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Bored of Bourdieu?: On the Limits of Bourdieusian Approaches to Music Sociology
Örebro University, School of Music, Theatre and Art. (Aesthetics, Culture and Media)ORCID iD: 0000-0002-9067-9496
2017 (English)In: Beyond Bourdieu?: International Symposium, 22nd - 24th September 2017, Delmenhorst, Germany. Abstracts, 2017, p. 3-4Conference paper, Oral presentation with published abstract (Refereed)
Abstract [en]

Bourdieu-inspired approaches have been the most influential in sociological research on music in many Western and Northern European nations, since the publication of Distinction in 1979. Cultural capital, particularly, was popularised in Anglophone countries through work on popular music aesthetics (Frith 2002) and notions of ‘subcultural capital’ (Thornton 1995) during the 1990s, whilst, more recently, habitus and cultural capital’s explanatory force in relation to music, have most obviously been indebted to large-scale projects around cultural capital and social exclusion (Bennett et al. 2008; Bihagen and Katz-Gerro 2000; Savage et al. 2015). In the Nordic countries, too, questions of music education and gentrification have also taken up Bourdieu’s concepts to explain the acquisition, deployment and institutionalisation of music taste (Burnard et al. 2015; Dyndahl et al. 2017). 

A number of scholars have challenged Bourdieu’s formulation and the way in which his work has been taken up in relation to music specifically (see Prior 2013; Rimmer 2012). The question is how to locate a discussion of social inequalities of music whilst carrying out meaningful social research which takes into account material practices of music listening (DeNora 2003) in relation to (unevenly) globally dispersed, technological change.

This presentation outlines how a range of quantitative and qualitative sociological methods may help to reveal more complex, intersecting forms of inequalities and notions of aesthetic experience than are currently offered by Bourdieusian frameworks. It also seeks to offer insights from postcolonial and posthumanist-feminist theorising as a means of rethinking the linear value-hierarchy between hexis/doxa, subject/object and material/cultural which work to reinscribe simplistic notions of hierarchically determined taste. Through this, the presentation aims to raise some implications for sociologically grounded studies of music education, specifically around notions of value and musical development which take account of Bourdieusian insights but are not limited to their frameworks.

Place, publisher, year, edition, pages
2017. p. 3-4
Keywords [en]
Bourdieu, cultural capital, music, sociology, field analysis
National Category
Musicology
Research subject
Sociology; Musicology esp. Musical Education; Musicology
Identifiers
URN: urn:nbn:se:oru:diva-64590OAI: oai:DiVA.org:oru-64590DiVA, id: diva2:1178015
Conference
Beyond Bourdieu? International Symposium. Hochschule für Musik, Theater und Medien Hannover. Institute for Advanced Studies, Delmenhorst, Germany, September 22-24, 2017
Available from: 2018-01-26 Created: 2018-01-26 Last updated: 2018-01-29Bibliographically approved

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de Boise, Sam

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  • apa
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