Music sociology: examining the role of music in social life
Saved in:
| Format: | Book |
|---|---|
| Language: | English |
| Published: |
Boulder, CO [u.a.]
Paradigm Publ.
2013
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Item Description: | Includes bibliographical references and index |
| Physical Description: | XXIV, 308 S. |
| ISBN: | 9781612053127 |
Staff View
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| adam_text | Contents
Preface
for the Instructor, by Joseph Kotarba
xi
Preface for the Student, by Joseph Kotarba
xiii
Introduction by the Editors
xvii
L
Journey into American Music
1
A Universal Body of Folk Music
—
A Technical Argument,
by Paul Robeson
3
robeson explains the importance of the pentatonic scale, which is found in
native traditions around the world, to african american music, including
jazz and rock. despite its seeming universality, few classical composers
(Mussorgsky, Dvorak,
Kodály,
and
Bartok)
have used it, and it rarely is a
part of Western classical music training.
2
Five Important Moments in America s Musical History
—
The Rest of the Story, by Sara Towe
Horsfall
6
Cultural moments often change what music means to a society. Our past
includes
(1 )
eighteenth-century development of hymns as church musicj
(2)
the wild popularity of nineteenth-century blackface minstrels (including
Stephen Foster songs);
(3)
the gentrification of music entertainment on
vaudeville, which set the stage for our modern music industry;
(4)
the
continued popularity of the llttle ned
songbook
and folksingers such as
Pete Seeger; and
(5)
Alan Lomax s extensive
nonprofessional
recordings,
which give us a glimpse of music among the rural african americans and
others around the country in the early twentieth century.
3
American Popular Song, by Howard S. Becker
19
Our common, popular song form developed at the end of the vaudeville era.
These distinctly American songs came from the collective contributions of
song writers, musicians, singers, and audiences. they have simple melodies in
a limited voice range, suitable for untrained musicians.
4
The Industrialization of Popular Music
—
Part I,
by Simon Frith
29
Production of music has changed over the years; sound production
went from records, to radios, to tape, to cds. wlth each change, major
vi
Contents
<Ł
ö
INDUSTRIES
DEVELOPED STRATEGIES TO SELL THEiR MUSIC. As MUSIC PRODUCTION
CHANGES, SO DOES OUR UNDERSTANDING OF WHAT MUSIC IS, AND WHO THE MUSICIANS
ARE.
5
What Is Sociological about Music? by William G. Roy and
Timothy J. Dowd
36
Music is sociological in at least five ways. It is
a commodíty,
or a cultural
object; it is an activity that organizes social interaction; it contains and
transmits cultural meanings; it expresses the identity of the listeners; and
lastly, the venues, genres, and instrumentation of music reveal forms of
social stratification, such as gender and race.
II. Experience of Music: Ritual and Authenticity
6
Music as Ritual: A Hotline to the Collective Conscious,
by Sara To we
Horsfall
51
Randall Collins
s
theory of Interaction Ritual Chains is used to analyze the
emotional energy and connection to the collective that comes with music
rituals. African American spirituals exemplify the importance of music to the
collective and to the individual. they connected slaves to each other and
allowed them to reconstitute a cultural identity using christian imagery as a
common language. musical venues such as the ring shout reaffirmed their
value as individuals.
7
Moving Past Violence and Vulgarity: Structural Ritualization
and Constructed Meaning in the Heavy Metal Subculture, by
Jan-Martijn Meij, Meghan D. Probstfield, Joseph M. Simpson,
and J. David Knottnerus
60
Heavy metal fans are often seen as mindless, carousing drunks who identify
with the dark side of satanism, addiction, depression, anger, and alienation.
This impression overlooks the more positive side of this diverse community.
An online questionnaire reveals some of the diversity within the heavy metal
SUBCULTURE. KnOTTNERUS s STRUCTURAL RITUALIZATION THEORY IS USED TO ANALYZE
THE WAY IN WHICH MEANING IS STRUCTURED AND MODIFIED BY FANS IN THE CONCERT
VENUE, ONE OF THE SUBCULTURE S MORE CONSPICUOUS COLLECTIVE EVENTS.
8
Authenticity in Latino Music: Scenes of Place, by
Kathryn M.
Nowotny,
Jennifer L. Fackler, Gianncarlo
Muschi,
Carol Vargas, Lindsey Wilson, and Joseph A. Kotarba
70
Music helps members of Latino communities make sense of their selves and
their everyday life. four
interactionist
concepts
—
the scene, idioculture,
place, and authenticity
—
are used to examine traditional latino music scenes
(conjunto, mariachi,
salsa, and Latin jazz) in Houston, Texas. Narratives
of authenticity validate participation as scene members.
іт
fs problematic in
scenes invoking potentially conflicting criteria of quality
—
populated by
Anglos as well as Latinos.
<&
Contents
vii
«J
9
The Jazz Solo as Ritual: Conforming to the Conventions
of Innovation, by Roscoe C. Scarborough
81
A SUCCESSFUL SOLO IS NOT AN EXPRESSION OF UNFETTERED CREATIVITY, SINCE A
PURE SOLO
—
THE ONE THAT IS GENUINELY INNOVATIVE
—
WILL BE PERCEIVED AS NOISE.
A RITUALISTIC SOLO, ON THE OTHER HAND, DRAWS UPON THE CONVENTIONS OF A
PARTICULAR ART WORLD. A SOLOIST, SUPPORTING MUSICIANS, AND THE AUDIENCE MUST
ADHERE TO STRICTLY PRESCRIBED ROLES IN THE INTERACTION. A SUCCESSFUL SOLO
BRINGS AN EMOTIONAL CHARGE FOR THE SOLOIST, THE SUPPORTING MUSICIANS, AND THE
PATRONS, HEIGHTENING GROUP SOLIDARITY AND REIFYING EXISTING CONVENTIONS OF THE
JAZZ SCENE.
III. Experience of Music: Stratification and Identity
10
Race, by Russell A. Potter
93
Race records were marketed to black audiences with the assumption
THAT WHITES WOULD NOT WANT TO LISTEN TO THEM. ALAN FrEED s FAMOUS
1952
Moondog Coronation Ball changed all that, and rock n roll was born.
The author discusses this and other racial aspects of the music industry.
11
(Re)Presentin* the Tragic
Mulatto:
An Analysis of
Multiracial Identity in Rap Music, by Matthew
О
ware
104
Cornell and
Hartmann s constructionist
approach is used to examine
how rap artists with one black parent and another of a different race or
ancestry discuss their racial identities in rap music. four artists whose
lyrics reflect the situation faced by persons with multiracial identities
are examined:
Chino
XL, Drake, Afro
DZ ak,
and Michael
Franti.
Their
RESOLUTIONS VARY, AFTER EXPRESSING SOME CONFUSION,
CHINO
XL ULTIMATELY
ASSERTS A BLACK IDENTITY, AS DOES DRAKE. HOWEVER, AFRO
DZ AK
AND
FRANTI
ADAMANTLY CLAIM A BIRACIAL OR MULTIRACIAL IDENTITY.
12
Skinhead Identity Contested: Ska Music, Racism, and
Youth Culture, by Daniel Sarabia
115
Far from uniform, the skinhead subculture is a splintered, heterogeneous,
and contentious cultural terrain. factional divisions give rise to various
CLAIMS TO SKINHEAD IDENTITY, INCLUDING
ANTł-
AND
NONRACIST
SKINHEADS. IdEATIONAL
expressions of sktnhead identity »n the musical genre of ska are analyzed.
Informal interviews corroborate important cultural markers that delineate
the factions.
13
Lowbrow Entertainment to Highbrow Art Form: The Case
of Jazz and Heavy Metal, by Roscoe C. Scarborough
124
The way cultural products transition from lowbrow entertainment to
highbrow art is examined using content analysis of news articles, editorials,
and performance reviews of jazz and heavy metal music genres in the new
York Times. In essence, cultural entrepreneurs generate aesthetic mobility
by framing a genre as legitimate culture and by authenticating its cultural
products as highbrow art. comparing jazz and heavy metal, the author
argues that heavy metal has fewer social hurdles to overcome than jazz did
to be transformed into a highbrow art form.
viii Contents
TV. Experience of Music: Subcultures and Nlusical Enclaves
14
Sect and Prophets, by Neil Leonard
137
Devotion found among early jazz musicians for their mentors is similar to the
devotion found in religious sects. the author likens the innovative jazzmen
who inspired these jazz sects to religious prophets.
15
Hardcore: An Ethnographic Study of an Evolving Music
Subculture, by Kerry Hendricks
148
This qualitative study of a musical subculture used participant observation
and in-depth interviews collected at eighteen concerts or shows of varying
size.
Glaser
and Strauss s comparative method was used to analyze the data,
and Donnelly s characteristics of a subculture were used to analyze identity
formation of hardcore music members.
16
Not Fade Away: Ritual Solidarity and Persistence in the
Jamband Community, by Pamela M. Hunt
158
In the ephemeral, portable community of jamband, collective effervescence
and social solidarity are developed in four ways .
(1)
pilgrimages to concerts
and festivals,
(2)
rituals practiced in the parking lots and during the
concerts,
(3)
symbiotic relationship between band and fans, and
(4)
continual
interaction among subculture members.
17
Taqwacore: An Introduction to Muslim American Punk Rock,
by Sarah S. Hosman
166
The US Taqwacore subculture is seen as Muslim American punk rock.
The word taqwacore combines the Islamic term taqwa (the fear or love of
God) and core (short for hardcore, a term used to imply intense devotion
to the musical subculture). llke the word, the taqwacore subculture is a
hybrid encompassing seemfngly disparate identities: islam and punk rock.
Interviews suggest that taqwacore is a community-based form of resistance
to traditional identities.
V. Music as Social Change and Commentary
18
Hitler, the Holocaust, and Heavy Metal Music:
Holocaust Memory and Representation in the Heavy Metal
Subculture, 1980-Present, by Mark A. Mengerink
177
The way the Holocaust is reconstructed by survivors, scholars, artists,
commentators, and the general public is called the holocaust memory.
Recent study of this public memory has overlooked the way that extreme
metal music lyrics represent hltler, the nazis, and the holocaust. archival
analysis of lyrics reveals that representations constructed by extreme metal
bands, although sometimes crude and shocking, are generally not approving
of Hitler or his ideology, and point to it as a warning.
Contents ix
19
Painful Listening: The Musical Noise and Cultural
Transcendence of Southern Italian Tarantism, by
Lee Robert
Blackstone 188
The tarantism ritual developed in the southern Salento region of Italy as
a ceremony to treat a supposed spider bite. the ancient music known as
the
pizzica
tarantata was painful to listen to, but it had a healing effect
countering the hardships and social alienation suffered by people of that
region. Today, cultural activism and commercialism have moved the once-
stigmatized MUSIC INTO SOCIAL ACCEPTABILJTY. THUS WE SEE THAT TRADITION AND
LOCAL CULTURE ARE RECLAIMED FOR POLITICAL AND CULTURAL RESISTANCE.
20
An International Comparison of the Politics of Straight-Edge,
by William Tsitsos
202
The author examines the political message of straight-edge music in Europe
and the United States. In the latter, the music reflects the individualistic,
liberal ideology with an emphasis on personal morality that has been common
since the
1960s.
In contrast, in European countries with strong welfare
STATES, THE MEDIUM IS A MEANS OF CHALLENGING CAPITALIST OPPRESSION.
21
Sing Out! Collective Singing Rituals of Folk Protest Music
in US Social Movements, by Jeneve R. Brooks
211
Folk protest music sing-alongs have been an important ritual in social
movement activism, especially in the nineteenth and twentieth centuries. folk
protest musicians and activists see it as an important part of their social
change work, in that they provide the much-needed emotional cohesion and
strength
—
communal solidarity.
W. Commodification of Music
22
The Industrialization of Popular Music
—
Part
П,
by Simon Frith
223
The modern music industry was basically in place by
1945.
There has since
been a steady professionalization of every facet of music making. independent
producers continue to play an important role in the ebb and flow of the
music industry.
23
Authenticity and Independence in Rap Music and Other Genre
Communities, by Jennifer C. Lena
232
Most fans and practitioners of commercial rap music believe authenticity
is an important value.
іт
is associated with independence and
a feeling
that
real rappers should be free from (corporate) control. These values
are found in other music communities, including new orleans jazz and
country. a sociological approach to the study of authenticity reveals that
authenticity is not a stable attribute of people, places, or things, but is
redefined as fans and artists face shifting social conditions.
χ
Contents
24
A Piece of Art Is Not a Loaf of Bread : Indie Rock s Challenge
to Commodification, by Jeffrey Nathanial Parker
241
In terms of the evolution of music consumption, there are bellwether events
that help us understand the direction of change. this chapter examines
THREE BELLWETHER EVENTS INVOLVING THREE WELL-KNOWN BANDS! PEARL Jam s
protracted
1994—1998
battle with
Ticketmaster, Wilco s
attempt to release
Yankee Hotel Foxtrot in
2001
against the wishes of Reprise Records, and
Radiohead s circumvention of the label system in their digital release of In
Rainbows in
2007
on a pay-what-you-want model.
25
Operating Outside of the Music Industry:
Strategies of Production in a Scene-Based Music Genre,
by Diana Miller
252
This is a look at the semi-professional musical worlds of heavy metal
performers who have no desire to go through the usual career path of
years of performing in local clubs in order to achieve notoriety. they
develop unique strategies to meet financial and performance needs.
26
Why Pay for Music? How College Students Rationalize
Illegal Downloading, by Jason S. Ulsperger,
Kristen
Ulsperger,
and Stan H. Hodges
263
a study of
800
college students, many of whom routinely downloaded
music from the internet and other sources, knowing it was illegal, revealed
interesting reasons why otherwise law-abiding persons chose to do this.
Neutralization theory is used to analyze the justifications given.
References
269
Index
297
About the Editors
307
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| geographic_facet | USA |
| id | DE-604.BV041258424 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T00:43:22Z |
| institution | BVB |
| isbn | 9781612053127 |
| language | English |
| lccn | 2013008566 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-026232303 |
| oclc_num | 880958471 |
| open_access_boolean | |
| owner | DE-12 DE-703 DE-188 |
| owner_facet | DE-12 DE-703 DE-188 |
| physical | XXIV, 308 S. |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Paradigm Publ. |
| record_format | marc |
| spelling | Music sociology examining the role of music in social life ed. by Sara Towe Horsfall ... Boulder, CO [u.a.] Paradigm Publ. 2013 XXIV, 308 S. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Gesellschaft Musik Music Social aspects Music Philosophy and aesthetics Musik (DE-588)4040802-4 gnd rswk-swf Gesellschaft (DE-588)4020588-5 gnd rswk-swf Musiksoziologie (DE-588)4040869-3 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content USA (DE-588)4078704-7 g Musik (DE-588)4040802-4 s Gesellschaft (DE-588)4020588-5 s 1\p DE-604 Musiksoziologie (DE-588)4040869-3 s 2\p DE-604 Horsfall, Sara Sonstige (DE-588)104666414X oth Digitalisierung BSB Muenchen 20 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026232303&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Music sociology examining the role of music in social life Gesellschaft Musik Music Social aspects Music Philosophy and aesthetics Musik (DE-588)4040802-4 gnd Gesellschaft (DE-588)4020588-5 gnd Musiksoziologie (DE-588)4040869-3 gnd |
| subject_GND | (DE-588)4040802-4 (DE-588)4020588-5 (DE-588)4040869-3 (DE-588)4078704-7 (DE-588)4143413-4 |
| title | Music sociology examining the role of music in social life |
| title_auth | Music sociology examining the role of music in social life |
| title_exact_search | Music sociology examining the role of music in social life |
| title_full | Music sociology examining the role of music in social life ed. by Sara Towe Horsfall ... |
| title_fullStr | Music sociology examining the role of music in social life ed. by Sara Towe Horsfall ... |
| title_full_unstemmed | Music sociology examining the role of music in social life ed. by Sara Towe Horsfall ... |
| title_short | Music sociology |
| title_sort | music sociology examining the role of music in social life |
| title_sub | examining the role of music in social life |
| topic | Gesellschaft Musik Music Social aspects Music Philosophy and aesthetics Musik (DE-588)4040802-4 gnd Gesellschaft (DE-588)4020588-5 gnd Musiksoziologie (DE-588)4040869-3 gnd |
| topic_facet | Gesellschaft Musik Music Social aspects Music Philosophy and aesthetics Musiksoziologie USA Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026232303&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT horsfallsara musicsociologyexaminingtheroleofmusicinsociallife |