Music sociology: examining the role of music in social life
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| Weitere Verfasser: | , , |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge
2016
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| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XXIV, 308 Seiten Illustrationen |
| ISBN: | 9781612053127 9781612053134 |
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| 245 | 1 | 0 | |a Music sociology |b examining the role of music in social life |c edited by Sara Towe Horsfall, Jan-Martijn Meij, and Meghan D. Probstfield |
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| 505 | 8 | |a Includes bibliographical references and index | |
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Datensatz im Suchindex
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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
7. Journey into American Nlusic
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, Kodaly, and Bartók) 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 MUSIC; (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 LiTTLE RED 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. WiTH EACH CHANGE, MAJOR
V
vi Contents
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 commodity, 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 NLusic: 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. IT IS PROBLEMATIC IN SCENES INVOKING POTENTIALLY CONFLICTING CRITERIA OF QUALITY —POPULATED BY
Anglos as well as Latinos.
Contents vii
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 Oware 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 BlRACIAL 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 ANTI- AND NONRACIST SKINHEADS. IDEATIONAL EXPRESSIONS OF SKINHEAD IDENTITY IN 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 Musical 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 N 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). Like the word, the taqwacore subculture is a
HYBRID ENCOMPASSING SEEMINGLY DISPARATE IDENTITIES! ISLAM AND PUNK ROCK.
Interviews suggest that taqwacore is a community-based form of resistance to traditional identities.
V. NLusic 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 PiZZfCA 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 ACCEPTABILITY. 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.
VI.Commodification of Music
22 The Industrialization of Popular Music—Part II, 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. It 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.
X
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 TlCKETMASTER, WlLCO’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 ray-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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| contents | Includes bibliographical references and index |
| ctrlnum | (OCoLC)964582058 (DE-599)BVBBV043489276 |
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| dewey-hundreds | 300 - Social sciences |
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| genre_facet | Aufsatzsammlung |
| geographic | USA (DE-588)4078704-7 gnd |
| geographic_facet | USA |
| id | DE-604.BV043489276 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:27:04Z |
| institution | BVB |
| isbn | 9781612053127 9781612053134 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028905844 |
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| owner_facet | DE-473 DE-BY-UBG |
| physical | XXIV, 308 Seiten Illustrationen |
| publishDate | 2016 |
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| publishDateSort | 2016 |
| publisher | Routledge |
| record_format | marc |
| spelling | Music sociology examining the role of music in social life edited by Sara Towe Horsfall, Jan-Martijn Meij, and Meghan D. Probstfield London ; New York Routledge 2016 © 2013 XXIV, 308 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index 2013 Gesellschaft Musik Music Social aspects Music Philosophy and aesthetics Musiksoziologie (DE-588)4040869-3 gnd rswk-swf Gesellschaft (DE-588)4020588-5 gnd rswk-swf Musik (DE-588)4040802-4 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 DE-604 Musiksoziologie (DE-588)4040869-3 s Horsfall, Sara (DE-588)104666414X edt Meij, Jan-Martijn (DE-588)1046666843 edt Probstfield, Meghan D. (DE-588)1046666894 edt Nachdruck von Horsfall, Sara Music sociology Boulder, Colo. : Paradigm Publishers, 2013 (DE-604)BV041258424 Digitalisierung UB Bamberg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028905844&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Music sociology examining the role of music in social life Includes bibliographical references and index Gesellschaft Musik Music Social aspects Music Philosophy and aesthetics Musiksoziologie (DE-588)4040869-3 gnd Gesellschaft (DE-588)4020588-5 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4040869-3 (DE-588)4020588-5 (DE-588)4040802-4 (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 edited by Sara Towe Horsfall, Jan-Martijn Meij, and Meghan D. Probstfield |
| title_fullStr | Music sociology examining the role of music in social life edited by Sara Towe Horsfall, Jan-Martijn Meij, and Meghan D. Probstfield |
| title_full_unstemmed | Music sociology examining the role of music in social life edited by Sara Towe Horsfall, Jan-Martijn Meij, and Meghan D. Probstfield |
| 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 Musiksoziologie (DE-588)4040869-3 gnd Gesellschaft (DE-588)4020588-5 gnd Musik (DE-588)4040802-4 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=028905844&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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