Musical Taste Research Articles

Contributors

Previous articleNext article FreeContributorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreLuciana de Souza Leão is assistant professor of sociology at the University of Michigan. She is a political and comparative sociologist with broad interests in knowledge-making processes, social inequalities, and the state.Pablo Gastón is assistant professor of sociology at the University of Michigan. His research focuses on changing forms of economic conflict in the American labor movement.Danya Lagos is assistant professor in the Department of Sociology at the University of California, Berkeley. They specialize in the relationship between gender, social change, and demography.Grégoire Mallard is professor of anthropology and sociology and director of research at the Graduate Institute of International and Development Studies, Geneva. His ERC grant (2017–22), titled “Bombs, Banks and Sanctions,” extends his prior work on transnational lawmaking and forms of economic exchange.Jin Sun is a Ph.D. candidate in anthropology and sociology at the Graduate Institute of International and Development Studies, where he is a researcher in the Global Governance Centre. He passed the bar exam in Beijing, China, and directed studies at the Hague Academy of International Law. His research focuses on sanctions, global governance, and law and globalization.Emily Rauscher is associate professor of sociology at Brown University and a faculty affiliate of the Population Studies and Training Center and the Annenberg Institute for School Reform. Her work examines social returns to education, including when and how school funding improves equality of opportunity.Yifan Shen is a Ph.D. candidate in sociology at Brown University. He studies family demography, education, and income inequality.Daniel Silver is professor of sociology at the University of Toronto Scarborough. He received his Ph.D. from the Committee on Social Thought at the University of ChicagoClayton Childress is associate professor in the Department of Sociology at the University of Toronto. He is the author of Under the Cover: The Creation, Production, and Reception of a Novel (Princeton University Press, 2017), which won the 2018 Mary Douglas Prize for best book in the sociology of culture.Monica Lee is a Computational Social Science Director at Meta, where she leads the Political & Organizational Science team. She earned her Ph.D. in Sociology from the University of Chicago and has published works on quantitative methods for measuring culture, text mining, musical taste, graph mining, big data, and ethics.Adam Slez is assistant professor in the Department of Sociology at the University of Virginia. His recent book, The Making of the Populist Movement: State, Market, and Party on the Western Frontier (Oxford University Press, 2020), examines the origins of electoral populism in the United States during the late 19th century.Fabio Dias has an engineering degree and master’s from the University of Campinas, Brazil, with a Ph.D. in Computer Science from Université Paris-Est. After several postdoctoral fellowships in data analysis and visualization, including at the University of São Paulo, New York University, and the University of Toronto, he is now a cloud architect for StateStreet. Previous articleNext article DetailsFiguresReferencesCited by American Journal of Sociology Volume 128, Number 1July 2022 Article DOIhttps://doi.org/10.1086/720956 Views: 518Total views on this site © 2022 The University of Chicago. All rights reserved.PDF download Crossref reports no articles citing this article.

Elizabeth Taylor Greenfield's Mid-to-Late Career, Philanthropy, and Activism in Nineteenth-Century America

Elizabeth Taylor Greenfield's Mid-to-Late Career, Philanthropy, and Activism in Nineteenth-Century America

Influence of the social environment on the musical tastes of adolescents from Sagrada Familia and Santa Ana schools

The present article will release how influent in the social media in the music preference of the students, for such effect we take school with different social media, like the students of 6º of Sagrada Familia public high school and the private school Santa Ana, the results were obtained through interviews, observation and focus groups.

Why doesn’t anyone write anything about Slade? Reassessing glam

This article addresses critical neglect of 1970s UK glam rock group Slade. It argues that from the 1970s on, especially in music media, class conflict was increasingly rearticulated in terms of musical taste through multicultural capital. This revision of Bourdieu privileges cultural omnivorism as key to social status, a tolerance that embraces potentially all music except that most strongly identified with low cultural capital, i.e. heavy metal and pop music, and their associated audiences (working-class males and teenyboppers). The fact that these were Slade’s core audiences guaranteed the group’s long-term marginalization. Class politics were re-articulated as identity politics. Multicultural capital and cultural omnivorism are significant to the construction of neoliberal individualism, and David Bowie, the dominant presence in critical accounts of glam, is discussed as an example of that tendency. My interest then, is less in how working-class (or teenybop) the Slade audience was, and more in how those identifications led to their critical marginalization. Slade went on, however, to become a primary influence on glam metal, and the UK, US and Australia are discussed as examples of scenes in which the group contributed to or interacted with in diverse ways, revealing a unique set of interactions both with mainstream popular music in the one hand, and subcultures on the other.

Jane Austen: The Musician as Author

Jane Austen was a practising musician, and my intention in this paper is to investigate the significance of that fact for her writing practice. Beginning with the comparison between Elizabeth and Mary Bennet in Pride and Prejudice, I will consider contemporary attitudes to virtuosity and aesthetics in an attempt to understand the implications in Austen’s fiction of the distinction between ‘playing well’ and ‘being listened to with pleasure’. My recently completed project of cataloguing in detail each piece of playable music in the Austen Family Music Books facilitates the study of Austen’s personal musical taste in the context of her extended family and, more broadly, of English musical culture in the late Georgian era. I attempt to bring together Austen the musician with Austen the writer, both in her knowledge of the musical repertoire of the time and the language of music more generally.

Introduction to the Special Issue on Class Dynamics from Socialism to Post-Socialism

Introduction to the Special Issue on Class Dynamics from Socialism to Post-Socialism

Songs for Ordinary People

This article aims to illuminate the links between culture and class in the post-socialist years in the Czech Republic. To this end, it considers the reception of two music acts—the country folk duo Bratři Nedvědi in the 1990s and the “nationalist rock” band Ortel in the 2010s—and discusses the labeling of their fans based on their social class profiles. My analysis draws on mainstream Czech media coverage of these acts, materials reflecting fans’ perspectives, and broader scholarly debates about the links between music consumption and social class. One similarity between these bands lay in their decision to forsake their original subcultural fans for a more mainstream audience. A second commonality relates to the dismissal of their mainstream fans by cultural elites, who saw them as backward and out of step with the norms of liberal democracy and Western capitalism. These critics often described these types of Czech music as lowbrow and regressive. Meanwhile, the two bands continued to insist that they were making songs for “ordinary people” rather than elites: their fan bases, while not homogenous, remained largely working class. This study considers key intersections between class, age, ethnicity, and gender in Czech post-socialist society. I argue that certain kinds of local musical taste reflect class differences, which are further shaped by age, gender, and political orientation.

IDENTIFYING THE SPACE OF SHIVA’S RUDRA VEENA: A QUEST TO EXPLORE MYTHS, BELIEFS, AND FACTS IN THE DISCOURSE OF THIS ANCIENT MUSICAL INSTRUMENT

Rudra Veena, an ancient musical instrument is believed to be most widely used in North Indian Classical Music. Being one of the first musical instruments in Hindustani Classical Music, it has a significantly interesting history of its own, which is intertwined with various captivating facts, myths, and beliefs. My goal in this paper is to explore the intricacies involved in the making of this extravagant instrument, the myths and the stereotypes related to it, and the efforts of some prominent Rudra Veena players who have fought with time and defied a change that’s inclined to modern musical taste in the quest to keep the tradition of Rudra Veena alive. In my opinion, it is significant to trace these elements that are now rooted in an unspeakable silence and demand a voice of their own

The Ways of preservation of Indian music for Generation X and Generation Z

Overtime, there has been a loss of appreciation for music, as many people choose to listen to different types of songs and stay in their comfort zones. Due to this, many important pieces of art are being lost and remain unexplored. The present study focuses on identifying ways to preserve Indian music in order to conserve the feeling of home and familiarity which they instill. Thus, it also aims to bring people closer, explore uncharted genres, find ways to bridge their differences and form bonds. The research consisted of six Hindi songs out of which three were from generation X (40-50) and the rest from generation Z (15-20) living in Delhi NCR (Gurgaon). The main focus was to gather participants’ views on each song and use their opinions to identify methods of preservation. It was observed that many of the participants of both generations had similar viewpoints on each song. Through this, the study was able to shed light on the main factors which can affect a person’s thought process on how music stirs different emotions for everybody. The findings were different from the assumption that there was a large gap between generations' music tastes. Music for people is about comfort, happiness and emotional support, over just being a means of superficial entertainment. It is a very subjective and immersive experience for people from both the generations and it shouldn't be simply confined to any one era or relatability factor, as it transcends thresholds.

FORMATION OF MUSICAL AND AESTHETIC FLAVORS OF STUDENTS OF PEDAGOGICAL UNIVERSITIES IN THE PROCESS OF ARTISTIC AND CREATIVE ACTIVITY

The purpese of this article is the opening of the main aspects in the problem of formation musical and aesthetic tastes in the process of creative of students from Pedagogical Institute’s.

Music Playlists via FM Radio Music Programming

The online music libraries or what we can call as music streaming services have overflown their streaming platforms with hundreds and thousands of music playlist and music catalogs which has put the users in a struggle to find their best suitable music playlists according to their needs and their musical tastes. In this paper, we have aimed at designing a approach for generating playlists which suits the users musical taste. In this approach we analyze FM radio music programming, transform the songs into their audio features, and use that data to generate playlist for the users.

Life cycles of free reed instruments: The accordion-concertina family and the reed organ-harmonium family as case studies

In 1800, the free reed instruments of European origin did not exist. Beginning in the 1820s, there was very rapid invention and innovation in the development and production of instruments like the reed organ and accordion so that within a few decades these instruments had reached something approaching their final form. By 1900 instruments with hand-driven bellows (accordions and concertinas) and instruments with foot-driven air supplies (reed organs and harmoniums) of a wide variety of types were being manufactured and played worldwide in large numbers. From around 1900 through the 1920s, there was a sharp drop in the number of new reed organs and harmoniums manufactured and sold. This number decreased to near zero by mid-century and has remained there. Meanwhile, the manufacture of the “squeeze box” instruments has remained robust to the present day. Factors involved in the discrepancy between these two families of instruments of almost identical acoustical design will be discussed. These include changes in musical styles and taste, socio-economic factors, and competition from other musical instruments.

We are also music lovers: Testing vocal tastes in higher musical theater education

This article explores taste processes within a group of musical theater students and their voice teacher, the latter also acting as researcher, while working with an aesthetically broad repertoire in a higher education setting in Norway. The study is designed using an action research approach, and the collected data—students’ reflection notes, the researcher’s field notes, and workshop recordings—are analyzed through Antoine Hennion’s theoretical framework of taste as a performance that acts, engages, transforms, and is felt, and which involves skills and sensitizing. In the social sciences, taste is commonly regarded as a matter of cultural consumption. This article argues that tastes are also part of cultural production: musicians, here musical theater performers, are to be seen as music lovers, performing tastes that stabilize or challenge established taste patterns in the form of styles, genres, or traditions. Accounting for situations where tastes are performed, tested, and negotiated, this article argues that tastes have a history but are brought into a negotiating presence, producing implications for the future; in this case, tastes form vocal behaviors and vocal behaviors form tastes. Hence, in musical theater education, taste, taste-making, and taste-testing are part of systematic and formal pedagogics and students’ ongoing vocal training.

Rock Trolls and Recovery

Rock Trolls and Recovery

Rationales and functions of disliked music: An in-depth interview study.

Background and objectivesWith a few exceptions, musical taste has been researched via likes or preferences of certain types of music. The present study focuses on disliked music and takes a broad approach to cover explanatory strategies related to personal dislikes.MethodsIn-depth interviews were conducted with 21 participants in five age groups. Interviewees were asked to prepare a list of their disliked music, and for each item they were asked about the reasons for the dislike. To ensure that the complexity and range of the participants’ dislikes and rationales were captured in the analysis, a structuring content analysis as a mostly theory-driven approach was combined with inductive category creation out of the interview data.ResultsThe most often mentioned type of dislike was musical style, followed by artist and genre. Five main reference points were identified for describing musical dislikes: the music itself, lyrics, performance, artist, and the people who listen to it. The identified rationales for disliked music were assigned to three larger categories: object-related reasons, such as music-compositional aspects, aesthetic dichotomies or lyrics; subject-related reasons, such as emotional or bodily effects, or discrepancies with the self-image; social reasons, which refer to one’s social environment and the taste judgments common to it (in-group) or to other groups of which the participants do not feel part of (out-group). Apart from the rationales for disliked music, the participants described specific reactions when they are confronted with their disliked music, such as emotional, physical, and social reactions.ConclusionsWhile musical dislikes have already been shown to fulfill important social functions, the current study extends the rationales to music-related and self-related reasons. Musical dislikes fulfill similar functions to liked music, such as preservation of a good mood, identity expression and construction, strengthening of group cohesion as well as social distinction.

‘Your Muse Remains Forever’: memory and monumentality in Elizabethan manuscript partbooks

Abstract The presence within Elizabethan music collections of antiphons and motets with explicitly Catholic themes has long been a source of interest and historiographical argument. The old theory that the inclusion of such pieces reveals covert Catholic beliefs among early modern collectors has been undermined by recent historical research, and it is now more frequently taken as evidence of their education and discerning musical taste. This article argues that the most important shared characteristic of this musical corpus is not its Catholic origins, but the status of its composers as (nearly always) both British and already dead. By interrogating late Elizabethan and early Jacobean discourse surrounding the British past, and the ways that the past was investigated and evidenced—particularly the study of funerary monuments and other material culture—I reveal that Tudor copyists explicitly invoked tropes of memory and memorialization in their copies of contemporary and earlier music, which link their collections to broader notions of developing national identity. In so doing, they shifted the emphasis of their collections, allowing problematic Latin motet texts to acquire new meaning within mainstream Protestant thought.

Virtual Dance Communities and the Right to the Internet

The COVID-19 global pandemic forced most nightlife venues to shut their doors in March 2020, leading to a loss of employment for nighttime employees and freelancers as well as a loss of revenue for the city. As night clubs shut down, the social dancers who fuel this part of the nightlife economy lost access to the spaces where they dance with others who share their musical tastes. Yet seedlings can spring up even in burned over territory. In the face of these pandemic challenges, the dance music scene reinvented itself, shifting from existing in-person to entirely virtual performance. This reimagination of nightlife points to a key element in the resilience of night-time social dancing: community. These virtual dance parties stemmed from, and perpetuated dance communities that replaced, and in some cases redefined, the experiences that dance communities formerly enjoyed in in-person venues. This paper explores this world of virtual dancing. Through conversations with venue owners, performers, and social dancers, as well as through a digital ethnography of virtual dance parties and their corresponding social media pages, this study asks whether and how virtual dance parties replicate the sense of community experienced in in-person dance parties and interrogates what the advent of virtual dance parties means for the future of urban nightlife. Building on the idea that social dancing is a right to the city (Krisel 2020; see also Harvey 2008; Lefebvre 1996), this study also explores how social dancing may also be a right to the internet and explores the parallel between the urban and internet environments as venues where subcultures can form communities and co-create both physical and virtual spaces.

Classical music and youth education

The article discusses the significance of the content of the new education provided in the state educational standards established in our country in developing individual qualities such as observing, creative thinking, initiative, literal and musical taste as well as increasing knowledge and skills. The future of the younger generation depends in many ways on the teacher's potential, professional training, teaching and educating students, and passing on this musical and cultural heritage to the next generation as we inherited it.

Music Feature Extraction And Recommendation Using CNN Algorithm

In this age of technological advancements, it has become considerably easier for an individual to access a variety of music from a significant number of sources. Today, there are a multitude of songs of varying diversity available to users. Therefore, it becomes difficult for users to manually discover new music that may suit their liking. Thus arises the need for a system that will help the music streaming applications to recommend new music to their users that will befit their music taste, based on some predetermined criteria. With the ever-expanding user and song database, the system must also be dynamic and its recommendations must be up-to-date and accurate. Therefore, there is a strong demand for a well-qualified music recommendation system. The proposed system focuses of technical features of audio. The main purpose of this systems is to classify songs in different genre using Deep Learning Algorithm. There are two main approaches for implementing these system, viz, Feature Extraction and Content Based Filtering.

Graph-Based Attentive Sequential Model With Metadata for Music Recommendation

Massive music data and diverse listening behaviors have caused great difficulties for existing methods in user-personalized recommendation scenarios. Most previous music recommendation models extract features from temporal relationships among sequential listening records and ignore the utilization of additional information, such as music’s singer and album. Especially, a piece of music is commonly created by a specific musician and belongs to a particular album. Singer and album information, regarded as music metadata, can be utilized as important auxiliary information among different music pieces and may considerably influence the user’s choices of music. In this paper, we focus on the music sequential recommendation task with the consideration of the additional information and propose a novel Graph-based Attentive Sequential model with Metadata (GASM), which incorporates metadata to enrich music representations and effectively mine the user’s listening behavior patterns. Specifically, we first use a directed listening graph to model the relations between various kinds of nodes (user, music, singer, album) and then adopt the graph neural networks to learn their latent representation vectors. After that, we decompose the user’s preference for music into long-term, short-term and dynamic components with personalized attention networks. Finally, GASM integrates three types of preferences to predict the next (new) music in accordance with the user’s music taste. Extensive experiments have been conducted on three real-world datasets, and the results show that the proposed method GASM achieves better performance than baselines.