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Title: comm2050
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comm2050
- Music, Sound Cultural Policy
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Sound, Society and EmotionThe significance of
aural space
- Lullabies
- Games, especially childrens games
- Work Music (British sea shanties, work songs)
- Dancing
- Storytelling (Bardic traditions)
- Ceremonies and Festivals
- Battle
- Communication
- Personal Symbol (Saami people (Lapps) and the
joik) - Ethnic or Group identity (indigenous Australians
also marks ties to country) - Salesmanship
- Healing
- Trance
- Religious ritual
- Gregory 1997, The roles of music in society the
ethnom,usicological perspective, in David
Hargreaves and Adrian North eds., The social
psychology of music, Oxford University Press,
Oxford, New York and Tokyo, pp. 123-140.
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Course overview
- This course is taught through a 2 hour
lecture/seminar and 1 hour tutorial. - Course staff Dr Susan Luckman Jon Dale
- Tutes start this week
- Course Reader available _at_ Campus Central Magill
for 19 - Course home page http//www.unisanet.unisa.edu.au
/Courses/course.asp?Course100386
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Approaches to young people and their behaviour
- Early to mid-20th century
- Popular (low) culture considered wholly
inferior to elite (high) culture - Media as tool for manipulating masses
- Only really in the post-second world war period
that 'youth' emerged as the demarcated, visible
group in Western society that we are aware of
today. - The need for consumer capitalism to find ever
more expansive markets for its products gave rise
in the fifties to the identity 'teenager'.
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Approaches to young people and their behaviour
- Previously, on the occasions when young people
were being referred to as distinct from the wider
community, it was generally in terms of
deviancy as a source of moral panics - 1950s/early 60s scene The economic power of
performers and consumers driven by the sales
growth in teen fan magazines, record players,
transistor radios and youth clothing overcame the
wider moral doubts of the music rock roll as
a legitimate activity for youth. (Homan 2003,
The Mayors A Square, pp. 53-54)
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Cohen - 'moral panic
- Cohen Stanley 1972, Folk Devils and Moral Panics
The Creation of the Mods and Rockers - Societies appear to be subject, every now and
then, to periods of moral panic. A condition,
episode, person or group of persons emerges to
become defined as a threat to societal values and
interests emphasis mine its nature is
presented in a stylized and stereotypical fashion
by the mass media the moral barricades are
manned by editors, bishops, politicians and other
right-thinking people socially accredited
experts pronounce their diagnoses and solutions
ways of coping are evolved or (more often)
resorted to the condition then disappears,
submerges or deteriorates and becomes more
visible. (2002, p. 1)
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Moral Panics the key elements
- 1. Something or someone is defined as a threat
to values or interests. - 2. This threat is depicted in an easily
recognizable form by the media. - 3. There is a rapid build-up of public concern
- 4. There is a response from authorities or
opinion-makers. - 5. The panic recedes or results in social
changes. - From K. Thompson (1998), Moral Panics, London
and New York, Routledge. p. 8.
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Subcultural Studies
- Subcultural Studies early-1970s onwards
- Posits popular culture as worthy of the same sort
of attention given to high culture or
anthropological studies of Other cultures. - Key theorists Dick Hebdige Phil Cohen Stanley
Cohen Paul Willis The Birmingham School - Bricolage (Levi-Strauss) - the assembling of
coherence from the available raw materials. The
assembling of ones life in relation to others
and in relation to the dominant ideology and the
dominant culture.
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Subcultural Studies
- A crude summary--CCCS understandings of
subculture as a series of binaries - 'authentic' 'inauthentic'
- 'Us' 'Them'
- Insiders Outsiders and 'enemies'
- Youth Culture Parent Culture
- Working Class Middle Class
- Masculine Feminine
- Stylish Straight
- Originals 'Newbies', 'Part-timers'
- Resistant Hegemonous
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Subcultural Studies
- Hebdige on the life-cycle of subcultures how
they go above-ground - 1. diffusion the conversion of subcultural
signs (dress, music, etc.) into mass-produced
objects (ie. the commodity form) - 2. defusion the 'labelling' and re-definition
of deviant behaviour by dominant groups - the
police, the media, the judiciary (ie. the
ideological form). - Dick Hebdige 1979, Subculture The Meaning of
Style, p. 94
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Critiques of early subcultural studies Gender
- Angela McRobbie, Jenny Garber, Mica Nava
- feminisation of the inauthentic, the uncool,
less credible or hardcore by subculturalists
(both male and female) - because girls/women are seen as more closely
connected to consumption (feminine/passive),
rather than production (masculine/active) - Birmingham School researchers emphasis on
public, resistant spectacular subcultures and
moral panics inherently privileged male forms
of sociality.
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Critiques of early subcultural studies Gender
- Girls active engagements with culture far more
likely to occur in their own or a friends
bedroom (teenybopper culture) - more limited access to income and hence grand
expressions of consumption. - more connected to the home and family
- material significance of a good reputation
- McRobbie and other theorists stress the fact that
girls cultural engagements are social and
active, even when they involve the consumption of
popular forms of culture.
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Critiques of early subcultural studies
relationship with media
- Sarah Thornton 1995, Club Cultures Music, Media
and Subcultural Capital, - subcultural capital
- development of Bourdieu's notion of 'cultural
capital' - Subcultural capital confers status on its owner
in the eyes of the relevant beholder. (11) - it can be objectified (fashionable haircuts and
well assembled record collections) or embodied
(being in the know, using (but not over-using)
current slang). - Media
- not all media is 'mainstream'. Nor is it external
to subcultures themselves. - Three fundamental levels of media operating
around and within subcultures micro, niche and
mass
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Critiques of early subcultural studies
- Class - not all subcultures are working class
(eg. hippies, and the Australian electronic music
scene) - Age - middle class subcultures, in particular,
allow greater opportunity for people to continue
their involvement over a longer period of time.
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Critiques of early subcultural studies
relationship to economy
- integral part of social world and hence of
subcultural beginnings not just their so-called
end. - McRobbie contends that there have always been
commercial relationships at the core of
subcultural practice and that 'subcultural
enterprise' is not necessarily a bad thing.
(1988, Second-Hand Dresses and the Role of the
Ragmarket, in ) - Linear model--authentic subculture which is
quickly diffused/defused--too rigid - Subcultures are an important part of the
consumer economy
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Music as a cultural industry
- "It's what we do now instead of bohemias," he
says. - "Instead of what?
- "Bohemias. Alternative subcultures. They were a
crucial aspect of industrial civilization in the
two previous centuries. They were where
industrial civilization went to dream. A sort of
unconscious RD, exploring alternate societal
strategies. Each one would have a dress code,
characteristic forms of artistic expression, a
substance or substances of choice, and a set of
sexual values at odds with those of the culture
at large. And they did, frequently, have locales
with which they became associated. But they
became extinct. - "Extinct?
- "We started picking them before they could
ripen." - (William Gibson, All Tomorrow's Parties 174)
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What do we mean by cultural industries?
- We define the creative industries as those
industries which have their origin in individual
creativity, skill and talent and which have a
potential for wealth and job creation through the
generation and exploitation of intellectual
property. This includes advertising,
architecture, the art and antiques market,
crafts, design, designer fashion, film and video,
interactive leisure software, music, the
performing arts, publishing, software and
computer games, television and radio. - (http//www.culture.gov.uk/creative_industries/def
ault.htm) - television (including cable and satellite),
radio, the cinema, newspaper, magazine and book
publishing, the music recording and publishing
industries, advertising and the performing arts.
These are all activities the primary aim of which
is to communicate to an audience, to create
texts. - Hesmondhalgh, David 2002, The Cultural
Industries, p. 11.
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Hesmondhalgh, David 2002, The Cultural Industries
- A ray of hope for the music industry
- pp. 74-75 Much the same is true for the
recording industry. It is incredibly difficult to
gain access to the budgets and resources
necessary to have a hit record. However, there
are important differences between the recording
and television industries. It is still possible
to make a record outside the core recording
industry, at relatively low cost, and to / find a
small audience for it. Subcultures of
consumption, maintained through niche media of
magazines, radio stations, and increasingly
websites, mean that there is a huge diversity of
recordings being made every day, by all sorts of
different people. And because music is often
still associated with marginalised and
transgressive living, a disproportionate number
of musicians are working class or lower middle
class, or black, or feel alienated from the
mainstream of society, The recording industry
isnt democratic but there is more space within
music-making for access than in television.
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