Sara Towe Horsfall - Music Sociology: Examining the Role of Music in Social Life
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Sara Towe Horsfall ,
Jan-Martijn Meij , and
Meghan D. Probstfield
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
711 Third Avenue, New York, NY 10017, USA
Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
Music sociology: examining the role of music in social life / edited by Sara Towe Horsfall, Jan-Martijn Meij, and Meghan D. Probstfield.
pages; cm
Includes bibliographical references and index.
ISBN 978-1-61205-312-7 (hardcover: alk. paper)
1. MusicSocial aspects. 2. MusicPhilosophy and aesthetics. I. Horsfall, Sara. II. Meij, Jan-Martijn. III. Probstfield, Meghan D.
ML3916.M8783 2013
306.4'842dc23
ISBN 13: 978-1-61205-313-4 (pbk)
| , by Joseph Kotarba |
| , by Joseph Kotarba |
| by the Editors |
| , by Paul Robeson |
| 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 BARTOK) HAVE USED IT, AND IT RARELY IS A PART OF WESTERN CLASSICAL MUSIC TRAINING. |
| , by Sara Towe Horsfall |
| 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. |
| , by Howard S. Becker |
| 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. |
| , by Simon Frith |
| PRODUCTION OF MUSIC HAS CHANGED OVER THE YEARS; SOUND PRODUCTION WENT FROM RECORDS, TO RADIOS, TO TAPE, TO CDS. WITH EACH CHANGE, MAJOR INDUSTRIES DEVELOPED STRATEGIES TO SELL THEIR MUSIC. AS MUSIC PRODUCTION CHANGES, SO DOES OUR UNDERSTANDING OF WHAT MUSIC IS, AND WHO THE MUSICIANS ARE. |
| by William G. Roy and Timothy J. Dowd |
| 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. |
| , by Sara Towe Horsfall |
| 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. |
| , by Jan-Martijn Meij, Meghan D. Probstfield, Joseph M. Simpson, and J. David Knottnerus |
| 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. |
| , by Kathryn M. Nowotny, Jennifer L. Fackler, Gianncarlo Muschi, Carol Vargas, Lindsey Wilson, and Joseph A. Kotarba |
| MUSIC HELPS MEMBERS OF LATINO COMMUNITIES MAKE SENSE OF THEIR SELVES AND THEIR EVERYDAY LIFE. FOUR INTERACTIONIST CONCEPTSTHE SCENE, IDIOCULTURE, PLACE, AND AUTHENTICITYARE 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 QUALITYPOPULATED BY ANGLOS AS WELL AS LATINOS. |
| , by Roscoe C. Scarborough |
| A SUCCESSFUL SOLO IS NOT AN EXPRESSION OF UNFETTERED CREATIVITY, SINCE A PURE SOLOTHE ONE THAT IS GENUINELY INNOVATIVEWILL 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. |
| , by Russell A. Potter |
| "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. |
| , by Matthew Oware |
| 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. |
| , by Daniel Sarabia |
| 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. |
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