluation and Implications for Future Study

Abstract

Criticisms of the field of collective behavior can be categorized as either methodological, ideological, or conceptual-theoretical. For methodological problems we examine the views that research on collective behavior is hampered because collective behavior is unpredictable, transitory, fluid, diffuse, complex, and uncontrolled. For ideological problems we look at the claims that the unsatisfactory state of the field of collective behavior is the result of its controversial material and lack of objectivity, defense of the status quo, trivialization of politics, and attributions of social pathology. For methodological and ideological criticisms, we conclude they are generally invalid or incorrect. A better strategy for improving collective behavior theory and research and advancing it closer to mainstream sociology is to focus on the conceptual-theoretical criticisms, for this tactic would have a greater pay off for sociology generally and collective behavior specifically.     

The sampling continuum: musical aesthetics and ethics in the age of digital production

This article argues for a view of popular music production that better accounts for sampling than has historically been the case by viewing it as a continuum of activity. Weighing evidence from interviews with musical practitioners against the legal and industry frameworks, we illustrate, first, how sampling has been legally differentiated from other types of musical copying. Secondly we show that, despite this, comparable ethical codes exist within and across musical methods wherein sampling is part of the spectrum of activities. Thirdly, we discuss the ubiquity of digital technology within popular music production and the resultant closer relationship between sampling and other musical techniques moving onto, fourthly, how the sampling aesthetic has become integrated into musical practice in a manner insufficiently accounted for by its legal and industrial contexts. This ‘post-sampling’ reality places sampling and other musical techniques along a spectrum, in practical and ethical terms, and musicians would be better served by sampling being treated as part of the overall musical palette, allowing both scholars and the law to concentrate on ideologies of practice across the tools that musicians use rather than between different specific techniques.     

Sounds From Nowhere: Musical Protagonists by Alejo Carpentier and Zora Neale Hurston

Abstract

Critics have missed the music of Seraph on the Suwanee. In response, this paper listens to the music of Zora Neale Hurston’s final novel through the ears of Alejo Carpentier. Although Carpentier published Concierto barroco (1974) twenty-six years after Hurston’s Seraph on the Suwanee (1948), the later novel offers a new reading of American music that changes how readers view the earlier work, in part because Concierto barroco creates an understanding of music in a Caribbean context that suffuses both novels. Although unknown to each other, musical and anthropological interests connect these coeval literary figures. Most compellingly, the trope of music in Hurston’s fictive work puts her musical rhetoric in conversation with Carpentier. In Music, the Brain, and Ecstasy: How Music Captures Our Imagi- nation, Robert discusses the rare ability to create music in one’s mind, a characteristic evident in the protagonists of both of the novels under discussion. Together, this paper ultimately argues, Hurston and Carpentier make beautiful music.     

Researching youth culture and popular music: a methodological critique

In this article I argue the need for critical evaluation of qualitative research methodology in sociological studies of the relationship between youth culture and popular music. As the article illustrates, there is currently an absence of critical debate concerning methodological issues in this field of sociological research. In the first part of the article I begin to account for this absence by illustrating how early research on youth and music rejected the need for empirical research, relying instead on theories and concepts drawn from cultural Marxism. The second part of the article illustrates how the legacy of this early body of work in youth and music research manifests itself in current research which, although empirically grounded, is characterized by an almost total lack of engagement with methodological issues such as negotiating access to the field, management of field relations and ethical codes. Similarly problematic is the uncritical acceptance on the part of some researchers of their insider knowledge of particular youth musics and scenes as a means of gathering empirical data. In the final part of the article I focus on the issue of insider knowledge and the need for critical evaluation of its use as a methodological tool in field-based youth and music research.     

Orchestra Interaction: Some Features of Communication and Authority in an Artistic Organization

Combining theoretical and empirical materials, this paper outlines why definitions of the situation are an important vehicle for analyzing the conditions under which communications are viewed as authoritative by subordinates in complex work organizations. It investigates an exemplary process of collective action — making orchestra music — as a means of understanding the development as well as the demise of consensually validated expertise. Evaluations of conductors as focal participants arise from musicians' conceptions of appropriate work roles and what they construe as information and knowledge which allow them to engage in lines of concerted action. Finally, the results are discussed with regard to their implications for the study of organizational dynamics generally.     

The Club DJ: A Semiotic and Interactionist Analysis

Drawing on observation and reflexive introspection, this article analyzes the practice of club DJing and reggae DJing in an attempt to shed light on the semiotic dynamics of music‐making. To understand the historical, semiotic, and interactionist significance of the musical beat in the social world of club reggae DJing, empirical and analytical attention is paid to changes in technology, in aesthetic conventions, and in the meanings of subcultural practices.     

Brain hemisphere dominance and vocational preference: a preliminary analysis

Recent developments in split-brain theory add support to the concept of specialization within brain hemispheres. Holland's vocational personality theory may overlap with Human Information Processing (HIP) characteristics. Holland's six RIASEC codes were developed to identify vocational personality characteristics, and HIP scales were designed to measure hemispheric laterality. Relationships between the two scales were evaluated through canonical correlation with some significant results, however not all Holland scale scores correlated with left, right, or integrated hemispheric preference. Additional findings related to participants self-perception of music and math ability were also correlated. Findings on this added analysis revealed a high correlation between perception of musical ability and right brain function but not between mathematical concept and left brain alone. Implications regarding vocational choice and work are discussed.     

The sociology of popular music, interdisciplinarity and aesthetic autonomy

This paper considers the impact of interdisciplinarity upon sociological research, focusing on one particular case: the academic study of popular music. 'Popular music studies' is an area of research characterized by interdisciplinarity and, in keeping with broader intellectual trends, this approach is assumed to offer significant advantages. As such, popular music studies is broadly typical of contemporary intellectual and governmental attitudes regarding the best way to research specific topics. Such interdisciplinarity, however, has potential costs and this paper highlights one of the most significant: an over-emphasis upon shared substantive interests and subsequent undervaluation of shared epistemological understandings. The end result is a form of 'ghettoization' within sociology itself, with residents of any particular ghetto displaying little awareness of developments in neighbouring ghettos. Reporting from one such ghetto, this paper considers some of the ways in which the sociology of popular music has been limited by its positioning within an interdisciplinary environment and suggests two strategies for developing a more fully-realized sociology of popular music. First, based on the assumption that a sociological understanding of popular music shares much in common with a sociological understanding of everything else, this paper calls for increased intradisciplinary research between sociologists of varying specialisms. The second strategy, however, involves a reconceptualization of the disciplinary limits of sociology, as it argues that a sociology of popular music needs to accept musical specificity as part of its remit. Such acceptance has thus far been limited not only by an interdisciplinary context but also by the long-standing sociological scepticism toward the analysis of aesthetic objects. As such, this paper offers an intervention into wider debates concerning the remit of sociological enquiry, and whether it is ever appropriate for sociological analyses of culture to consider 'internal' aesthetic structures. In relation to the specific case study, the paper argues that considering musical specificity is a necessary component of a sociology of popular music, and some possibilities for developing a 'materialist sociology of music' are outlined.     

The Contribution of Social Movement Theory to Understanding Terrorism

The study of terrorism and political violence has been characterized by a lack of generalizable theory and methodology. This essay proposes that social movement theory can contribute a necessary conceptual framework for understanding terrorism and thus reviews the relevant literature and discusses possible applications. Terrorism is a form of contentious politics, analyzable with the basic social movement approach of mobilizing resources, political opportunity structure, and framing. Cultural perspectives call attention to issues of collective identity that allow for sustained militancy, and movement research recommends alternative conceptions of terrorist networks. Previous research on movement radicalization, repression, and cycles of contention has direct bearing on militancy. Emerging perspectives on transnational collective action and the diffusion of tactics and issues informs an understanding of contemporary international terrorism. Research on movement outcomes suggests broader ways of considering the efficacy of political violence. Finally, methodological debates within the study of social movements are relevant for research on terrorism. In sum, a social movement approach to terrorism has much to contribute, and research on terrorism could have important extensions and implications for social movement theory.     

‘Country life’? Rurality,folk music and ‘Show of Hands’

This paper examines the contribution of folk music to understanding the dynamic, fluid and multi-experiential nature of the countryside. Drawing from literature on the geographies of music, it examines the work of ‘Show of Hands’, a contemporary folk band from Devon in England. Three areas are studied. First, the paper examines the musical style of Show of Hands in order to explore how hybridised, yet distinctive, styles of music emerge in particular places. Second, it demonstrates how Show of Hands’ hybrid musical style has become closely associated with the Southwest of England. Finally, within these spatial and hybrid contexts, attention is given to the ways in which their music represents the ‘everyday lives of the rural’. Taken together these themes assess the relevance of music in the understanding of rurality as hybrid space.