What is sociological about music?

Annual Review of Sociology

Volumn 36, Issue , 2010, Pages 183-203

  Roy, William G ^a   Dowd, Timothy J ^b  

^a UNIVERSITY OF CALIFORNIA   (United States)

^b EMORY UNIVERSITY   (United States)

Author keywords

boundaries; cultural consumption; cultural production; genres; institutions; interaction

Indexed keywords

EID: 77955644583     PISSN: 03600572     EISSN: None     Source Type: Book Series    
DOI: 10.1146/annurev.soc.012809.102618     Document Type: Article

References (155)

1. Abbott A, Hyrcak A. 1990. Measuring resemblance in sequence data: an optimal matching analysis of musician careers.Am.J. Sociol. 96:144-185
2. Adorno TW. 2002. On the social situation of music. In Essays on Music, ed. R Leppert, pp. 391-436. Berkeley: Univ. Calif. Press
3. Ahlkvist JA, Faulkner R. 2002. "Will this record work for us"?: managing music formats in commercial radio. Qual. Sociol. 25:189-215
4. Alford RR, Szanto A. 1996. Orpheus wounded: the experience of pain in the professional world of piano. Theory Soc. 25:1-44
5. Allmendinger J, Hackman RJ. 1995. The more the better?: a four-nation study of the inclusion of women in symphony orchestras. Soc. Forces 74:423-460
6. Allmendinger J, Hackman RJ. 1996. Organizations in changing environments: the case of East German symphony orchestras. Admin. Sci. Q. 41:337-369
7. Asai S. 2008. Firm organisation and marketing strategy in the Japanese music industry. Pop. Music 27:473-485
8. Aschaffenburg K, Maas I. 1997. Cultural and educational careers: the dynamics of social reproduction. Am. Sociol. Rev. 62:573-587
9. Bayton M. 1998. Frock Rock: Women Performing Popular Music. Oxford: Oxford Univ. Press
10. Becker H. 1982. Art Worlds. Berkeley: Univ. Calif. Press
11. Becker J, Becker A. 1981. A musical icon: power and meaning in Javanese Gamelan music. In The Sign in Music and Literature, ed. W Steiner, pp. 203-215 Austin: Univ. Tex. Press
12. Beer D. 2008. Making friends with Jarvis Cocker: music culture in the context of Web 2.0. Cult. Sociol. 2:222-241
13. Bennett A. 2004. Consolidating the music scenes perspective. Poetics 32:223-234
14. Bennett A. 2006. "Punk's not dead": the continuing significance of punk rock for an older generation of fans. Sociology 40:219-235
15. Benzecry CE. 2006. Curtain rising, baton falling: the politics of musical conducting in contemporary Argentina. Theory Soc. 33:445-479
16. Benzecry CE. 2009. Becoming a fan: on the seductions of opera. Qual. Sociol. 32:131-151
17. Berger K. 2007. Bach's Cycle, Mozart's Arrow: An Essay on the Origins of Musical Modernity. Berkeley: Univ. Calif. Press
18. Berger P, Luckmann T. 1966. The Social Construction of Reality: A Treatise on the Sociology of Knowledge. New York: Anchor
19. Berliner PF. 1994. Thinking in Jazz: The Infinite Art of Improvisation. Chicago: Univ. Chicago Press
20. Bevers T. 2005. Cultural education and the canon: a comparative analysis of the content of secondary school exams for music and art in England, France, Germany and the Netherlands, 1990-2004. Poetics 33:388416
21. Binder A. 1993. Constructing racial rhetoric: media depictions of harm in heavy metal and rap music. Am. Sociol. Rev. 58:753-767
22. Bohlman PV. 1999. Ontologies of music. In Rethinking Music, ed. N Cook, M Everist, pp. 17-34. Chicago: Univ. Chicago Press
23. Bourdieu P. 1984. Distinction: A Sociological Critique of the Judgement of Taste. Cambridge, UK: Cambridge Univ. Press
24. Bull M. 2007. Sound Moves: iPod Culture and Urban Experience. London: Routledge
25. Burnett R. 1996. The Global Jukebox: The International Music Industry. London: Routledge
26. Cantwell R. 1997. When We Were Good: The Folk Revival. Cambridge, MA: Harvard Univ. Press
27. Cerulo KA. 1995. Identity Designs: The Sight and Sounds of a Nation. New Brunswick, NJ: Rutgers Univ. Press
28. Chaves M. 2004. Congregations in America. Cambridge, MA: Harvard Univ. Press
29. Clarke EF. 2005. Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. New York: Oxford Univ. Press
30. Clawson MA. 1999. When women play the bass: instrument specialization and gender interpretation in alternative rock music. Gender Soc. 13:193-210
31. Cooke D. 1959. The Language ofMusic. London: Oxford Univ. Press
32. CoulangeonP, Lemel Y. 2007. Is "distinction" really outdated?: questioning the meaning of the omnivorization of musical taste in contemporary France. Poetics 35:93-111
33. Coulangeon P, Ravet H, Roharik I. 2005. Gender differentiated effect of time in performing arts professions: musicians, actors, and dancers in contemporary France. Poetics 33:369-387
34. Cross I. 1997. Pitch schemata. In Perception and Cognition of Music, ed. I Delige, J Sloboda, pp. 353-386 East Sussex: Psychology Press
35. Crossley N. 2008. The man whose web expanded: network dynamics in Manchester's post/punk music scene, 1976-1980. Poetics 73:24-49
36. Cruz J. 1999. Culture on the Margins: The Black Spiritual and the Rise of American Cultural Interpretation. Princeton, NJ: Princeton Univ. Press
37. Curran GM. 1996. From "swinging hard" to "rocking out": classification of style and the creation of identity in the world of drumming. Symb. Interact. 19:37-60
38. Dempsey NP. 2008. Hook-ups and train wrecks: contextual parameters and the coordination of jazz interaction. Symb. Interact. 31:57-75
39. DeNora T. 1986. How is musical meaning possible? Music as a place and space for "work". Sociol. Theory 4:84-94
40. DeNora T. 1991. Musical patronage and social change in Beethoven's Vienna. Am. J. Sociol. 97:310-346
41. DeNora T. 2000. Music in Everyday Life. New York: Cambridge Univ. Press
42. DeNora T. 2002. Music into action: performing gender on the Viennese concert stage, 1790-1810. Poetics 30:19-33
43. DeNora T. 2003. After Adorno: Rethinking Music Sociology. Cambridge, UK: Cambridge Univ. Press
44. DiMaggio P. 1982. Cultural entrepreneurship in nineteenth-century Boston: the organization of high culture in the United States and the classification and framing of American art. Media Cult. Soc. 4:33-55, 303-322
45. DiMaggio PJ. 1987. Classification in art. Am. Sociol. Rev. 52:440-455
46. DiMaggio PJ. 1991. Social structure, institutions and cultural goods: the case of the United States. In Social Theory for a Changing Society, ed. P Bourdieu, JS Coleman, pp. 133-155 Boulder, CO: Westview
47. DiMaggio P. 1992. Cultural boundaries and structural change: the extension of the high culture model to theater, opera, and the dance, 1900-1940. In Cultivating Differences: Symbolic Boundaries and the Making of Inequality, ed. M Lamont, M Fournier, pp. 21-57. Chicago: Univ. Chicago Press
48. DiMaggio P. 2006. Nonprofit organizations and the intersectoral division of labor in the arts. In The Nonprofit Sector: A Research Handbook, ed. WW Powell, R Steinberg, pp. 432-461 New Haven, CT: Yale Univ. Press
49. Douglass F. 1993 (1845). Narrative of the Life of Frederick Douglass, an American Slave. Boston, MA: Bedford
50. Dowd TJ. 2003. Structural power and the construction of markets: the case of rhythm and blues. Comp. Soc. Res. 21:147-201
51. Dowd TJ. 2004. Concentration and diversity revisited: production logics and the U.S. mainstream recording market, 1940 to 1990. Soc. Forces 82:1411-1455
52. Dowd TJ. 2007. Sociology of music. In 21st Century Sociology: A Reference Handbook, ed. CD Bryant, DL Peck, 2:249-60, 440, 505-512 Thousand Oaks, CA: Sage
53. Dowd TJ, BlylerM. 2002. Charting race: the success of black performers in the mainstream recording market, 1940 to 1990. Poetics 30:87-110
54. Dowd TJ, Liddle K, Blyler M. 2005. Charting gender: the success of female acts in the U.S. mainstream recording market, 1940 to 1990. Res. Sociol. Organ. 23:81-123
55. Dowd TJ, Liddle K, Lupo K, Borden A. 2002. Organizing the musical canon: the repertoires of major U.S. symphony orchestras, 1842 to 1969. Poetics 30:35-61
56. Du Bois WEB. 1997 (1903). The Souls of Black Folk. Boston: Beacon
57. Duffins RW. 2007. How Equal Temperament Ruined Harmony (And Why You Should Care). New York: Norton
58. Dumais SA. 2002. Cultural capital, gender, and school success: the role of habitus. Sociol. Educ. 75:44-68
59. Eyerman R, Jamison A. 1998. Music and Social Movements. New York: Cambridge Univ. Press
60. Fabbri F. 1982. A theory of musical genres: two applications. In Popular Music Perspectives, ed. P Tagg, D Horn, pp. 52-81. Exeter: Int. Assoc. Study Popular Music
61. Fabbri F. 1989. The system of canzone in Italy today. In World Music, Politics and Social Change, ed. S Frith, pp. 122-142 Manchester, UK: Manchester Univ. Press
62. Feld S. 1984. Sound structure and social structure. Ethnomusicology 28:383-409
63. Frith S. 1996. Performing Rights: On the Value of Popular Music. Cambridge, MA: Harvard Univ. Press
64. Garcia-Alvarez E, Katz-Gerro T, Lopez-Sintas J. 2007. Deconstructing cultural omnivorousness 1982-2002: heterology in Americans' musical preferences. Soc. Forces 86:755-764
65. Gardner RO. 2004. The portable community: mobility and modernization in bluegrass festival life. Symb. Interact. 27:155-178
66. Gibson W. 2006. Material culture and embodied action: sociological notes on the examination of musical instruments in jazz improvisation. Sociol. Rev. 54:171-187
67. Glynn MA. 2000. When cymbals become symbols: conflict over organizational identity within a symphony orchestra. Organ. Sci. 11:285-298
68. Glynn MA, Dowd TJ. 2008. Charisma (un)bound: emotive leadership in Martha Stewart Living Magazine, 1990-2004. J. Appl. Behav. Sci. 44:71-93
69. Glynn MA, Marquis C. 2004. When good names go bad: symbolic illegitimacy in organizations. Res. Sociol. Organ. 22:147-170
70. Grazian D. 2003. Blue Chicago: The Search for Authenticity in Urban Blues Clubs. Chicago: Univ. Chicago Press
71. Griswold W. 1987. The fabrication of meaning: literary interpretation in the United States, Great Britain and the West Indies. Am. J. Sociol. 92:1077-1117
72. Hanslick E. 1957 (1854). The Beautiful in Music. New York: Liberal Arts Press
73. Hebdige D. 1979. Subculture: The Meaning of Style. New York: Routledge
74. Hennion A. 2001. Music lovers: tastes as performance. Theory Cult. Soc. 18:1-22
75. Hesmondhalgh D. 1998. The British dance music industry: a case study of independent cultural production. Br. J. Sociol. 49:234-252
76. Hesmondhalgh D. 2007. Aesthetics and audiences: talking about good and bad music. Eur. J. Cult. Stud. 10:507-527
77. Janssen S, Kuipers G, Verboord M. 2008. Cultural globalization and arts journalism: the international orientation of arts and cultural coverage in Dutch, French, German, and US newspapers, 1955 to 2005. Am. Sociol. Rev. 73:719-740
78. Jeppesen LB, Frederiksen L. 2006. Why do users contribute to firm-hosted communities? The case of computer-controlled musical instruments. Organ. Sci. 17:45-63
79. Johnson C, Dowd TJ, Ridgeway CL. 2006. Legitimacy as a social process. Annu. Rev. Sociol. 32:53-78
80. Johnson V. 2007. What is organizational imprinting?: cultural entrepreneurship in the founding of the Paris Opera.Am.J. Sociol. 113:97-127
81. Kahn-Harris K. 2007. Extreme Metal: Music and Culture on the Edge. Oxford: Berg
82. Katz M. 1998. Making America more musical through the phonograph, 1900-1930. Am. Music 15:448-476
83. Khodyakov DM. 2007. The complexity of trust-control relationships in creative organizations: insights from a qualitative analysis of a conductorless orchestra. Soc. Forces 86:1-22
84. Killian C, Johnson C. 2006. "I'm not an immigrant": resistance, redefinition, and the role of resources in identity work. Soc. Psychol. Q. 69:60-80
85. Kremp P-A. 2010. Innovation and selection: symphony orchestras and the construction of the musical canon in the United States (1879-1959). Soc. Forces 88:1051-1082
86. Kubrin CE. 2005. Gangstas, thugs, and hustlas: identity and the code of the street in rap music. Soc. Probl. 52:360-378
87. Lamont M, Molnar V. 2002. The study of boundaries in the social sciences. Annu. Rev. Sociol. 28:167-195
88. Lena J. 2004. Sonic networks: economic, stylistic, and expressive dimensions of rap music, 1979-1995. Poetics 32:297-310
89. Lena J, Peterson RA. 2008. Classification as culture: types and trajectories of music genres. Am. Sociol. Rev. 73:697-718
90. LennebergH. 2003. On the Publishing and Dissemination of Music, 1500-1850. Hillsdale, NY: Pendragon
91. Levine L. 1988. Highbrow, Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge, MA: Harvard Univ. Press
92. Leyshon A, Webb P, French S, Thrift N, Crewe L. 2005. On the reproduction of the musical economy after the internet. Med. Cult. Soc. 27:177-209
93. Lhamon WT Jr. 1998. Raising Cain: Blackface Performance from Jim Crow to Hip Hop. Cambridge, MA: Harvard Univ. Press
94. Lomax A. 1962. Song structure and social structure. Ethnology 1:1-27
95. Lopes P. 2002. The Rise of a Jazz Art World. New York: Cambridge Univ. Press
96. Lott E. 1993. Love and Theft: Blackface Minstrelsy and the American Working Class. New York: Oxford Univ. Press
97. MacLeod BA. 1993. Club Date Musicians: Playing the New York Party Circuit. Urbana: Univ. Ill. Press
98. Maisonneuve S. 2001. Between history and commodity: the production of a musical patrimony through the record in the 1920-1930s. Poetics 29:89-108
99. Marotto M, Roos J, Victor B. 2007. Collective virtuosity in organizations: a study of peak performance in an orchestra. J. Manag. Stud. 44:388-413
100. Martin PJ. 1995. Sounds and Society: Themes in the Sociology of Music. Manchester, UK: Manchester Univ. Press
101. Martin PJ. 2006. Music and the Sociological Gaze: Art Worlds and Cultural Production. Manchester, UK: Manchester Univ. Press
102. McClary S. 1991. Feminine Endings: Music, Gender, and Sexuality. Minneapolis: Univ. Minn. Press
103. McCormick L. 2009. Higher, faster, louder: representations of the international music competition. Cult. Sociol. 3:5-30
104. McNeill WH. 1995. Keeping Together in Time: Dance and Drill in Human History. Cambridge, MA: Harvard Univ. Press
105. Murninghan JK, Conlon DE. 1991. The dynamics of intense work groups: a study of British string quartets. Adm. Sci. Q. 36:165-186
106. Negus K. 1999. Music Genres and Corporate Cultures. London: Routledge
107. OllivierM. 2008. Modes of openness to cultural diversity: humanist, populist, practical, and indifferent. Poetics 36:120-147
108. Peterson RA. 1997. Creating Country Music: Fabricating Authenticity. Chicago: Univ. Chicago Press
109. Peterson RA. 2005. Problems in comparative research: the example of omnivorousness. Poetics 33:257-282
110. Peterson RA, Anand N. 2004. The production of culture perspective. Annu. Rev. Sociol. 30:311-334
111. Phillips DJ, Kim Y-K. 2009. Why pseudonyms?: deception as identity preservation among jazz record companies. Organ. Sci. 20:481-499
112. Phillips DJ, Owens DA. 2004. Incumbents, innovation, and competence: the emergence of recorded jazz, 1920 to 1929. Poetics 32:281-295
113. Pinheiro DL, Dowd TJ. 2009. All that jazz: the success of jazz musicians in three metropolitan areas. Poetics 37:490-506
114. Prior N. 2008. Putting a glitch in the field: Bourdieu, actor network theory and contemporary music. Cult. Sociol. 2:301-319
115. RegevM. 1998. Who does what with music videos in Israel? Poetics 25:225-240
116. Rodriquez J. 2006. Color-blind ideology and the cultural appropriation of hip-hop. J. Contemp. Ethnogr. 35:645-668
117. Roman-Velazquez P. 1999. The Making of Latin London: Salsa Music, Place and Identity. Aldershot: Ashgate
118. Roscigno VJ, Danaher WF. 2004. The Voice of Southern Labor: Radio, Music, and Textile Strikes, 1929-1934. Minneapolis: Univ. Minn. Press
119. Rosenblum B. 1975. Style as social process. Am. Sociol. Rev. 43:422-438
120. Rossmann G. 2004. Elites, masses, and media blacklists: the Dixie Chicks controversy. Soc. Forces 83:61-79
121. Roy WG. 2001. Making Societies: The Historical Construction of Our World. Thousand Oaks, CA: Pine Forge
122. Roy WG. 2002. Aesthetic identity, race, and American folk music. Qual. Sociol. 25:459-469
123. Roy WG. 2004. "Race records" and "hillbilly music": the institutional origins of racial categories in the American commercial recording industry. Poetics 32:265-279
124. Roy WG. 2010. Reds, Whites and Blues: Social Movements, Folk Music, and Race in America. Princeton, NJ: Princeton Univ. Press. In press
125. Ryan J. 1985. The Production of Culture in the Music Industry: The ASCAP-BMI Controversy. Lanham, MD: Univ. Press Am.
126. Salagnik M, Watts DJ. 2008. Leading the herd astray: an experimental study of self-fulfilling prophecy in an artificial cultural market. Soc. Psychol. Q. 71:338-355
127. Sanjek R, Sanjek D. 1991. American Popular Music Business in the Twentieth Century. New York: Oxford Univ. Press
128. Santoro M. 2004. What is a "cantautore"? Distinction and authorship in (Italian) popular music. Poetics 30:1132
129. Santoro M. 2010. Constructing an artistic field as a political project: lessons from La Scala. Poetics. In press
130. Savage M. 2006. The musical field. Cult. Trends 15:159-174
131. Scherer FM. 2001. The evolution of free-lance music composition, 1650-1900. J. Cult. Econ. 25:307-319
132. Schmutz V. 2009. Social and symbolic boundaries in newspaper coverage of music, 1995-2005: gender and genre in the US, France, Germany and the Netherlands. Poetics 37:298-314
133. Schutz A. 1951. Making music together: a study in social relationships. Soc. Res. 18:76-97
134. Seeger A. 2004. Why Suya Sing: A Musical Anthropology of an Amazonian People. Urbana: Univ. Ill. Press
135. Sewell WH Jr. 1992. A theory of structure: duality, agency and transformation. Am. J. Sociol. 98:1-29
136. Shepherd J, Wicke P. 1997. Music and Cultural Theory. Malden, MA: Polity
137. Skinner K. 2006. "Must be born again": resurrecting the Anthology of American Folk Music. Pop. Music 25:57-75
138. Small C. 1998. Musicking: The Meanings of Performing and Listening. Hanover, CT: Univ. Press N. Engl.
139. Steinberg M. 2004. When politics goes pop: on the intersection of popular and political culture and the case of Serbian student protests. Soc. Mov. Stud. 3:3-29
140. Sudnow D. 1978. Ways of the Hand: The Organization of Improvised Conduct. Cambridge, MA: Harvard Univ. Press
141. Thornton S. 1996. Club Cultures: Music, Media and Subcultural Capital. Hanover, CT: Wesleyan Univ. Press
142. Turino T. 2008. Music as Social Life: The Politics ofParticipation. Chicago: Univ. Chicago Press
143. Turner BS, Wainwright SP. 2006. "Just crumbling to bits"?: an exploration of the body, aging, injury and career in classical ballet dancers. Sociology 40:237-255
144. vanEijckK. 2001. Social differentiation in musical taste patterns. Soc. Forces 79:1163-1185
145. van Venrooij A. 2009. The aesthetic discourse space of popular music, 1985-86 and 2004-2005 Poetics 37:295398
146. van Venrooij A, Schmutz V. 2010. The evaluation of popular music in the United States, Germany and the Netherlands: a comparison of the use of high art and popular aesthetic criteria. Cult. Sociol. In press
147. Walser R. 1999. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Hanover, CT: Wesleyan Univ. Press
148. Warde A, Wright D, Gayo-CalM. 2008. The omnivorous orientation in the United Kingdom. Poetics 36:14865
149. Watkins SC. 2001. "A nation of millions": hip hop culture and the legacy of black nationalism. Commun. Rev. 4:373-398
150. Weber M. 1958. The Rational and Social Foundations of Music. Carbondale: South. Ill. Press
151. Weber W. 1984. The contemporaneity of eighteenth-century musical taste. Music. Q. 70:175-194
152. Weber W. 2006. Redefining the status of opera: London and Leipzig, 1800-1848. J. Interdiscipl. Hist. 36:50732
153. Wuthnow R. 2003. All in Sync: How Music and Art Are Revitalizing American Religion. Berkeley: Univ. Calif. Press
154. Zerubavel E. 1985. The Seven Day Circle: The History and Meaning of the Week. Chicago: Univ. Chicago Press
155. Zerubavel E. 1991. The Fine Line: Making Distinctions in Everyday Life. New York: Free Press