Music as a technology of the self

DeNora, Tia

doi:10.1016/s0304-422x(99)00017-0

Cited by 346 publications

(228 citation statements)

References 7 publications

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“…Overall, the literature supports the notion of music as a rich resource that has several functions (DeNora, 1999;Schäfer et al, 2013).…”

Section: Stance I: Focus Of Studymentioning

confidence: 56%

“…In other cases, potential mechanisms were noted only in a secondary manner (DeNora, 1999;Laukka & Quick, 2013), or studied under a different label. Bishop et al (2007) identified a list of determinants for music listening amongst tennis players, which, according to the GSTM framework, can be categorized as mechanisms, such as extramusical associations, acoustical properties, and identification with the artist or lyrics.…”

Section: Music Use Is a Rich Tactic That Is Frequently Utilized Van mentioning

confidence: 99%

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Toward a better understanding and conceptualization of affect self-regulation through music: A critical, integrative literature review

Baltazar

Saarikallio

2016

Psychology of Music

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Research on the affective phenomena involved in music has grown exponentially over the last 20 years. One particular topic is the use of music for affect self-regulation (i.e., the process of creating, changing, or maintaining affective states). Being a recent field of research, knowledge remains scattered and heterogeneous. An integrative literature review was conducted to present the results from recent research and critically analyse its overall conceptual state. A systematic search of online databases focusing on publications from January 1994 to June 2014 was completed. An extensive screening resulted in the selection of 34 publications, which were analysed with regard to their focus, conceptual clarity, and the results obtained concerning the following levels: goals (G), strategies (S), tactics (T), and mechanisms (M). The findings show that the GSTM levels have not been studied with equal weight and precision. Moreover, additional relevant dimensions of analysis have also emerged. A considerable degree of inconsistency in the use of terms and conceptual imprecision was found across the publications, and the lack of a model aggravated the situation. The main components of affect regulation through music were identified. A compilation of definitions of affective terms and recommendations for future research are presented.

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“…Overall, the literature supports the notion of music as a rich resource that has several functions (DeNora, 1999;Schäfer et al, 2013).…”

Section: Stance I: Focus Of Studymentioning

confidence: 56%

Section: Music Use Is a Rich Tactic That Is Frequently Utilized Van mentioning

confidence: 99%

Toward a better understanding and conceptualization of affect self-regulation through music: A critical, integrative literature review

Baltazar

Saarikallio

2016

Psychology of Music

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“…Moreover, such an account will necessarily suspend judgement on the extent to which young people's activities are oppositional or resistant to dominant cultural forms. As Carrabine and Longhurst (1999: 140) have argued, on the basis of a modified Benjaminian position, 'it is necessary to examine the micro processes of inclusion and exclusion in everyday social networks, the performance of self in such networks and the connection of these social processes to wider cultural shifts' (see also Bennett, 1999;DeNora, 1999;Williams, 2001). Consequently, our research was designed to gain some insights into the cultural lives of 15-18 year olds in two contrasting areas of Greater Manchester (suburbia and the city).…”

Section: Young People the Car And Mobilitymentioning

confidence: 99%

Consuming the Car: Anticipation, Use and Meaning in Contemporary Youth Culture

Carrabine

Longhurst

2002

The Sociological Review

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Drawing on evidence from a recently conducted study of the everyday lives of young people in Manchester, UK, this article considers the place of cars in contemporary youth culture. The article acknowledges the recent beginnings of sociological and social science discussion of cars but concurs with the view that this topic has been much neglected. More specifically the study of young people and personal mobility has been constrained by approaches that emphasise the problematic nature of this phenomena or locate it within a theory of subculture. Taking its cue from recent studies of consumption, this paper offers an alternative theorisation. Refinement of the work on television consumption by Roger Silverstone leads to a discussion of more affluent young people's relationships to cars under three heads: anticipation, use and meaning. It is suggested that car use must be seen in the framework of sociability and networks and that it also critically and suggestively mediates ordinary consumption with imaginative possibilities.

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“…The purpose of this was more than the music, but as another way to reflect on music as a means of making the self (DeNora 1999(DeNora , 2000Hennion 2001) through the formulation of a 'musical habitus' (Bourdieu 1982). This approach was also underpinned by the idea that through listening to music throughout your life particular pieces may acquire an additional emotional significance and be attached to a memory of a particular time and place (Born 2011;Negus and …”

Section: Starting From the End (And Working Backwards)mentioning

confidence: 99%

The End Is Where We Start From: Communicating the Impact of a Family Music Project to Wider Audiences

Robinson¹

2014

Anthropology in Action

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In response to the increased calls from both inside and outside the academy for anthropologists to extend the reach of their research, there have been discussions about how we can reach new audiences and communicate our ideas and thinking to new publics. While some argue that such an enhanced profile for the role of anthropology enables us to engage more actively in national and international debates relating to our different fields (Singer 1990;Paine 1990), others are more cautious and reflect that assuming a role of advocacy when arguing a particular point of view, or taking a particular stance, is not an unproblematic practice (Hastrup and Elsass 1990; Kellet 2009). Successive examples of how the findings from ethnographic research have been used both 'for' and 'against' the interests of the people who have been engaged in the fieldwork (researchers and participants) mean that the politics of representation imply that anthropologists must consider the sometimes conflicting elements of the moral, ethical, political, social, personal and academic dimensions of their work (Kirsch 2002;Scheper-Hughes 1995;Wright 1988).That the participants may also form part of these audiences has highlighted the need for researchers and their research findings to speak not only to sponsors and other powerful elites, including the academy, but also to local and at times global audiences (Finnegan 2005). This has clear implications not only for the style of communication and the places and spaces where the communication takes place, but also for the nature of that communication (Rapport 1997). There is consensus that an effective communication ABSTRACT: There has been increasing pressure for anthropologists to communicate their ideas and thinking to new publics and so actively engage in national and international debates relating to their field. However, this is not an unproblematic practice and the politics of representation requires anthropologists to consider the sometimes conflicting dimensions of the moral, ethical, political, social, personal and academic. My fieldwork with families linked to In Harmony Liverpool, a children's music project in England, involved inviting participants variously to take part in interviews, draw maps of musical sites in their homes, construct playlists of favourite songs and take photographs of sites in their homes where music 'happens'. As my aim is to produce a visual and audio display to communicate with wider audiences, I consider the issues of representation, authenticity, potential damage and 'othering' in the planning of the research and how this shaped data collection and the plans for dissemination.

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Music as a technology of the self

Cited by 346 publications

References 7 publications

Toward a better understanding and conceptualization of affect self-regulation through music: A critical, integrative literature review

Toward a better understanding and conceptualization of affect self-regulation through music: A critical, integrative literature review

Consuming the Car: Anticipation, Use and Meaning in Contemporary Youth Culture

The End Is Where We Start From: Communicating the Impact of a Family Music Project to Wider Audiences

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