Music into action: performing gender on the Viennese concert stage, 1790–1810

DeNora, Tia

doi:10.1016/s0304-422x(02)00005-0

Cited by 59 publications

(23 citation statements)

References 8 publications

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“…DeNora's (2002) analysis of piano performance of Beethoven at the beginning of the 19th century illuminates how music as a performed and embodied event offers a medium for shaping social relations of gender (also see Clawson, 1999 on women bass guitarists in rock bands). Through the features of performance, including gender segregation of performance, Beethoven's musical practices became ''object lessons'' of masculine agency -counterpoised to the decorum of pianistic femininity (DeNora, 2002, p. 32).…”

Section: The Production Of Culture and Conventions Of Productionmentioning

confidence: 99%

Not winging it at Hooters: Conventions for producing a cultural object of sexual fantasy

Newton-Francis

2015

Poetics

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Section: The Production Of Culture and Conventions Of Productionmentioning

confidence: 99%

Not winging it at Hooters: Conventions for producing a cultural object of sexual fantasy

Newton-Francis

2015

Poetics

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“…Recent scholarship has sought to remedy these limitations (Adkins and Skeggs, 2004;McCall, 1992;Moi, 1991), and I would argue that all fields are structured through different forms of othering, inclusion and exclusion. As Roy and Dowd (2010: 197) remind us, music plays an important role in sustaining and reconfiguring stratification by reinforcing race, class and gender distinctions, and there are a growing number of studies that examine popular music, cultural classification and social and symbolic boundaries (Denora, 2002;Dowd and Blyer, 2002;Dowd et al, 2005;Schmutz, 2009). …”

Section: Legitimation Authenticity Symbolic Boundaries and 'Restricmentioning

confidence: 99%

“…Whereas past research has focused on how genre classifications involve hierarchical rankings (DiMaggio, 1987), on how music companies classify genres (Hitters and van de Kamp, 2010), on how genre trajectories change over time (Lena and Peterson, 2008) and on how the relationships between cultural classification and social and symbolic boundaries operate within cultural fields (Denora, 2002;Dowd and Blyer, 2002;Dowd et al, 2005;Schmutz, 2009), these studies do not account for how marginal music genres gain aesthetic legitimacy within the field of restricted production. Towards this end, this section also outlines the relative positioning of three genres within the field of Greek popular music: rebetika, new wave laika and rap music.…”

Section: A Brief History Of Greek Popular Music: Mapping the Symbolicmentioning

confidence: 99%

Greek hip hop: Local and translocal authentication in the restricted field of production

Elafros

2013

Poetics

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This paper illustrates how hip hop practitioners in Athens, Greece legitimate hip hop as an authentic musical form within the restricted field of cultural production. First, this paper outlines how fields of cultural production operate. Second, this paper illustrates how the data for this project was collected. Third, this paper highlights how past and current struggles within the field shape how authenticity is defined. Fourth, this paper highlights the discursive techniques Finally, I conclude with some suggested avenues for future research.

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“…Other studies more explicitly have investigated the relationship between cultural objects and religion, politics, sports, relaxing, making love, education, and of course social movements. While many of these studies focus on the content, others have analyzed how the culture is embedded in social relations (Zolberg 1990;Reed 2005;Berezin 1994;Du Gay 1997;Leblanc 1999;DeNora 2002;Martin 2004;Ikegami 2005;Rosenthal and Flacks 2009). Analyzing the embeddedness of culture means suspending the distinction between pure and pragmatic culture or between aesthetic and social dimensions to focus on what people are doing when they are doing culture.…”

Section: Modes Of Relationships Between Culture and Social Movementsmentioning

confidence: 99%

How Social Movements Do Culture

Roy

2010

Int J Polit Cult Soc

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While much social science literature has analyzed the cultural bases of social movement, activity, and the content of cultural production by social movements, relatively little has been written about the concrete social relations within which social movements do culture. This paper addresses the issue of what social movements are doing when they produce culture. Four dimensions of social relations within which culture is enacted are identified: the division of labor, the relations of power, tuning in, and embeddedness. A contrast between the how the People's Songsters Movement of the 1930s and 1940s and the Civil Rights Movement of the 1960s used American folk music illustrates how variation in these dimensions affects the effects that cultural production had on social movement outcomes.Keywords Social movements . Culture . Modes of relationships . Civil Rights Movement "When I hear music, I fear no danger. I am invulnerable. I see no foe. I am related to the earliest times, and to the latest." Henry David ThoreauThe power of music has long been celebrated by philosophers, poets, statesmen and activists. Music has the power to seduce, inspire, soothe, and fortify. We all know that.What do social movements do? They protest, plea, organize, recruit, petition, demonstrate, meet, debate, strike, and express. As collective agents of expression, like other collectivities, they do art, literature, music, drama, and other creative endeavors. Some authors have even suggested that their cultural activities are more enduring and historically important than their political achievements (Eyerman and Jamison 1998). The most common question about the cultural activities of social movements probes meaning: How are cultural expressions motivated by activists and interpreted by audiences? Insofar as Int J Polit Cult Soc (2010) 23:85-98

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Music into action: performing gender on the Viennese concert stage, 1790–1810

Cited by 59 publications

References 8 publications

Not winging it at Hooters: Conventions for producing a cultural object of sexual fantasy

Not winging it at Hooters: Conventions for producing a cultural object of sexual fantasy

Greek hip hop: Local and translocal authentication in the restricted field of production

How Social Movements Do Culture

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