Pure taste in popular music: The social construction of indie-folk as a performance of “poly-purism”

Poecke, Niels van

doi:10.1057/s41290-017-0033-y

Cited by 6 publications

(2 citation statements)

References 27 publications

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“…Overall, the two segments of contemporary Chinese hip-hop identified in this article point to the mainstream emergence and early institutionalisation of the genre in China. This segmentation suggests that Chinese hip-hop could be seen both as a product of globalisation and a response to globalisation (Van Poecke, 2018). As a product of globalisation and increasing fluidity, Chinese hip-hop has been appropriated by mainstream media and middle-class youth, who have developed a taste for increasing diversity, heterogeneity and commodified instances of hip-hop, as embodied by the appreciation of diverse and mixed styles.…”

Section: Discussionmentioning

confidence: 99%

Musical taste preferences in Chinese hip‐hop: Between cultural openness and the rejection of vulgarity

Wang

2023

Sociology Compass

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Recent debates on musical taste have centred on the collapse of cultural boundaries between high art and popular culture. This paper examines Chinese hip‐hop as a unique case study to explore taste preferences in a relatively new popular cultural phenomenon in the understudied context of Eastern popular culture. Drawing from 42 interviews with Chinese young hip‐hop followers, the article examines musical taste preferences within Chinese hip‐hop and different modes of appreciation deployed by listeners. The findings reveal that young Chinese hip‐hop fans display cultural openness to foreign influences and genre mobility. The openness is employed as a marker of cultural capital for the Chinese middle class that values hybridity and innovation. However, even the most open‐minded individuals draw thematic hierarchies within hip‐hop through the unanimous rejection of vulgar and violent themes in favour of more serious and wholesome music. This rejection is framed as a strategy to authenticate hip‐hop within the broader popular culture arena while cultivating personal qualities of civility and wholesomeness that are highly valued in contemporary Chinese society. The paper contributes to the literature on musical taste preferences in cultural consumption by shedding light on the social relevance of cultural openness and music in contemporary Chinese popular culture.

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Section: Discussionmentioning

confidence: 99%

Musical taste preferences in Chinese hip‐hop: Between cultural openness and the rejection of vulgarity

Wang

2023

Sociology Compass

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“…Second, while its exact boundaries are often difficult to pinpoint, singers drew strict lines between themselves and singers experimenting with ‘inventive’ musical solutions: ‘… the biggest difference, the biggest dividing line, between singers who sing only authentically … and those who sing some sort of adaptation, which points more towards world music’ (Eszter). This contrast with the field of indie folk music is striking; recent research found that highly educated (young) adults define authenticity in terms of innovation within genres ( Van Poecke, 2017 ). In the case of contemporary Hungarian folk singing, authenticity is primarily defined of as faithfulness to (objectified) heritage categories.…”

Section: Navigating Authenticitymentioning

confidence: 95%

Culture, Heritage, Art: Navigating Authenticities in Contemporary Hungarian Folk Singing

Nagy-Sándor

Berkers

2018

Cultural Sociology

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In Hungary, the decline of traditional peasant culture and its heritage has prompted urban revivals, leading to the acceptance of traditional Hungarian folk singing as a performing arts genre. Drawing from a series of in-depth interviews, this study shows how contemporary Hungarian folk singers navigate (define, learn, police) different forms of authenticity within the field of folk music. While we find that objectified authenticity – heritagized classification systems – is the dominant form of symbolic capital, the broader symbolic economy of authenticity is complicated by competing definitions of folk singing as, variously, culture, heritage, and art. Third-person authenticity is more highly regarded, but it is more difficult for contemporary urban folk singers to achieve because they were not socialized in peasant communities. Therefore, they use objectified authenticity such as ‘original recordings’ as a proxy for learning about living folk culture. Although objectified authenticity constrains the agency of artistic expression, it affords discriminatory creativity (choosing one’s own repertoire) and rationalized creativity (adapting traditional material to external values and contexts).

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Growing openness or creeping intolerance? Cultural taste orientations and tolerant social attitudes in Finland, 2007–2018

Lindblom

2022

Poetics

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Pure taste in popular music: The social construction of indie-folk as a performance of “poly-purism”

Cited by 6 publications

References 27 publications

Musical taste preferences in Chinese hip‐hop: Between cultural openness and the rejection of vulgarity

Musical taste preferences in Chinese hip‐hop: Between cultural openness and the rejection of vulgarity

Culture, Heritage, Art: Navigating Authenticities in Contemporary Hungarian Folk Singing

Growing openness or creeping intolerance? Cultural taste orientations and tolerant social attitudes in Finland, 2007–2018

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