Social and symbolic boundaries in newspaper coverage of music, 1955–2005: Gender and genre in the US, France, Germany, and the Netherlands

Schmutz, Vaughn

doi:10.1016/j.poetic.2009.06.006

Cited by 62 publications

(30 citation statements)

References 49 publications

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“…They have showed that critics writing for broadsheets and specialised magazines have progressively imposed a 'highbrow perspective' upon popular culture; that is, they have evaluated popular genres according to criteria like originality, seriousness and complexity. Critics have thus contributed to the making of new hierarchies and historical canons, but also to new forms of social exclusion, for example by favouring male musicians and all male acts in their coverage choices (Schmutz, 2009). …”

Section: The Persistence Of Bourdieu: New Cultural Institutions and Fmentioning

confidence: 99%

Beyond Distinction: Theorising Cultural Evaluation as a Social Encounter

Varriale

2015

Cultural Sociology

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This article expands recent attempts to theorise the role of culture's materiality in Pierre Bourdieu's relational epistemology. Drawing on empirical research about the reception of rock and jazz in Italy, and focusing on the evaluative practices of Italian critics, the article theorises cultural evaluation as a social encounter between the dispositions of social actors (i.e. their habitus) and the aural, visual and narrative properties of cultural objects. The article argues that such encounters produce relational aesthetic experiences, which are neither a property of social actors (e.g. their class) nor of cultural artefacts, but emerge from interactions between the sociohistorical specificity of the habitus and different cultural materials. This theoretical synthesis, it is argued, can account for meanings and affects which, albeit co-produced by embodied dispositions, are neither reducible to such dispositions nor to practices of distinction. Further, it can account for the formative power of aesthetic experiences, that is, the extent to which they create durable dispositions and attachments.

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Section: The Persistence Of Bourdieu: New Cultural Institutions and Fmentioning

confidence: 99%

Beyond Distinction: Theorising Cultural Evaluation as a Social Encounter

Varriale

2015

Cultural Sociology

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“…come to be looked on as a cultural form "worthy of critical attention" (Janssen, 1999;Janssen, Kuipers, & Verboord, 2009;Schmutz, 2009). Yet the ways in which newspaper critics discuss and classify popular music may show profound national differences (van Venrooij & Schmutz, 2009).…”

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confidence: 99%

Classifying Popular Music in the United States and the Netherlands

Venrooij

2011

American Behavioral Scientist

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This article focuses on the classification of popular music by newspaper critics in the United States and the Netherlands. By using the "mentions technique" of Rosengren, the author investigates cross-national differences in the use of commercial, aesthetic, and racial logics in the classification of popular music artists, relating them to fieldlevel and macrostructural differences between the United States and the Netherlands. U.S. reviewers are found to mention commercially successful artists more often than their Dutch counterparts. Racial boundaries appear to be strong in both countries.

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“…This section maps out the historical context of the field of Greek popular music in order to illustrate how cultural fields are dynamic entities marked by past and current struggles, and how hip hop practitioners utilize symbolic boundaries in these struggles over hierarchical classification. 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 Namely, the processes of hellenization, masculinization and westernization of this musical form are central to its gentrification from a marginal genre to a dominant autonomous genre within the restricted field of production.…”

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

Elafros¹

2016

Preprint

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This paper illustrates how hip hop practitioners in Athens, Greece legitimate hip hop asan authentic musical form within the restricted field of cultural production. First, this paperoutlines how fields of cultural production operate. Second, this paper illustrates how the data forthis project was collected. Third, this paper highlights how past and current struggles within thefield shape how authenticity is defined. Fourth, this paper highlights the discursive techniquesused by hip hop practitioners to position rap music as aesthetically superior to the commerciallysuccessful genres of new wave laika, 'hip pop,' corporate American hip hop and Greek pop. Fifth,I illustrate how hip hop practitioners use two competing processes of aesthetic legitimation: localauthentication and translocal authentication, within the restricted field of cultural production.Finally, I conclude with some suggested avenues for future research.Sent from Mail for Windows 10

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Social and symbolic boundaries in newspaper coverage of music, 1955–2005: Gender and genre in the US, France, Germany, and the Netherlands

Cited by 62 publications

References 49 publications

Beyond Distinction: Theorising Cultural Evaluation as a Social Encounter

Beyond Distinction: Theorising Cultural Evaluation as a Social Encounter

Classifying Popular Music in the United States and the Netherlands

Greek Hip Hop: Local and Translocal Authentication in the Restricted Field of Production

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