Musical Gentrification is an exploration of the role of popular music in processes of socio-cultural inclusion and exclusion in a variety of contexts. Twelve chapters by international scholars reveal ...how cultural objects of relatively lower status, in this case popular musics, are made objects of acquisition by subjects or institutions of higher social status, thereby playing an important role in social elevation, mobility and distinction. The phenomenon of musical gentrification is approached from a variety of angles: theoretically, methodologically and with reference to a number of key issues in popular music, from class, gender and ethnicity to cultural consumption, activism, hegemony and musical agency. Drawing on a wide range of case studies, empirical examples and ethnographic data, this is a valuable study for scholars and researchers of Music Education, Ethnomusicology, Cultural Studies and Cultural Sociology. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
Musical Gentrification is an exploration of the role of popular music in processes of socio-cultural inclusion and exclusion in a variety of contexts. Twelve chapters by international scholars reveal ...how cultural objects of relatively lower status, in this case popular musics, are made objects of acquisition by subjects or institutions of higher social status, thereby playing an important role in social elevation, mobility and distinction. The phenomenon of musical gentrification is approached from a variety of angles: theoretically, methodologically and with reference to a number of key issues in popular music, from class, gender and ethnicity to cultural consumption, activism, hegemony and musical agency. Drawing on a wide range of case studies, empirical examples and ethnographic data, this is a valuable study for scholars and researchers of Music Education, Ethnomusicology, Cultural Studies and Cultural Sociology.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
In this article, the tension between diversity and uniformity in our music education research communities is discussed as it relates to Thomas Piketty’s research on elites and shifting political ...leanings, Francis Fukuyama’s and Judith Butler’s reflections on identity politics, and Chantal Mouffe’s critical discussion of an antagonistic way of thinking, in which opponents are not defined politically but, rather, morally. We must establish an agonistic public sphere, Mouffe argues, a political sphere characterised by fights in which different political projects confront one another, accepting the fact that identity is relational. The article is the result of a series of ongoing dialogues between the authors and offered as an attempt at agonistic turn-taking that clearly identifies the two voices involved and their respective views.
Do we all have to be “leftists”? Øivind Varkøy; Petter Dyndahl
Nordic Research in Music Education,
10/2022, Letnik:
3, Številka:
2022
Journal Article
Odprti dostop
In this article, the tension between diversity and uniformity in our music education research communities is discussed as it relates to Thomas Piketty’s research on elites and shifting political ...leanings, Francis Fukuyama’s and Judith Butler’s reflections on identity politics, and Chantal Mouffe’s critical discussion of an antagonistic way of thinking, in which opponents are not defined politically but, rather, morally. We must establish an agonistic public sphere, Mouffe argues, a political sphere characterised by fights in which different political projects confront one another, accepting the fact that identity is relational. The article is the result of a series of ongoing dialogues between the authors and offered as an attempt at agonistic turn-taking that clearly identifies the two voices involved and their respective views.
With a hundred years (1912-2012) of Norwegian master's and doctoral theses written within the field of music as a backdrop, this article reports from an extensive study of the academisation of ...popular music in higher music education and research in Norway. Theoretically, the study builds on the sociology of culture and education in the tradition of Bourdieu and some of his successors, and its methodological design is that of a comprehensive survey of the entire corpus of academic theses produced within the Norwegian music field. On this basis, the authors examine what forms of popular music have been included and excluded respectively, how this aesthetic and cultural expansion has found its legitimate scholarly expression, and which structural forces seem to govern the processes of academisation of popular music in the Norwegian context. The results show that popular music to a large extent has been successfully academised, but also that this process has led to some limitations of academic openness as well as the emergence of new power hierarchies.
In this article, the aim is to address different forms of relationship between deconstruction, as coined by Jacques Derrida, and research perspectives on music education. Deconstruction represents a ...radical departure from Western ontology from Plato onward and its essentialistic notions of the metaphysics of presence. Instead, Derrida claims that signs, as well as texts, are decentered, that is, they are continually altering meaning in relation to other signs or texts, being in constant motion. Simultaneously, signs and texts, as well as existence and experience, constitute themselves by binary oppositions, like nature/culture, content/form, original/copy, internal/external, empirical! theoretical, and so on. Derrida argues that such differences are not inherent, but are instead socially produced and hierarchical mechanisms for providing systematic priority to one aspect of the dualism to the neglect of the other. Consequently, the ethical interest of music education research, from a deconstructive perspective, would be to expose what is marginalized in musical schooling, upbringing, and socialization. In that case, deconstruction might also be able to rectify some of its destructive reputation.
There has been an ongoing tendency, taking place in the Scandinavian countries from the late 1970s onwards, to expand the repertoires and resources of music as an educational matter, an academic ...field, as well as an area for support and funding from cultural authorities, organisations and institutions. Here, popular music, jazz, folk music and world music have gained considerable educational, curricular and institutional status. In this article, we will discuss how different ideas of what is considered to be genuine, original or authentic meet and break against each other in music education. Using a deconstructive methodology, our point of departure is three specific examples from earlier research in music education, on popular music and jazz education, respectively. We aim to deconstruct the different and partly contradictory concepts of authenticity that characterise the fields of music education we examine.
After a thorough explanation of the concept of musical gentrification, this chapter expands on the concept by demonstrating that while appearing as a democratising process, it can also be a useful ...strategy for social and cultural positioning in the late modern cultural world. In this way, musical gentrification may work as a means of harvesting hitherto untouched cultural capital. At an institutional level, it can also serve as confirmation and justification of egalitarian, tolerant and inclusive commitments and mindsets, whereas, on the overarching social and cultural level, it confirms rather than changes the order of things. Thus, the concept of musical gentrification may provide insight into the workings of hegemony in and through contemporary popular culture.
This chapter rests on the premise that there exists a symbolic economy next to the material one. Within the symbolic, or cultural, economy, Bourdieu asserted, based upon his comprehensive empirical research on the state of French culture and society in the 1960s, that music represents one of the most important negotiations of the social world. Accordingly, since popular culture now seems to be attractive for most social groups and classes worldwide, it makes sense to start with a musical sociological contribution that is particularly concerned with the global prevalence popular music has gained in today's society. The notions of institutionalised patterns of cultural value and expressive isomorphism together provide a conceptual framework for a general sociological understanding of aesthetic cosmopolitanism, which may be seen in accordance with Bourdieu's dual understanding of the social role of culture.
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