Culture, Class, Distinction

Bennett, Tony; Savage, Mike; Silva, Elizabeth Bortolaia; Warde, Alan; Gayo‐Cal, Modesto; Wright, David

doi:10.4324/9780203930571

Cited by 846 publications

(257 citation statements)

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“…The influential study Culture, class, distinction in the UK by Bennett et al (2009), based on the Cultural Capital and Social Exclusion Survey, is no exception here. Pointing usefully to the importance of age and life course effects, together with gender and ethnicity, alongside and in combination with the role of class, in shaping cultural engagement, it nevertheless pays little detailed attention to the world of ordinary consumption.…”

Section: Everyday Participation and Cultural Valuementioning

confidence: 99%

Everyday participation and cultural value

Miles

Gibson

2016

Cultural Trends

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Section: Everyday Participation and Cultural Valuementioning

confidence: 99%

Everyday participation and cultural value

Miles

Gibson

2016

Cultural Trends

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“…Here, the pivotal reference is the work of Pierre Bourdieu and the argument of his book Distinction (1984) that command of "legitimate" culture, associated with established art forms consecrated by state institutions, plays the key role in representing and reproducing social and economic advantage in contemporary capitalist societies (Bennett et al, 2009). Subsequent research, examining the contemporary applicability of his conceptual frames beyond France, cast doubt on the notion that "high" culture had a singular, defining role in elite formation, pointing instead to the rise of the "cultural omnivore" (DiMaggio & Mukhtar, 2004;van Eijck & Knulst, 2005;Peterson & Kern, 1996).…”

Section: Policy and Theorymentioning

confidence: 99%

Telling tales of participation: exploring the interplay of time and territory in cultural boundary work using participation narratives

Miles

2016

Cultural Trends

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Consideration of the "stakes" attached to participation is most clearly associated with the debate around Bourdieu's [(1984). Distinction: A social critique of the judgement of taste. London: Routledge] concept of cultural capital and the role this plays in processes of domination and social closure. Yet, the preferred method of understanding practice variation in the cultural fieldthe analysis of cross-sectional survey data focused on established tastes and activities -reveals little of the broader nature, dynamics or significance of participation in people's daily lives. In this paper, I explore the potential of participation narratives for re-scoping the field of cultural participation. These accounts foreground the multiplicity of participation, its embeddedness in everyday concerns, institutions and relationships, and the interplay of time and space in the demarcation of the field by class and gender. As well as highlighting the limitations of theoretical models that focus on participation through the lens of cultural practices funded by the State, they suggest that articulations of cultural value in policy need to take more account of the personal histories, social relations and local contexts of participation.

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“…Peterson 1992, DeNora 2000, Bull 2007, Savage and Gayo 2011cf. Bourdieu 1984, Bennett et al 2009), then so might rituals of disposal and dispossession reveal various social logics and inform our understanding of musical culture (e.g. Straw 1999Straw -2000cf.…”

Section: Political Ecology and Recorded Musicmentioning

confidence: 99%

Decomposed: a political ecology of music

Devine¹

2015

Pop. Mus.

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IntroductionModern development, consumption and waste have strained the environment to the point of crisis -and music is part of the problem. Consider the poisonous petrochemicals used to manufacture LPs, the non-biodegradable plastics in CDs, the energy-guzzling server farms that power streaming MP3s, and the toxic graveyards of obsolete consumer electronics around the world. But these earthy and potentially ugly material realities typically go unnoticed in musical discourse, probably because they clash with a longstanding but mistaken belief that music is somehow an immaterial phenomenon.Indeed, even though we are accustomed to the accusation that certain types of music are 'disposable', we rarely think about what happens to recordings when they are actually disposed of. And while commonsense tells us that the 'music industry' is in the business of making records, we rarely think about what those recordings are actually made of. Correspondingly, the environmental impact of recorded sound is almost completely 2 unaccounted for in cultural studies of music and media, which treat the musical commodity principally as a product of musical labour, an object of capitalist exchange, or a text for audience consumption. Questions about the actual material composition and decomposition of the musical commodity -about what happens to music before production and after consumption -have been largely ignored. Yet without confronting the relationship between music's cultural and economic value, on the one hand, and its environmental cost, on the other, the field of music studies forfeits the opportunity for a fully interdisciplinary engagement with -and a holistic democratic ethics of -its object of study. One step toward achieving that goal is to formulate a political ecology of the evolving relationship between popular music and sound technology since 1900.This article inscribes a history of recorded music in three main forms of materiality:shellac (1900-1950), plastic (1950-2000) and data (2000-present). These three broad phases in the material history of recorded music correspond to this article's three main sections. They also encompass the five most prevalent recording formats since 1900: 78s (shellac); LPs, cassettes and CDs (plastic); and MP3s (data). I subject these three materials to a double-headed investigation, examining the dynamics of manufacture and obsolescence that mark the shifts between them. As a backdrop to the sections on shellac,

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Culture, Class, Distinction

Cited by 846 publications

References 0 publications

Everyday participation and cultural value

Everyday participation and cultural value

Telling tales of participation: exploring the interplay of time and territory in cultural boundary work using participation narratives

Decomposed: a political ecology of music

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