Ambivalence, indifference, distinction: A comparative netfield analysis of implicit musical boundaries

Sonnett, John

doi:10.1016/j.poetic.2015.09.002

Cited by 21 publications

(19 citation statements)

References 55 publications

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“…To enable comparison among the cases despite the differences in the number of articles coded in each, the statistical significance of the numbers was tested using a cumulative binomial distribution test and the results were coded to produce the matrix for netfield analysis (Sonnett 2016). Two benchmarks were used to assess whether framing categories represent at least 1 percent (up to 4.9 percent) or 5 percent (or more) of articles for each of the 17 cases.…”

Section: Methodsmentioning

confidence: 99%

Conflicting Climate Change Frames in a Global Field of Media Discourse

Broadbent

Sonnett

Botetzagias

et al. 2016

Socius: Sociological Research for a Dynamic World

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Reducing global emissions will require a global cosmopolitan culture built from detailed attention to conflicting national climate change frames (interpretations) in media discourse. The authors analyze the global field of media climate change discourse using 17 diverse cases and 131 frames. They find four main conflicting dimensions of difference: validity of climate science, scale of ecological risk, scale of climate politics, and support for mitigation policy. These dimensions yield four clusters of cases producing a fractured global field. Positive values on the dimensions show modest association with emissions reductions. Data-mining media research is needed to determine trends in this global field.

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Section: Methodsmentioning

confidence: 99%

Conflicting Climate Change Frames in a Global Field of Media Discourse

Broadbent

Sonnett

Botetzagias

et al. 2016

Socius: Sociological Research for a Dynamic World

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“…. ) can be located sociologically" (Sonnett, 2016;p. 41), so some scholars suggest that music genre preferences are actually 'sociocultural identifications' associated with these genres and not a real taste measurement (Bourdieu, 1984;Holt, 1997;Savage, 2006;p.…”

Section: Theorymentioning

confidence: 99%

“…Genre boundaries are 'fuzzy' and the hidden dimensions in genre categories are often overlooked by researchers (e.g. Beer & Taylor, 2013;Savage & Gayo, 2011;Savage, 2006;Sonnett, 2016;van Venrooij, 2009).…”

Section: Introductionmentioning

confidence: 99%

Music classification, genres, and taste patterns: A ground-up network analysis on the clustering of artist preferences

Vlegels

Lievens

2017

Poetics

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“…As Bourdieu (1984: 18) famously remarked, ‘Nothing more clearly affirms one’s “class”, nothing more infallibly classifies, than tastes in music’, arguing that music has ‘nothing to say’ and that this makes it useful for studying cultural distinction. Symbolic boundaries around music range from highly exclusive, narrow tastes (Bryson, 1997; Lizardo and Skiles, 2015) to broadly inclusive, omnivorous tastes (Goldberg, 2011; Peterson and Kern, 1996), to ambivalent tastes, distinguishing artists within genres (Sonnett, 2016; Vlegels and Lievens, 2017). Processes of symbolic distinction can contribute to the making of exclusive social boundaries (Lamont and Molnár, 2002) but they can also provide resources for building social network bridges (Erickson, 1996; Lewis and Kaufman, 2018; Lizardo, 2006).…”

Section: Introductionmentioning

confidence: 99%

Musical Relationships: Intersections of Race, Gender, Genre, and Listening Situation

Sonnett

2020

Cultural Sociology

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The ways that music creates bridges and boundaries between people has long been of interest in the sociology of music, and a core problem is understanding patterns in relationships between consumers and producers. Survey research details the comparative context of who likes or dislikes various musical genres, but has little to say about what those categories actually mean to listeners. Ethnographic and interview research offers insight into musicking in particular situations, but seldom compares listeners, artists, and genres in a larger musical field. This study uses a mixed methods approach to examine the bridging and bounding processes organizing relationships between listeners and artists. Based on a survey of students at the University of Mississippi, I examine how musical relationships are shaped by race, gender, genre, and listening situation using a combination of social network analysis and correspondence analysis. Results show an overall pattern of racial segregation in musical tastes that is intersected by multiple paths of racial crossover, from relatively private to public situations. Black musical styles are central to racial crossover in the musical field, creating ambivalent spaces of cultural integration in the context of social segregation. Music profiles of listeners illustrate how situational meanings and comparisons of artists within genres shape musical relationships and mark social distance. The conclusion draws implications for the study of musical practices, racialized musical fields, and mixed methods approaches in cultural sociology.

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Ambivalence, indifference, distinction: A comparative netfield analysis of implicit musical boundaries

Cited by 21 publications

References 55 publications

Conflicting Climate Change Frames in a Global Field of Media Discourse

Conflicting Climate Change Frames in a Global Field of Media Discourse

Music classification, genres, and taste patterns: A ground-up network analysis on the clustering of artist preferences

Musical Relationships: Intersections of Race, Gender, Genre, and Listening Situation

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