Sociology of Music

Emotional Blueprints: War Songs as an Affective Medium

by Serguei Alex. Oushakine (Сергей Ушакин)

in: Interpreting Emotions in Russia and Eastern Europe. Ed. by Mark D. Steinberg and Valeria Sobol. DeKalb: Northern Illinois University Press, 2011.

Muzikālās gaumes latento klasifikāciju izpēte [2006, Research of Latent Classifications of Musical Tastes]

by Jānis Daugavietis

LU Raksti: Socioloģija 701: 71-82.

Pētījumā tiek analizēts Pjēra Burdjē gaumes socioloģijas teorijas pamatpieņēmums, ka estētiskie spriedumi balstās uz... more Pētījumā tiek analizēts Pjēra Burdjē gaumes socioloģijas teorijas pamatpieņēmums, ka estētiskie spriedumi balstās uz ārpusmākslas nozīmēm, kuras, savukārt, sakņojas dominējošās sociālajās attiecībās. Otrs raksta uzdevums ir pārbaudīt, cik lielā mērā atvērtie jautājumi paplašina iespējas atklāt muzikālās gaumes latentos klasifikāciju principus; kādi ir gaumes kvantitatīvos pētījumos izmantoto atvērto jautājumu metodoloģiskie ieguvumi; kādas papildu datu analīzes iespējas nodrošina šie jautājumi un kādas problēmas rodas, tos analizējot.
Autors uzskata, ka respondentu atbildes uz atvērto jautājumu par viņu mīļākajiem izpildītājiem paver plašas iespējas gaumes analīzei un ļauj, pirmkārt, izvairīties no metodoloģiskajiem artefaktiem, otrkārt, konstatēt gaumes latentos klasifikāciju principus, treškārt, izvērtēt distanci (tuvumu/tālumu) starp sociālajām vai etniskajām grupām.

Padomju Latvijas mūzikas socioloģija [2008]

by Jānis Daugavietis

LU Raksti Socioloģija (Socioloģijai Latvijā - 40)(736): 52–84.

Raksta mērķis ir izpētīt mūzikas socioloģiskās pētīšanas tradīciju un vēsturi Padomju Latvijā jeb Latvijas Padomju... more Raksta mērķis ir izpētīt mūzikas socioloģiskās pētīšanas tradīciju un vēsturi Padomju Latvijā jeb Latvijas Padomju Sociālistiskajā Republikā (LPSR). Hronoloģiski tas ietver laika posmu no 60. gadu sākuma, kad socioloģija tiek reabilitēta un kļūst par vienu no oficiālajām pētniecības jomām, līdz 80. gadu beigām, kad praktiski beidz pastāvēt politiski un ideoloģiski vienotā un kontrolētā Padomju Savienība. Tā kā šis ir pirmais raksts, kas veltīts Latvijas mūzikas socioloģijas vēsturei, tajā pamatā sistematizēta un aprakstīta faktoloģija, nevis saturiski
analizēts, kas paveikts Latvijas mūzikas socioloģijas laukā.
Pētījuma gaitā tika identificēti astoņi Latvijas pētnieki, kuru atsevišķus darbus var nodēvēt par piederīgiem mūzikas socioloģijai. Tie ir: Rita Kvelde, Valentīna Asmolova, Joahims Brauns, Arnolds Klotiņš, Oļegs Pavlovs, Ingrīda Zemzare, Tālis Tisenkopfs un Mārtiņš Boiko.

Inteligência musical

by Rudesindo Soutelo

Published in 'A Aurora do Lima' (7-III-2012) and 'As Artes entre as Letras'

A irracionalidade do racional

by Rudesindo Soutelo

Published in As Artes entre as Letras (Porto), nº 65, 28-XII-2011, p. 19

Teaching Theory Analogically: Using Music To Explain Criminological Theory

by Matt Hinds-Aldrich

PLEASE NOTE: This is only the first page of the article, for the full text please see the journal or contact me directly (mhinds-aldrich*at*annamaria*dot*edu) as I am happy to send you a full text copy. Here is the journal link: http://www.tandfonline.com/doi/abs/10.1080/10511253.2012.665934

There have been a number of articles recently advocating the use of nontraditional mediums to teach criminological... more There have been a number of articles recently advocating the use of nontraditional mediums to teach criminological theory. Many of these articles have advocated using music and/or music lyrics to illustrate and enliven the various theories taught in introductory theory courses. Despite the growing attention paid to teaching criminological theory, few, if any, discuss how to help students understand the more fundamental ontological question—what is “theory.” This article proposes an alternative pedagogical approach that draws upon students’ understanding of musical genres analogically to explain: (1) the historical development of the various theoretical approaches, (2) the historical, cultural and theoretical antecedents of the various approaches, and (3) how to identify the theoretical orientation(s) and influences in an unfamiliar text. Ultimately, this approach is intended to counter the overly compartmentalized and linear understanding of theory unintentionally brought on by the dynamics of teaching schedules, generic “theory” textbooks, computerized presentation software and testing methods.

My Indian Music Site

by Teed Rockwell

According to Academia.edu, someone just did a search with the question "Are there two Teed Rockwells?". The answer is that there are at least two, but that they all live in the same skin. For those who want to meet the musical one, you can connect to this link to see and hear videos of my Indian music. (Both Hindustani and Bollywood). There are also links to my twenty years of columns as Music Critic for India Currents Magazine.

Music Reception and Meaning

by zahra asadi

An Ideal Operational Model for Nonprofit Opera Organizations in the United States

by Texas State PA Applied Research Projects

Munguia, Edward P., "An Ideal Operational Model for Nonprofit Opera Organizations in the United States" (2011). Applied Research Projects, Texas State University-San Marcos. Paper 374.
http://ecommons.txstate.edu/arp/374

Purpose. The purpose of this research is to create a practical ideal model for nonprofit opera organizations to... more Purpose. The purpose of this research is to create a practical ideal model for nonprofit opera organizations to function in the United States. Methods. A review of literature was conducted to form a general practical ideal model for these organizations. A survey was then designed and 121 experts in the field of nonprofit opera were asked to participate. The purpose of the survey was to refine the ideal model for operating a nonprofit opera organization. Results.  The results of the literature review and an analysis of the data collected through the survey provided a basis for creating an ideal model. Conclusion. This research has established a basis for the practical ideal model for all nonprofit opera organizations to function in the United States.

Mikis Theodorakis – Manos Hadjidakis: Music and Politics in the Early Sixties in Greece

by Paris Konstantinidis

Master-Thesis (2011). Humboldt-Universität zu Berlin, Musicology Department.

It was written in German. Original Title: "Mikis Theodorakis - Manos Chatzidakis: Musik und Politik am Anfang der 1960er Jahre in Griechenland".

Challenges facing musical engagement and taste in digitality

by Melissa Avdeeff

Ágapes urbanos. Una mirada sobre el vínculo entre música electrónica y communitas en la ciudad de Bogotá (Artículo)

by María Angélica Ospina

Published in: Tabula Rasa 2, 2004. Available in: Redalyc

Resumen

En el presente artículo, la autora discute el tema del diálogo entre la experiencia extática... more Resumen

En el presente artículo, la autora discute el tema del diálogo entre la experiencia extática individual y la experiencia lúdica colectiva en torno al consumo de música electrónica entre los jóvenes de clase media y alta de Bogotá, Colombia. A partir del concepto de communitas de Victor Turner y recogiendo algunas discusiones sobre el sentido del trance extático en los sectores seculares, la autora propone algunas vetas para el análisis de la dinámica de la construcción de identidades juveniles en el marco de la tensión entre solipsismo y colectivismo.

Palabras clave: Identidad, culturas juveniles, consumo cultural, música electrónica (techno).

Abstract

In this text, the author discusses the dialogue between individual ecstatic experience and collective ludic experience in electronic music consumption among middle and upper class youth in Bogotá, Colombia. Drawing on Victor Turner’s concept of communitas and on discussions about the meaning of ecstatic trance in secular sectors, the author proposes paths for the analysis of the dynamics of youth identity construction in the context of the solipsism-collectivism tension.

Key words: Identity, youth cultures, cultural consumption, electronic music (techno).

The Use of Music in the Films of Fatih Akın

by Beste Atvur

The Use of Music in the Films of Fatih Akın; Case Studies: Head-On, Crossing the Bridge and the Edge of Heaven

This study investigates the use of music in the films of Fatih Akın and the music’s contribution to the director’s... more This study investigates the use of music in the films of Fatih Akın and the music’s contribution to the director’s narrative, specifically in relation to the issue of migration. Migration here refers to the large-scale immigration of Turks to Germany, which occurred between the 1960s and 1980s. In Akın’s films, music is used to represent the uncompromising and unique relationship between these two societies, Turkish and German, living together in the same country. Through an in-depth textual analysis of three of his films: Head-On (Akın, 2004), Crossing the Bridge (Akın, 2005) and The Edge of Heaven (Akın, 2007), this examination focuses on how music constructs a framework/background concerning immigrant culture in these films, as a contributing layer which parallels the main narrative and as a medium to explore the director’s position as a member of an immigrant family himself.

An empirical study of normative dissociation in musical and non-musical everyday life experiences

by Ruth Herbert

Now available online,  in advance of publication in Psychology of Music

Dissociative experiences involving music have received little research attention outside the field of ethnomusicology.... more Dissociative experiences involving music have received little research attention outside the field of ethnomusicology. This paper examines the psychological characteristics of normative dissociation (detachment) across musical and non-musical experiences in ‘real world’, everyday settings. It draws upon a subset of data arising from an empirical project designed to compare transformative shifts of consciousness, with and without music in daily life, and the ways in which use of music may facilitate the processes of dissociation and absorption. Twenty participants kept unstructured diaries for two weeks, recording free descriptions of involving experiences of any kind as soon as possible after their occurrence. All descriptions were subsequently subjected to Interpretative Phenomenological Analysis (IPA).

Results suggest that dissociative experiences are a familiar occurrence in everyday life. Diary entries highlight an established practice of actively sought detachment from self, surroundings or activity, suggesting that, together with absorption, the processes of derealization (altered perception of surroundings) and depersonalization (detachment from self) constitute common means of self-regulation in daily life. Music emerges as a particularly versatile facilitator of dissociative experience because of its semantic ambiguity, portability, and the variety of ways in which it may mediate perception, so facilitating an altered relationship to self and environment.

An empirical study of normative dissociation in musical and non-musical everyday life experiences

by Ruth Herbert

Now available online,  in advance of publication in Psychology of Music

Dissociative experiences involving music have received little research attention outside the field of ethnomusicology.... more Dissociative experiences involving music have received little research attention outside the field of ethnomusicology. This paper examines the psychological characteristics of normative dissociation (detachment) across musical and non-musical experiences in ‘real world’, everyday settings. It draws upon a subset of data arising from an empirical project designed to compare transformative shifts of consciousness, with and without music in daily life, and the ways in which use of music may facilitate the processes of dissociation and absorption. Twenty participants kept unstructured diaries for two weeks, recording free descriptions of involving experiences of any kind as soon as possible after their occurrence. All descriptions were subsequently subjected to Interpretative Phenomenological Analysis (IPA).

Results suggest that dissociative experiences are a familiar occurrence in everyday life. Diary entries highlight an established practice of actively sought detachment from self, surroundings or activity, suggesting that, together with absorption, the processes of derealization (altered perception of surroundings) and depersonalization (detachment from self) constitute common means of self-regulation in daily life. Music emerges as a particularly versatile facilitator of dissociative experience because of its semantic ambiguity, portability, and the variety of ways in which it may mediate perception, so facilitating an altered relationship to self and environment.

Feminist Music By Gina Messina-Dysert

by Feminism and Religion

Last week Caroline Kline shared the article “Feminist Films” and discussed the Bechdel Test as a way to identify... more Last week Caroline Kline shared the article “Feminist Films” and discussed the Bechdel Test as a way to identify whether or not a film is feminist.  It left me wondering – can we identify music as feminist in the same way?  Music generally does not offer dialogue between two women.  But there are instances where we find two women singing together about feminist issues like the 80’s classic “Sisters are Doin’ it for Themselves.”  There are also women singing about or to women, like Juliana Hatfield’s “My Sister.” And there is music that acknowledges women’s struggles as women like Ani Difranco’s “I’m No Heroine,” No Doubt’s “I’m Just a Girl,” and Pink’s “Stupid Girls”.    But is this the only way to identify feminist music? 

DIY Queer Feminist Subcultural Resistance in the UK (PhD Thesis)

by Julia Downes

Full PhD Thesis - not for the faint-hearted

This thesis examines the role of music, power and DIY (sub)culture involved in resistance to hegemonic discourses of... more This thesis examines the role of music, power and DIY (sub)culture involved in resistance to hegemonic discourses of gender, sexuality and feminism (re)circulated within dominant society and culture. In particular, attention is focused upon young peoples‟ experiences within riot grrrl and contemporary queer feminist music (sub)cultures situated within the fabric of social change and protest cultures of contemporary Britain. A critical interdisciplinary approach and set of qualitative methodologies were employed to understand music as collective social action that incorporated (i) oral histories of British riot grrrl, (ii) an auto/ethnography of DIY queer feminist (sub)cultural life, and (iii) case studies of queer and feminist amateur music-makers. I argue that music provides participants with a set of vital spatial, emotional and sonic resources to provoke radical political imaginaries, identities, communities and life-courses into being. In the context of a neo-liberal post-feminist consumer society, the creation of DIY queer feminist music (sub)culture attempts to resist the disarticulation of feminism and the dominant regulation of gender and sexual diversities. These social practices offer critical insights into the continuities of the (sub)cultural resistance of girls, young women and queers throughout modern history and demands the recognition of (sub)cultural resistance as crucial to British feminism within the wider transformations of protest and activism in contemporary society.

Musical identities and health over the youth-–adult transition

by Douglas Lonie

This thesis concerns musical identities and how they affect health as young people make the transition to adulthood.... more This thesis concerns musical identities and how they affect health as young people make the transition to adulthood. The primary focus is on music listening, since this is widely reported to be a key feature of adolescents’ and young adults’ leisure time (Roe 1999; Tarrant, et al 2000). Previous studies have investigated the links between specific musical genres and problematic behaviour (Klein 1993), suicidal risk (Lacourse 2001), and emotional turmoil (Roberts 1998), however there is a lack of both longitudinal and qualitative evidence in support of these findings. A number of assumptions are made regarding ‘healthy’ and ‘unhealthy’ musical preferences although causal links between music and health are still not clear. Similarly, the extent to which musical behaviour is related to other demographic features (e.g. sex, social class, education) and whether this changes over the lifecourse have yet to be fully investigated.

The principal aim of the thesis is therefore to identify how musical identities relate to health and wellbeing over the youth-adult transition. In order to meet this aim a number of objectives have been devised, these are; to trace the development of musical identities and investigate the structure of music preference; to highlight associations between musical identity and risky health behaviours; to study the relationship between musical identities and emotional wellbeing; and to address the significance of musical identities in transitions to adulthood.

A dialectical methodology was adopted which synthesises quantitative and qualitative methods. The former involved statistical analysis of a large-scale longitudinal dataset (The West of Scotland Twenty-07 Study). The latter was a qualitative sub-study with 18 participants from the Twenty-07 Study, designed and analysed using Interpretative Phenomenological Analysis (IPA). Combining methods in this way allowed for philosophical pluralism in the methodological design, as well as for different aspects of the research aims to be addressed.

Musical preferences were found to change over the youth-adult transition for most people, and this affected the links between musical identity and health. The overriding distinction was between participants who perceived a strong musical self-identity, and those who claimed a more limited identity. This was evidenced in both quantitative and qualitative findings. The former group were more likely to engage in risky health behaviours, but also indicated a more sophisticated use of music for therapeutic purposes. The latter group were less likely to engage in risky health behaviours, but did not tend to use music as a well-being resource like their strong-identifying peers. Strong musical identities are associated with higher levels of risky health behaviours, but this is also largely limited to a specific period of youth. Many practices associated with maintaining a strong musical identity in youth are limited by the onset of adult responsibilities, and structural identities. The emotional benefits associated with a strong musical identity, however, remain alongside adult identities. Ultimately, the associations between music listening and health are mostly influenced by strength of identity, and the current academic literature highlighting ‘problematic’ genres should be considered with this in mind.

The implication of this work is that common sense assumptions about the corrosive nature of certain musical identities and youth cultures should be tempered by an acknowledgement that music tastes, associations, and identities are subject to change, often over very short periods of time.

Attuned to Engagement: The effects of a music mentoring programme on the …

by Douglas Lonie

This paper presents final quantitative findings from phase two of the Youth Music Mentors (YMM) Programme. Evaluation... more This paper presents final quantitative findings from phase two of the Youth Music Mentors (YMM) Programme. Evaluation tools were embedded in the programme and participants were asked to complete self-assessment scales of musical ability, knowledge of music opportunities and three measures of agency (feeling respected, able, and in control) at the beginning and end of the project. Paired sample tests indicated a significant increase across all scales, with particularly strong effects observed for increased musical ability, knowledge of musical opportunities and a combined measure of agency. All results are considered in the context of the theoretical design of the programme, (i.e. increasing agency and encouraging greater levels of active citizenship amongst disengaged children
and young people through music mentoring). These findings suggest the aims of the programme were convincingly achieved, whilst reiterating the need for continued research investigating the effects of mentoring programmes, and music mentoring specifically. This quantitative based paper is intended to
complement the full qualitative external evaluation conducted by Deane et al. and published by Youth Music in May 2011.

Neo-Trans-Pós-Modernismo

by Rudesindo Soutelo

Published in As Artes entre as Letras (Porto), nº 62, 16-XI-2011, pp. 10-11