Bourdieu and the Sociology of Music Consumption: A Critical Assessment of Recent Developments
Open accessAbstract
The French sociologist Pierre Bourdieu has been an extraordinarily influential figure in the sociology of music. For over three decades, his concepts have helped to generate both empirical and theoretical interventions in the field of study. His impact on the sociology of music taste, in particular, has been profound, his ideas directly informing our understandings of how musical preferences reflect and reproduce inequalities between social classes. But, recently his legacy has been under question and newer approaches to the music/society problematic have emerged. These have made important claims about the nature of the sociological enterprise when confronted with the specificity of cultural works, as well as how social change impacts on our relations with musical forms. This paper takes stock of the impact of Bourdieu’s ideas on the sociology of music, the debates sparked in their wake and the attempt at something like a “post‐Bourdieusian” sociology more faithful to music’s material properties. It will ask to what extent Bourdieu’s claims about social stratification and music consumption are still relevant and whether they are sophisticated enough to deal with the specific ways that we interact with musical forms.
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TL;DR
This review assesses Bourdieu's legacy in the sociology of music consumption, tracing the "turn to Bourdieu," the empirical challenge posed by the cultural omnivore thesis, and emerging post-Bourdieusian approaches attentive to music's material and affective properties. It concludes that while Bourdieu's model is no longer watertight, it remains the most fertile conceptual scheme for linking music to power and stratification.
Key findings
- Bourdieu's *Distinction* framework (cultural capital, habitus, field) has been profoundly influential, but recent evidence qualifies it: Bennett et al.'s (2009) UK study found intense position-takings now occur in popular rather than classical music, and that classical music's symbolic power may be declining among middle-class groups.
- In that study, when over 1500 respondents rated eight genres on a 1–7 scale, the most common response was 7 (extreme dislike), with more than half expressing deep aversion to heavy metal; graduates were six times more likely to report a preference for classical music than those with no qualifications, and no working-class interviewees displayed deep appreciation for classical music.
- The cultural omnivore thesis (Peterson) claims a shift from "snob versus slob" to higher-class openness to diverse repertoires; Goldthorpe and Chan's (2007) analysis of the 2001 Arts in England survey found those most likely to attend classical concerts and opera were also most likely to attend musicals and listen to pop/rock, and detected no coherent musical elite rejecting popular forms.
- Post-Bourdieusian approaches (DeNora, Hennion, Born, Lahire) argue taste is an activity and a dynamic engagement rather than a property, emphasizing music's affective presence, material properties, and "intra-individual behavioural variations" that produce dissonant cultural profiles.
Methods
- A critical review and conceptual assessment, not an empirical study; the paper synthesizes and evaluates existing literature and debates rather than presenting new data.
- It draws on secondary empirical studies, principally Bennett et al.'s (2009) UK study of cultural tastes (modelled on *Distinction*), Goldthorpe and Chan's (2007) analysis of the 2001 Arts in England survey (which divided music into only four categories: opera/operetta, jazz, classical, pop/rock), and Thornton's (1995) study of British rave culture in the late 1980s and early 1990s.
- Analysis proceeds by tracing Bourdieu's core concepts (cultural capital, habitus, field), then examining the omnivore challenge and alternative theoretical positions.
Limitations
- The paper itself notes that disputes around the omnivore thesis show the same evidence can be interpreted in markedly different ways to support pro- or anti-Bourdieu positions, and that the debate was unlikely ever to be resolved on the basis of evidence alone; it also notes it is often unclear whether researchers are producing "Bourdieu style" texts rather than critically appropriating his legacy (Lahire 2011).
- Evident from the text: as a review, it offers no new empirical data, and its claims about declining classical symbolic power and rising omnivorousness rest on secondary studies with acknowledged measurement problems (e.g., Goldthorpe and Chan's narrow four-genre categorization, and unresolved questions about what "omnivorousness" or "passing knowledge" empirically mean).
Model-written summary. Check it against the paper before relying on it.
Integrity signals
Registry
Cites
Statistics
Claims the paper makes
5 of 91 cited sources checked · 1 supported · 0 flagged · accuracy not yet measured
- Premisereasoning
Bourdieu's ideas have been deployed to examine musical phenomena in a variety of settings, from Brazilian and Japanese pop music to Italian opera and British indie rock.
“Little wonder, then, that Bourdieu's ideas have been deployed to examine musical phenomena in a variety of settings, from Brazilian and Japanese pop music (Frota 2006;Ferranti 2002) to Italian opera and British indie rock (Johnson et al. 2007;Hibbett 2005).”
Quote in the paperNot a substantial claim1 of 3 sources checked - Premisecitation
Strenuously liking one music genre is often accompanied by an equally strenuous disliking of another.
“Strenuously liking x is often accompanied by an equally strenuous disliking of y (Bryson 1996).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Bryson 1996 source
- Premisecitation
Tastes for certain types of music are correlated with social variables.
“Tastes for certain types of music are also correlated with social variables, according to the research.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
- Premisecitation
Contemporary scholars like Jason Toynbee have effectively combined Bourdieu's field and habitus concepts to explain how music making takes place within a 'radius of creativity', articulating local acts of creative agency with a historically-bounded set of institutions, markets and constraints.
“Contemporary scholars like Jason Toynbee have effectively combined Bourdieu's field and habitus concepts to explain how music making takes place within a ''radius of creativity'' (Toynbee 2000, 40), for instance, articulating local acts of creative agency with a historically-bounded set of institutions, markets and constraints.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Toynbee 2000
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- Premisecitation
Goldthorpe and Chan (2007) found that those most likely to attend classical concerts and opera are also most likely to attend musicals and listen to pop and rock music.
“For instance, they find that those who are most likely to attend classical concerts and opera are also most likely to attend musicals and listen to pop and rock music.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Goldthorpe and Chan 2007
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- Interpretationcitation
Some further evidence for the omnivore thesis can be found in the UK context.
“Yet, in addition to Bennett et al.'s study, some further evidence for the omnivore thesis can be found in the UK context, too.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Goldthorpe and Chan 2007
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- Premisecitation
The idea of the 'mainstream' is a potent device deployed by discerning clubbers to distance themselves from consumers branded as fake.
“The idea of the ''mainstream'', in particular, is a potent device deployed by discerning clubbers to distance themselves from consumers branded as fake.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Thornton 1995
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- Interpretationreasoning
Musical preferences work in a structured field of positions defined as much by dislikes as likes.
“We are therefore back to the idea that musical preferences work in a structured field of positions defined as much by dislikes as likes.”
Quote in the paperSubstantial claim - Interpretationcitation
Aesthetic valuation is central to music's role as a social and collective identifier.
“But still, that aesthetic valuation is central to music's role as a social and collective identifier is indisputable.”
Quote in the paperNot a substantial claim - Interpretationcitation
The omnivore argument still posits at least some relation of musical taste to stratification.
“On the one hand, the omnivore argument still posits at least some relation of musical taste to stratification.”
Quote in the paperNot a substantial claim- Rests on an assumption: Lower class consumers are more likely to be univores.
- Premisecitation
More than half of over 1500 respondents expressed a deep aversion to heavy metal.
“This included more than half of over 1500 respondents expressing a deep aversion to heavy metal (see also Bryson 1996).”
Quote in the paperNot a substantial claim0 of 2 sources checked - Premisecitation
If contemporary pop music was once the poor relation at the fringes of legitimate culture it is now firmly at the centre of the field of musical production.
“In other words, if contemporary pop music was once the poor relation at the fringes of legitimate culture it is now firmly at the centre of the field of musical production.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
- Premisecitation
Bennett et al.'s study shows that it is no longer in the field of classical music that intense position-takings and attachments occur.
“The study shows that it is no longer in the field of classical music that intense position-takings and attachments occur.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
- Premisecitation
Subcultural capital, though less moored in social class than age and gender categories, nevertheless functions according to logics of social distinction.
“Though less moored in social class than age and gender categories, subcultural capital nevertheless functions according to logics of social distinction.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Thornton 1995
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- Premisecitation
When respondents were asked to report how much they liked or disliked a series of eight different genres, the most common response on a sliding scale of 1-7 was 7, signifying extreme dislike.
“When respondents were asked to report how much they liked or disliked a series of eight different genres, for instance, the most common response on a sliding scale of 1-7 was 7, signifying extreme dislike.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
- Premisecitation
Bennett et al.'s (2009) far-reaching study of consumption habits in the UK, which was itself modelled on Bourdieu's investigations in Distinction, corroborates many of Thornton's findings.
“Indeed, Bennett et al.'s (2009) far-reaching study of consumption habits in the UK, which was itself modelled on Bourdieu's investigations in Distinction, corroborates many of Thornton's findings.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
- Premisecitation
Bennett et al.'s study suggests changes to the way musical tastes intersect with social class and cultural capital.
“it also suggests changes to the way these tastes intersect with social class and cultural capital.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
- Premisecitation
Bennett et al.'s study contains some evidence of a relationship between social indicators and musical tastes.
“For while Bennett et al.'s study contains some evidence of a relationship between social indicators and musical tastes, it also suggests changes to the way these tastes intersect with social class and cultural capital.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
- Interpretationcitation
Bourdieu is a primary reference point for scholars collecting empirical data on musical tastes as well as those with a more critical agenda looking to explain how popular music's place in society is inseparable from questions of power and inequality.
“He is certainly a primary reference point for scholars collecting empirical data on musical tastes as well as those with a more critical agenda looking to explain how popular music's place in society is inseparable from questions of power and inequality.”
Quote in the paperNot a substantial claim - Premisecitation
Graduates were six times more likely to report a preference for classical music than those with no qualifications.
“Graduates were six times more likely to report a preference for classical music than those with no qualifications, for instance”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
- Premisecitation
Differentials in cultural capital still work themselves out in divisions between classical and contemporary music, as they did in Bourdieu's study.
“Clearly, differentials in cultural capital still work themselves out in divisions between classical and contemporary music, as they did in Bourdieu's study.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
- Interpretationreasoning
Popular music scholars have not adopted Bourdieu's ideas uncritically or in their totality.
“As far as the adoption of Bourdieu's ideas is concerned, furthermore, it is far from the case that popular music scholars have adopted Bourdieu's ideas uncritically or in their totality.”
Quote in the paperSubstantial claim - Interpretationreasoning
It takes a rather large leap in faith and logic to suppose that the musical habitus remains so static as to resist processes of mutation, extension and deformation.
“In such a context, it takes a rather large leap in faith and logic to suppose that the musical habitus remains so static as to resist processes of mutation, extension and deformation.3”
Quote in the paperNot a substantial claim - Interpretationcitation
A post-humanist turn to models of 'circulation' is evident in the way some scholars are exploring how music and media travel through mobile communication systems, effectively collapsing the distinction between production and consumption and dispersing digital objects like music into what Straw calls the 'generative matrix'.
“A post-humanist turn to models of ''circulation'' on the other hand, is evident in the way some scholars are exploring how music and media travel through mobile communication systems, effectively collapsing the distinction between production and consumption and dispersing digital objects like music into what Straw calls the ''generative matrix'' (Straw 2010, 215).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Straw 2010 source
- Interpretationreasoning
Our musical pathways as consumers are subject to multiple determinations, including those of a more contingent nature.
“Our musical pathways as consumers, for instance, are subject to multiple determinations, including those of a more contingent nature.”
Quote in the paperSubstantial claim - Interpretationcitation
The digitalisation of music has had far-reaching implications for how consumers access, distribute and listen to music.
“The digitalisation of music, in particular, has had far-reaching implications for how consumers access, distribute and listen to music.”
Quote in the paperSubstantial claim - Interpretationreasoning
A position once deemed radical and progressive in the sociology of music is itself under question as alternative positions are excavated and explored.
“All this means that a position once deemed radical and progressive in the sociology of music is itself under question as alternative positions are excavated and explored.”
Quote in the paperSubstantial claim - Interpretationcitation
The idea that music is a 'technology' that helps constitute our selves is consonant with the way consumers themselves articulate their musical relations.
“Indeed, the idea that music is a ''technology'' that helps constitute our selves (DeNora 1999) is consonant with the way consumers themselves articulate their musical relations.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites DeNora 1999 source
- Interpretationreasoning
Our musical choices are not products of a unified dispositional set.
“But neither are they products of a unified dispositional set.”
Quote in the paperSubstantial claim - Interpretationcitation
A newly emerging emphasis on performativity draws on theoretical developments in American cultural sociology, where actors are conceived as conveying meaning through communicative acts, such as competitions.
“A newly emerging emphasis on performativity, for instance, draws on theoretical developments in American cultural sociology, where actors are conceived as conveying meaning through communicative acts, such as competitions (McCormick 2009).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites McCormick 2009 source
- Interpretationreasoning
One of the key implications of a post-Bourdieu 'rebellion' is that an orthodox sociological approach alone is insufficient and in need of disciplinary supplementation.
“Indeed, one of the key implications of a post-Bourdieu ''rebellion'' is that an orthodox sociological approach alone is insufficient and in need of disciplinary supplementation.”
Quote in the paperSubstantial claim
- Classified as probably not a substantial claim. 71
- May combine two claims. 19
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PremisecitationThose who profess some sympathy for Bourdieu's concepts have often pointed to significant shortcomings in his work, finding it overly rigid or lacking a convincing account of technology and creative agency.
“Those who profess some sympathy for Bourdieu's concepts have often pointed to significant shortcomings in his work, finding it overly rigid or lacking a convincing account of technology and creative agency (Prior 2008;Born 2010).”
Quote in the paperNot a substantial claim1 of 2 sources checked- cites Prior 2008 source
The supplied passages are bibliographic records, not passages discussing Bourdieu’s concepts or their shortcomings. Searches for rigidity, technology, and creative agency returned no substantive passage from our copy, so the attributed criticism cannot be verified. (LLM, conf=0.72)
Experimental — accuracy not yet measured - cites Born 2010 source
Classified as probably not a substantial claim.
PremisecitationBourdieu's conceptual apparatus has provided an important frame of reference for a 'critical' sociology concerned with showing how power and inequality are central to categorisations of music.
“Bourdieu's conceptual apparatus has provided an important frame of reference for a ''critical'' sociology concerned with showing how power and inequality are central to categorisations of music (Prior 2011).”
Quote in the paperSubstantial claim1 of 1 sources checked- cites Prior 2011 source
The indexed passages provide an abstract and bibliographic metadata, but no substantive passage establishing the claim about power, inequality, and categorisations of music. Searches for those terms and related phrasing returned no relevant discussion from the paper’s text; the abstract alone cannot settle the attribution. (LLM, conf=0.68)
Experimental — accuracy not yet measured
Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.
PremisecitationBourdieu's terminology circulates widely in the discourses of associated conferences, journals and textbooks, while a veritable 'Bourdieu industry' has sprung up in the discipline of sociology at large.
“Bourdieu's terminology circulates widely in the discourses of associated conferences, journals and textbooks, while a veritable ''Bourdieu industry'' has sprung up in the discipline of sociology at large (Prior 2011).”
Quote in the paperNot a substantial claim1 of 1 sources checked- cites Prior 2011 source
The supplied passages contain bibliographic material and an abstract, but no passage from the paper’s body addresses circulation of Bourdieu’s terminology through conferences, journals, or textbooks, or a ‘Bourdieu industry’ in sociology at large. Searches for those distinctive terms returned no relevant passage from the paper’s text. (LLM, conf=0.72)
Experimental — accuracy not yet measured
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InterpretationcitationThose 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.
“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, 2008;Atkinson 2011).”
Quote in the paperNot a substantial claim1 of 2 sources checked- cites Prior, 2008 source
The available indexed passages are bibliographic records with no section or page text discussing Prior’s position on Bourdieu. Searches for a critical but sympathetic reappraisal and for a middle ground between Bourdieu and actor-network theory returned no substantive passage, so the claim cannot be verified from our copy. (LLM, conf=0.73)
Experimental — accuracy not yet measured - cites Atkinson 2011 source
May combine two claims.
PremisecitationPeople tend to specify clear preferences for particular music genres, and do so passionately and in mutually exclusive ways.
“People, it seems, not only tend to specify clear preferences for particular music genres, but do so passionately and in mutually exclusive ways.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
Probably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationA preference for 'urban music' is more likely to be found amongst 18-24 year olds.
“A preference for ''urban music'' is more likely to be found amongst 18-24 year olds, for instance”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
Probably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationThe active pursuit of classical music is predominantly the preserve of the educated middle classes.
“whereas the active pursuit of classical music is predominantly the preserve of the educated middle classes.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
Probably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationA cursory glance at a handful of popular music studies texts illustrates Bourdieu's canonical status in the field.
“On the other hand, a cursory glance at a handful of popular music studies texts illustrates Bourdieu's canonical status in the field (Rojek 2011;Bennett et al. 2006;The ´berge 1997;Toynbee 2000).”
Quote in the paperNot a substantial claim0 of 3 sources checked- cites Rojek 2011 source
- cites Bennett et al. 2006
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- cites Theberge 1997
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PremisecitationFrith's Performing Rites begins with anecdotes that express the centrality of judgment to the pleasures of popular music.
“Frith begins Performing Rites, for instance, with a series of anecdotes that express the centrality of judgment to the pleasures of popular music.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Frith 1996 source
Classified as probably not a substantial claim.
PremisecitationNo working-class interviewees displayed a deep appreciation for classical music, according to Bennett et al.
“whilst no working-class interviewees displayed a deep appreciation for classical music, according to the authors (Bennett et al. 2009).”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
Probably not a substantial claim: may not pass S3 (load-bearing).
InterpretationreasoningBourdieu's model still works in societies where stratification is less rigid and classes less clearly demarcated.
“This highlights to what extent Bourdieu's model still works in societies where stratification is less rigid and classes less clearly demarcated.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S3 (load-bearing).
InterpretationreasoningBourdieu's impact on popular music studies has been striking in the years since Distinction was written.
“Bourdieu's impact on popular music studies, in particular, has been striking in the years since Distinction was written.”
Quote in the paperNot a substantial claimClassified as probably not a substantial claim.
PremisecitationBennett et al. conclude that the symbolic power of classical music may be declining among middle-class groups.
“This leads the authors to the conclusion that the symbolic power of classical music may be declining among middle-class groups.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
May combine two claims.
PremisecitationA deep social division between popular and classical music devotees is apparent from Bennett et al.'s data, with correlations between the latter and higher education.
“A deep social division between popular and classical music devotees is also apparent from this data, with correlations between the latter and higher education.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
Probably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationPeterson and Kern are careful to point out that omnivorousness does not mean a complete indifference to distinctions.
“Peterson and Kern are careful to point out that omnivorousness does not mean a complete indifference to distinctions.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Peterson and Kern 1996 source
Classified as probably not a substantial claim.
PremisecitationPersonal tastes and cultural distinctions are significant to the maintenance of social divisions in a stratified society.
“Personal tastes and cultural distinctions, in other words, are significant to the maintenance of social divisions in a stratified society.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bourdieu 1984
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
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PremisecitationMany respondents viewed classical music as background music that they listened to for the sole purpose of relaxation and therefore not music to get particularly animated about.
“Indeed, many respondents viewed classical music as background music that they listened to for the sole purpose of relaxation and therefore not music to get particularly animated about (Bennett et al. 2009).”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
Classified as probably not a substantial claim.
PremisecitationThe assertion that music is an 'infallible classifier' is not borne out by the existence of a dominant class which seeks to straightforwardly appropriate high culture.
“Again, the target here is Bourdieu since, the authors argue, the assertion that music is an ''infallible classifier'' is not borne out by the existence of a dominant class which seeks to straightforwardly appropriate high culture (Goldthorpe and Chan 2007).”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Goldthorpe and Chan 2007
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PremisecitationBourdieu's concept of cultural capital is employed by Frith to show how a specific kind of capital native to popular music generates distinctions and struggles over what is aesthetically valuable.
“Here, Bourdieu's concept of cultural capital is employed by Frith to show how a specific kind of capital native to popular music generates distinctions and struggles over what is aesthetically valuable.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Frith 1996 source
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PremisecitationArguments about the merits of particular bands, genres and songs are the weft and weave of everyday 'musicking' because they articulate with our desire to share with and relate to one another.
“Arguments about the merits of particular bands, genres and songs are the weft and weave of everyday ''musicking'' (Small 1998) because they articulate with our desire to share with and relate to one another.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Small 1998
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S1 (asserted). May combine two claims.
PremisecitationBourdieu's model is inflexible and unable to properly register social change.
“More than one commentator has noted how Bourdieu's model is inflexible and unable to properly register social change (Jenkins 1992).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Jenkins 1992
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
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PremisecitationBennett et al. describe a profoundly divided field of popular musical tastes in which people find it hard to be neutral about their musical preferences.
“For instance, the authors describe a profoundly divided field of popular musical tastes in which people find it hard to be neutral about their musical preferences.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
Classified as probably not a substantial claim.
PremisecitationBourdieu's Distinction shows that distinctions between goods in the universe of cultural objects are also social distinctions that help crystallise inequalities in society at large.
“Bourdieu shows that distinctions between goods in the universe of cultural objects are also social distinctions that help crystallise inequalities in society at large.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bourdieu 1984
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationClubbers wield their knowledge as a cultural weapon by articulating a distaste for lower class females vilified as tacky and imitative.
“This is clear in the way that clubbers wield their knowledge as a cultural weapon by articulating a distaste for lower class females vilified as tacky and imitative.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Thornton 1995
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Classified as probably not a substantial claim.
PremisecitationGoldthorpe and Chan (2007) failed to detect a coherent musical elite who ardently demonstrate 'high' musical taste while rejecting more popular musical forms.
“They also note a failure to detect a coherent musical elite who ardently demonstrate ''high'' musical taste while rejecting more popular musical forms.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Goldthorpe and Chan 2007
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
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Premisenone givenOutstanding questions include to what extent the trend to omnivorousness is supported by the data at all, whether it is a recent historical shift, local to the U.S. or designates a more widespread, democratic cultural condition.
“Outstanding questions include to what extent the trend to omnivorousness is supported by the data at all, whether it is a recent historical shift, local to the U.S. or designates a more widespread, democratic cultural condition.”
Quote in the paperNot a substantial claimClassified as probably not a substantial claim. May combine two claims.
InterpretationreasoningA looser set of connections is therefore implied between social stratification and taste variables, casting doubt on any model that posits a tight and exclusive relation between them.
“A looser set of connections is therefore implied between social stratification and taste variables, casting doubt on any model that posits a tight and exclusive relation between them.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Peterson and Simkus 1992
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S1 (asserted). May combine two claims.
PremisecitationSuch consumers no longer restrict their tastes to elite forms of art, but participate in a heterogeneous range of cultural practices and receive some degree of prestige from doing so.
“Such consumers no longer restrict their tastes to elite forms of art, goes the argument, but participate in a heterogeneous range of cultural practices and receive some degree of prestige from doing so (Peterson and Simkus 1992).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Peterson and Simkus 1992
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May combine two claims.
PremisecitationAesthetic judgments now mark out what are sometimes quite narrow differences between groups in the contemporary field, essential to which is, contra Bourdieu, the circulation of forms of popular cultural capital.
“Aesthetic judgments now mark out what are sometimes quite narrow differences between groups in the contemporary field, essential to which is, contra Bourdieu, the circulation of forms of popular cultural capital.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
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PremisecitationFrith argues that to be engaged with popular culture is to be discriminating.
“''To be engaged with popular culture'', he says, ''is to be discriminating'' (Frith 1996, 4).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Frith 1996 source
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Interpretationnone givenBourdieu's concepts have been crucial to the development of a modern sociology grappling with how the whole music/society jigsaw fits together in a period that has witnessed the radical expansion of the pop-rock field.
“His concepts have been crucial to the development of a modern sociology grappling with how the whole music ⁄ society jigsaw fits together in a period that has witnessed the radical expansion of the pop-rock field.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationThornton (1995) shows how the social world of clubbing is structured around a deep division between 'chartpop' and 'underground' music.
“Based on a study of British rave culture in the late 1980s and early 1990s, Thornton shows how the social world of clubbing is structured around a deep division between ''chartpop'' and ''underground'' music.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Thornton 1995
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Premisenone givenThere is some discussion around what omnivorousness actually means.
“There is also some discussion around what omnivorousness actually means.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.
PremisecitationFrith is far from uncritical of Bourdieu's conflation of taste with class, noting that pop tastes are not just expressions of class, gender or ethnic background but also shape and potentially disrupt, extend and strengthen these sources of identification.
“Again, Frith is far from uncritical of Bourdieu's conflation of taste with class, noting that pop tastes are not just expressions of class, gender or ethnic background but also shape and potentially disrupt, extend and strengthen these sources of identification, a view shared by Hesmondalgh (2007a).”
Quote in the paperNot a substantial claim0 of 2 sources checked- cites Frith 1996 source
- cites Hesmondalgh 2007a
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
May combine two claims.
PremisecitationSymbolic legitimacy still circulates around classical music as an elite pursuit, with opera serving, in particular, as an outlet for 'respectable socialising'.
“Symbolic legitimacy still circulates around classical music as an elite pursuit, with opera serving, in particular, as an outlet for ''respectable socialising'' (Bennett et al. 2009, 92).”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
Classified as probably not a substantial claim.
PremisecitationTaste hierarchies don't just exist between high and low culture but also within popular culture as well.
“In other words, taste hierarchies don't just exist between high and low culture but also within popular culture as well.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Frith 1996 source
Probably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationAdorno's neo-Marxist critique of popular music as a sensuous but standardized commodity has remained an essential reference point, particularly for those interested in examining industry structures.
“Adorno's neo-Marxist critique of popular music as a sensuous but standardized commodity, on the other hand, has remained an essential reference point, particularly for those interested in examining industry structures (Hesmondalgh 2007b).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Hesmondalgh 2007b
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S3 (load-bearing).
Interpretationnone givenCompeting perspectives anchored in other traditions such as feminism, semiotics, interactionism and critical theory have in many respects been just as influential in the examination of music consumption and production.
“Competing perspectives anchored in other traditions such as feminism, semiotics, interactionism and critical theory, have in many respects been just as influential in the examination of music consumption and production.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable), S4 (based).
Interpretationnone givenBourdieu's legacy is now under question.
“But Bourdieu's legacy is now under question”
Quote in the paperNot a substantial claimMay combine two claims.
PremisecitationA focus on the stylistic and class-based elements of subcultures is central to the development of an influential strand of British cultural studies from the 1980s, albeit one that tended to celebrate every act of consumption as resistance.
“A focus on the stylistic and class-based elements of subcultures, for instance, is central to the development of an influential strand of British cultural studies from the 1980s, albeit one that tended to celebrate every act of consumption as resistance (Fiske 1989;Hebdige 1979).”
Quote in the paperNot a substantial claim0 of 2 sources checked- cites Fiske 1989
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- cites Hebdige 1979
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S3 (load-bearing).
InterpretationreasoningBourdieu's impact on the sociology of music production has been equally noteworthy.
“Bourdieu's impact on the sociology of music production has been equally noteworthy.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationBourdieu noted that there is symbolic profit to be made in knowing what is rare and exclusive.
“After all, as Bourdieu (1993) noted, there is symbolic profit to be made in knowing what is rare and exclusive.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Bourdieu 1993
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Classified as probably not a substantial claim.
PremisecitationConsumer choices are expressions of our upbringing, occupation and whether we went to university or not - in short our social class.
“Rather, they are expressions of our upbringing, occupation and whether we went to university or not -in short our social class.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bourdieu 1984
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationOmnivorousness was more widespread in 1992 than in 1982.
“They point out that omnivorousness was more widespread in 1992 than it was in 1982, for instance.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Peterson and Kern 1996 source
Probably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationTwo of Bourdieu's texts, The Rules of Art and The Field of Cultural Production, have set the grounds for a possible sociology of creativity, where genre and aesthetic position-takings only make sense within a structured setting of semi-autonomous activity.
“Indeed, two of Bourdieu's texts, The Rules of Art (Bourdieu, 1996) and The Field of Cultural Production (Bourdieu 1993), have set the grounds for a possible sociology of creativity, where genre and aesthetic position-takings only make sense within a structured setting of semi-autonomous activity.”
Quote in the paperNot a substantial claim0 of 2 sources checked- cites Bourdieu 1996
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- cites Bourdieu 1993
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Classified as probably not a substantial claim.
Interpretationnone givenThe omnivore thesis is predicated on a loosening of the relatively tight bonds that, for Bourdieu, exist between social origins and musical taste.
“On the other hand, the omnivore thesis is predicated on a loosening of the relatively tight bonds that, for Bourdieu, exist between social origins and musical taste.”
Quote in the paperSubstantial claimMay combine two claims.
PremisecitationThe 'cultural omnivore' thesis is associated with the work of Richard A. Peterson and contains a direct empirical challenge to Bourdieu's ideas in Distinction.
“Known as the ''cultural omnivore'' thesis, this idea is associated with the work of the American sociologist Richard A. Peterson and contains a direct empirical challenge to Bourdieu's ideas in Distinction.”
Quote in the paperSubstantial claim0 of 2 sources checked- cites Peterson and Simkus 1992
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- cites Peterson and Kern 1996 source
Probably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationThe claim that higher groups are more inclusive in their tastes is evident in the way such groups seek out and appropriate 'edgy' popular forms.
“The claim that higher groups are more inclusive in their tastes is also evident, for Peterson and Simkus, in the way such groups seek out and appropriate ''edgy'' popular forms (Negus 1999b).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Negus 1999b source
May combine two claims.
PremisecitationThe study finds some openness and diversity in the range of musical styles enjoyed by respondents, raising the prospect that certain consumers are less 'univorous' in their musical diets, sampling instead from across a range of genres conventionally seen as high, low and middlebrow.
“In particular, the study finds some openness and diversity in the range of musical styles enjoyed by respondents, raising the prospect that certain consumers are less ''univorous'' in their musical diets, sampling instead from across a range of genres conventionally seen as high, low and middlebrow.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
Probably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationSuch distinctions are asymmetrical, for they involve both a claim to authority and an assumption of the inferiority of others.
“Such distinctions are asymmetrical, for they involve both a claim to authority and an assumption of the inferiority of others, according to Thornton.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Thornton 1995
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Classified as probably not a substantial claim.
PremisecitationConsumer choices have structural implications because they stack onto already existing differences between higher and lower social classes and the relative affinities they have for higher or lower culture.
“Consumer choices also have structural implications, according to Bourdieu, because they stack onto already existing differences between higher and lower social classes and the relative affinities they have for higher or lower culture.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bourdieu 1984
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Classified as probably not a substantial claim.
PremisecitationPeterson's claim is that taste regimes in contemporary societies have undergone a shift away from a dichotomous model of elite-to-mass culture ('snob versus slob'), to a situation characterised by a new openness amongst higher-class consumers to a diverse repertoire of cultural goods.
“Peterson's claim is that taste regimes in contemporary societies have undergone a shift away from a dichotomous model of elite-to-mass culture (''snob versus slob''), to a situation characterised by a new openness amongst higher-class consumers to a diverse repertoire of cultural goods.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Peterson and Simkus 1992
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationThe debates sparked by these claims have reverberated loudly in the field of cultural sociology, where a number of subsequent studies have attempted to critically engage with, refine or elaborate on the omnivore thesis.
“The debates sparked by these claims have reverberated loudly in the field of cultural sociology, where a number of subsequent studies have attempted to critically engage with, refine or elaborate on the omnivore thesis (Atkinson 2011).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Atkinson 2011 source
Classified as probably not a substantial claim.
PremisecitationPeterson and Simkus (1992) found that more higher-ranking occupational groups preferred lowbrow music genres like country and western than highbrow genres like opera.
“Peterson and Simkus (1992) are quick to emphasise that more of the higher-ranking occupational groups in their study preferred music genres conventionally seen as lowbrow, like country and western, than those considered highbrow, like opera.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Peterson and Simkus (1992)
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationPeterson and Kern say that the emergence of omnivorousness may suggest the formulation of new rules governing symbolic boundaries.
“Rather they say, ''its emergence may suggest the formulation of new rules governing symbolic boundaries'' (Peterson and Kern 1996, 904).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Peterson and Kern 1996 source
May combine two claims.
PremisecitationIt is in the field of popular music that the most potent and intense attachments take place, and where the most significant internal divisions occur.
“Rather, it is in the field of popular music that the most potent and intense attachments take place, and where the most significant internal divisions occur.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
Probably not a substantial claim: may not pass S3 (load-bearing).
PremisecitationThornton defines subcultural capital as being 'in the know', using (but not over-using) current slang and looking as if you were born to perform the latest dance styles.
“This she defines as ''… being 'in the know', using (but not over-using) current slang and looking as if you were born to perform the latest dance styles'' (Thornton 1995, 11-12).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Thornton 1995
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.
PremisecitationA clubber's 'hipness' is defined by a specialist insider knowledge of labels and genres, wearing the right clothes and attending clubs perceived and constructed as authentic.
“A clubber's ''hipness'' is defined, instead, by a specialist insider knowledge of labels and genres, wearing the right clothes and attending clubs perceived and constructed as authentic (see also Goulding et al. 2002).”
Quote in the paperNot a substantial claim0 of 2 sources checked- cites Thornton 1995
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
- cites Goulding et al. 2002 source
May combine two claims.
InterpretationcitationCertain music consumers are more eclectic or 'omnivorous' in their tastes than was assumed by Bourdieu, undermining the central connection that he makes between taste and cultural capital.
“In other words, certain music consumers are more eclectic or ''omnivorous'' in their tastes than was assumed by Bourdieu, undermining the central connection that he makes between taste and cultural capital.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Bennett et al. 2009 source
Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.
PremisecitationFrith's point is that the claims made around knowledge of popular music are also expressions of superiority and discrimination, just as they are in high culture and classical music.
“Frith's point, however, is that the claims made around knowledge of popular music are also expressions of superiority and discrimination, just as they are in high culture and classical music.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Frith 1996 source
Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing).
InterpretationreasoningIt is not entirely clear how central Bourdieu's ideas will be to future generations of scholars.
“And, in this context, it is not entirely clear how central Bourdieu's ideas will be to future generations of scholars.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S3 (load-bearing).
InterpretationreasoningOur musical choices are not entirely random or disconnected from our social background.
“Not that these musical choices are entirely random or disconnected from my social background.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable), S4 (based).
InterpretationreasoningMusic itself and our encounters with it are far more complex than can be conveyed through the idea of social origins, let alone statistical data sets and genre categorisations.
“This is because music itself and our encounters with it are far more complex than can be conveyed through the idea of social origins, let alone statistical data sets and genre categorisations.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S3 (load-bearing).
InterpretationcitationThe concerns of the sociology of music are themselves developing at a rapid pace to catch up with developments in copyright law, digital technologies, globalisation and wholesale changes to the music industry.
“Meanwhile, the concerns of the sociology of music are themselves developing at a rapid pace to catch up with developments in copyright law, digital technologies, globalisation and wholesale changes to the music industry (Regev 2011).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Regev 2011 source
Classified as probably not a substantial claim.
InterpretationcitationDigital formats and devices such as iPods have given users historically unprecedented access to an ever-proliferating body of musical works.
“Digital formats and devices such as iPods have not just made music more mobile (Bull 2007), but have potentially liquefied genre categories (Sandywell and Beer 2005) and given users historically unprecedented access to an ever-proliferating body of musical works (Reynolds 2011).”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Reynolds 2011
Probably not a substantial claim: may not pass S3 (load-bearing).
InterpretationcitationDigital formats and devices such as iPods have potentially liquefied genre categories.
“Digital formats and devices such as iPods have not just made music more mobile (Bull 2007), but have potentially liquefied genre categories (Sandywell and Beer 2005) and given users historically unprecedented access to an ever-proliferating body of musical works (Reynolds 2011).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Sandywell and Beer 2005 source
Probably not a substantial claim: may not pass S3 (load-bearing).
InterpretationcitationThe work of Georgina Born (2010) is significant in the way it registers the specific, material properties of music as it mediates and constitutes the inner lives of musicians and listeners.
“The work of Georgina Born (2010) is significant here, in the way it registers the specific, material properties of music as it mediates and constitutes the inner lives of musicians and listeners.”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Born 2010 source
Probably not a substantial claim: may not pass S2 (checkable), S4 (based).
InterpretationreasoningTastes in music are a remarkably instructive barometer of wider sociological processes.
“What we do know, however, is that tastes in music are a remarkably instructive barometer of wider sociological processes.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable), S4 (based).
InterpretationreasoningMusic has special significance in how we construct and negotiate our social identities.
“Music has special significance in how we construct and negotiate our social identities.”
Quote in the paperNot a substantial claimMay combine two claims.
InterpretationreasoningOur musical choices are indications of the crossings into multiple socio-musical worlds, some momentary, others more durable, but always constituted through heterogeneous and sometimes contrasting experiences.
“They are, instead, indications of the crossings into multiple socio-musical worlds, some momentary, others more durable, but always constituted through heterogeneous and sometimes contrasting experiences.”
Quote in the paperSubstantial claimProbably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing).
InterpretationcitationThese developments in the field of scholarship mark the inevitable process of 'social ageing' that Bourdieu himself identified as crucial to the development of cultural, educational (and technological) fields.
“In some respects, these developments in the field of scholarship mark the inevitable process of ''social ageing'' that Bourdieu himself identified as crucial to the development of cultural, educational (and we might add, technological) fields (Bourdieu 1993).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Bourdieu 1993
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S2 (checkable).
InterpretationreasoningThe same evidence can be interpreted in markedly different ways to support broadly pro or anti-Bourdieu positions.
“As disputes around the cultural omnivore thesis have shown, the same evidence can be interpreted in markedly different ways to support broadly pro or anti-Bourdieu positions.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing). May combine two claims.
InterpretationreasoningStaunch defenders of Bourdieu have tended to give little ground in debates about musical taste, while 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.
“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.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S4 (based).
InterpretationreasoningMusic marks out important differences in how we stake a claim for ourselves as belonging to particular social groups and taste cultures, even in high-tech, information-rich, globalized societies.
“If not always straightforwardly a classifier of social class per se, music nevertheless marks out important differences in how we stake a claim for ourselves as belonging to particular social groups and taste cultures, even in high-tech, information-rich, globalized societies.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S3 (load-bearing).
InterpretationreasoningThe current state of play in Anglo-American sociology of music is eclectic.
“Whilst internationally, some scholarly outlets (such as the journal Poetics) are still broadly sympathetic to Bourdieusian approaches, the current state of play in Anglo-American sociology of music is eclectic.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing).
InterpretationcitationIt is often unclear if researchers are merely producing 'Bourdieu style' texts rather than critically appropriating the legacy that he left us.
“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).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Lahire 2011
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
Probably not a substantial claim: may not pass S2 (checkable), S4 (based).
InterpretationreasoningSurvey measurements tell us very little about why people like music and the uses and meanings they make of music in their everyday lives.
“Survey measurements, after all, tell us very little about why people like music and the uses and meanings they make of music in their everyday lives.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable).
InterpretationreasoningTo the extent that the Bourdieusian approach itself became a kind of orthodoxy, it was always unlikely that the debate between those sympathetic to his ideas and those more critical of his concepts would ever be resolved on the basis of evidence alone.
“In fact, to the extent that the Bourdieusian approach itself became a kind of orthodoxy, it was always unlikely that the debate between those sympathetic to his ideas and those more critical of his concepts would ever be resolved on the basis of evidence alone.”
Quote in the paperNot a substantial claimProbably not a substantial claim: may not pass S2 (checkable).
InterpretationreasoningThe pragmatist recognition of music's affective presence suggests that the model of attachment offered by the enthusiast is more faithful to music's intensities than many clinical sociological studies.
“The pragmatist recognition of music's affective presence suggests that the model of attachment offered by the enthusiast is more faithful to music's intensities than many clinical sociological studies.”
Quote in the paperNot a substantial claimClassified as probably not a substantial claim.
PremisecitationIndividual dispositions are not always internally coherent because individuals are subject to various experiences across plural contexts.
“As the French sociologist Bernard Lahire notes, individual dispositions are not always internally coherent because individuals are subject to various experiences across plural contexts.”
Quote in the paperSubstantial claim0 of 1 sources checked- cites Lahire 2008 source
Probably not a substantial claim: may not pass S3 (load-bearing).
InterpretationcitationDigital formats and devices such as iPods have made music more mobile.
“Digital formats and devices such as iPods have not just made music more mobile (Bull 2007), but have potentially liquefied genre categories (Sandywell and Beer 2005) and given users historically unprecedented access to an ever-proliferating body of musical works (Reynolds 2011).”
Quote in the paperNot a substantial claim0 of 1 sources checked- cites Bull 2007
Couldn’t be matched to a paper in Crossref, so it can’t be checked.
The paper relies on this without support.
The thrust of the omnivore thesis rests on the interpretation of data on music tastes.
“In the sociology of music, these debates have particular resonance because the thrust of the omnivore thesis rests on the interpretation of data on music tastes.”
The paper relies on this without support.
Social class and inequality are uniquely configured in different countries.
“Social class and inequality are uniquely configured in different countries, after all.”
The paper relies on this without support.
Lower class consumers are more likely to be univores.
“Lower class consumers are more likely to be univores, for instance.”
Cites
The Field of Cultural Production
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"Anything But Heavy Metal": Symbolic Exclusion and Musical Dislikes
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How Popular Musicians Learn: A Way Ahead for Music Education
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(2011) · Cited by 657 · see citing works
Music Genres and Corporate Cultures
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The Social and the Aesthetic: For a Post-Bourdieuian Theory of Cultural Production
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Working Weeks, Rave Weekends: Identity Fragmentation and the Emergence of New Communities
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"Cultural Capital": Some Critical Observations
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The context and genesis of musical tastes: Omnivorousness debunked, Bourdieu buttressed
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The Popular Music Studies Reader
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The individual and the mixing of genres: Cultural dissonance and self-distinction
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The omnivorous orientation in the UK
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Self-citationHibbett, R. (2005) · Popular Music & Society · doi:10.1080/0300776042000300972 · Cited by 138 · see citing works
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(2007) · Cambridge University Press eBooks · doi:10.1017/cbo9780511481734 · Cited by 136 · see citing works
Putting a Glitch in the Field: Bourdieu, Actor Network Theory and Contemporary Music
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Self-citationTHE MUSIC BUSINESS AND RAP: BETWEEN THE STREET AND THE EXECUTIVE SUITE
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Higher, Faster, Louder: Representations of the International Music Competition
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Audiences and everyday aesthetics
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Historical perspectives in music sociology
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‘Japanese music’ can be popular
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Stylistic Morphing: Notes on the Digitisation of Contemporary Music Culture
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Cultural Production and the Generative Matrix: A Response to Georgina Born
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Frota, W. N. (2006) · Popular Music · doi:10.1017/s0261143005000759 · Cited by 5 · see citing works
Flagged first, then by citations
Research works printed but not linked: 14
- Bennett Tony, 1999, Accounting for Tastes
- Bourdieu Pierre, 1984, Distinction
- Bourdieu Pierre, 1992, The Logic of Practice
- Bull Michael, 2007, Sound Moves
- Hennion Antoine, 1999, Music Industry and Music Lovers, Beyond Benjamin, Soundscapes, 2
- Hennion Antoine, 2008, Listen, Music in Arts and Action, 1, 36
- Hesmondalgh David, 2007, The Cultural Industries
- Jones Dylan, 2006, iPod Therefore I Am
- Lahire Bernard, 2011, The Plural Actor
- Peterson Richard A., 1992, Cultivating Differences, 152
- Small Christopher, 1998, Musicking
- Théberge Paul, 1997, Any Sound You Can Imagine
- Thornton Sarah, 1995, Clubcultures
- Toynbee Jason, 2000, Making Popular Music
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- Authors
- Prior, N.
- Affiliations
- University of Edinburgh (GB)
- Corresponding author
- Prior, Nick
- ORCID
- Prior, Nick
- Venue
- Sociology Compass
- Publisher
- Wiley
- Published
- 2013-02-19
- Volume
- 7
- Issue
- 3
- Pages
- 181-193
- ISSN
- 1751-9020 (ISSN-L)
- OpenAlex
- W2108725559
- Cited by
- 78
- References
- 39
- Citations by year
- 2026: 4 · 2025: 10 · 2024: 9 · 2023: 5 · 2022: 10 · 2021: 8 · 2020: 6 · 2019: 6 · 2018: 6 · 2017: 2 · 2016: 6 · 2015: 5 · 2014: 1
- FWCI
- 12.39
- Type
- journal article
- Language
- en
- Open access
- bronze
- doi.org
- Locations
- Sociology Compass (publishedVersion)
- Topics
- Social Sciences › Sociology and Political Science › Social and Cultural Dynamics
- Social Sciences › Arts and Humanities › Music › Music History and Culture
- Social Sciences › Arts and Humanities › Music › Musicology and Musical Analysis
- Keywords
- Pierre Bourdieu, sociology of music, music consumption, music taste, social class, cultural capital, social stratification, musical form, cultural specificity, social change
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