The context and genesis of musical tastes: Omnivorousness debunked, Bourdieu buttressed

Class cultures or micro-class cultures? An analysis of literary tastes of occupational groups

“…Tastes most prominently figuring in studies of cultural consumption are tastes for certain artistic genres, such as detective stories or romance. Such conventional genre groupings are often criticised as excessively coarse and unable to capture emic distinctions made by readers themselves (Atkinson, 2011). The size of our dataset allowed us to overcome the problem of imposing external categorization for authors by using an automatic grouping.…”

“…Moreover, the mechanisms of formation of habitus discussed in "The Distinction" (Bourdieu, 1984) suggests that it is mostly economic security or lack thereof that stands behind the development of "the sense for distinction", "cultural good-will" and "taste for necessity". At the same time, in "The Distinction" Bourdieu introduces the notion of different "factions" of the upper classes: those with a predominance of cultural capital over economic and vice versa, which may be regarded as a concession to the idea of status autonomy (Atkinson, 2011; Lizardo and Skiles, 2012; Flemmen, Jarness and Rosenlund, 2018).…”

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“…Whilst staunch defenders of Bourdieu have tended to give little ground in debates about musical taste, detractors are just as wont to hurriedly consign Bourdieu to a classical past that is unable to capture recent transformations in education, technology and stratification. Those who have attempted something like a middle ground position have had to tread delicately between these poles in the spirit of a critical but sympathetic reappraisal of Bourdieu's ideas (Prior, 2009;Atkinson, 2011). But even here, it's often unclear if researchers are merely producing "Bourdieu style" texts rather than critically appropriating the legacy that he left us (Lahire, 2011).…”

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

“…Although there are a wealth of macro-level studies drawing on Bourdieu that focus on the relationships between cultural consumption, music, and social differentiation (Bryson, 1996;Peterson, 1992;van Eijck, 2001;van Eijck and Lievens, 2008), there are also a growing number of studies that draw upon Bourdieu's theories of cultural production to offer qualitative analyses of music-making (Atkinson, 2011;Lopes, 2000;Moore, 2007;Prior 2008;Regev, 1994;author, in press;Thornton, 1996). Past studies examine how 'restricted popular art' is unaccounted for within Bourdieu's model of cultural production (Lopes, 2000), how punk operates as a independent field of cultural production (Moore, 2007), how Pierre Bourdieu's theories can improve through an incorporation of actor network theory (Prior, 2008), how rock music is legitimated as 'real art' (Regev, 1994), how the concept of 'location' acts as a supplement to the concepts of position and disposition in understanding how strategies are enacted in cultural fields (author, forthcoming), and how the concept of 'subcultural capital' contributes to our understandings of musical subcultures (Thornton, 1996).…”