Social mobility and musical tastes: A reappraisal of the social meaning of taste eclecticism

Coulangeon, Philippe

doi:10.1016/j.poetic.2015.05.002

Cited by 22 publications

(21 citation statements)

References 62 publications

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“…Following Peterson, many studies confirm that the breadth and openness of cultural taste is much more relevant in today's cultural consumption than the concentration on one particular cultural level (e.g. Bennett et al, 2009;Coulangeon, 2015;Purhonen et al, 2010). Concurrently, a longitudinal study from Switzerland -the national context of the empirical analysis -finds that the proportion of active cultural consumers has risen over the past 40 years and that their consumption patterns are increasingly omnivorous (Weingartner and Rössel, 2019).…”

Section: Differing Notions Of Cultural Omnivorousnessmentioning

confidence: 97%

Digital omnivores? How digital media reinforce social inequalities in cultural consumption

Weingartner

2020

New Media & Society

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In cultural consumption, higher social status is primarily reflected in the consumption of cultural products from diverse levels of sophistication, denoted as cultural omnivorousness. The article asks whether digital media are capable of attenuating these inequalities. Since digital media potentially make cultural products from all levels available to wider audiences, the distinguishing effect of omnivorousness might shrink. However, based on a model of individual decision-making, the article discusses several reasons why this assessment might be too optimistic. Empirically, the article focuses on omnivorousness and media use in feature film consumption. Differentiating between four types of electronic media (television, DVD, video on demand, Internet) and two types of omnivorousness (“by volume,” “by composition”), results reveal that digital media rather reinforce social inequalities in cultural consumption. Television, in contrast, has the highest levels of omnivorousness and the lowest levels of social structuration. Hence, not digital media are a democratizing force, but television.

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Section: Differing Notions Of Cultural Omnivorousnessmentioning

confidence: 97%

Digital omnivores? How digital media reinforce social inequalities in cultural consumption

Weingartner

2020

New Media & Society

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“…The reason for this is that the production of cultural works is assumed to be more likely to rely on embodied schemes that cannot be easily acquired in an exclusive scholastic environment, but which require at least some exposure to the informal pedagogy of the middle-class For Bourdieu educated strata are best conceptualized as being partitioned between "stayers" and "movers." That is those who are educated and come from educated backgrounds are likely to engage in different patterns of cultural choice compared to those who are newly arrived to the educated stratum (Coulangeon, 2015) . In a similar way, members of less educated strata are composed of two antithetical populations: the uneducated that come from uneducated backgrounds ("stayers" in the low education stratum) and the non-negligible minority of the "uneducated" who enjoy a substantial "cultural inheritance" because their parents are educated ("movers" into low education strata).…”

Section: The Aesthetic Disposition As a (More Or Less) Transposable Smentioning

confidence: 99%

Bourdieu, Distinction, and Aesthetic Consumption

Ližardo¹

2018

The Oxford Handbook of Consumption

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This chapter argues that rather than being focused on the higher levels of consumption of aesthetic goods on the part of the educated class, Pierre Bourdieu’s main hypothesis in Distinction: A Social Critique of the Judgement of Taste was concerned with how differences in class fractions as defined by total educational endowment (parental and individual) predict the extent to which individuals consume more artistically legitimate versus less artistically legitimate cultural forms. This argument leads naturally to Bourdieu’s understanding of the difference between the consumption styles of the educated (and less educated) classes as built from his understanding of differences in the formative experiences of different classes. The chapter develops the implications of this for contemporary debates regarding a more illuminating explanation of the omnivore taste phenomenon and other forms of aestheticized consumption.

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“…Our main analytical tool is the diagonal reference model which was first proposed by Sobel (1981Sobel ( , 1985 in a study of social mobility effects on fertility. This class of models has subsequently been used to study a wide range of topics, including class-voting (Weakliem, 1992;Clifford and Heath, 1993), life satisfaction (Marshall and Firth, 1999), class identity (Sobel et al, 2004), parenting practices (Van der Slik et al, 2002), intergenerational proximity (Chan and Ermisch, 2015), and cultural consumption (Ultee and de Graaf, 1991;Roose, 2013a,b, 2014;Coulangeon, 2015). In this paper, our dependent variable is the trichotomous latent class membership (U , P or O).…”

Section: Data and Measuresmentioning

confidence: 99%

Where Do Cultural Omnivores Come from? The Implications of Educational Mobility for Cultural Consumption

Chan¹,

Turner

2017

European Sociological Review

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Many scholars see social mobility as a key factor that contributes to the emergence of cultural omnivores. In this paper, we discuss three versions of the social mobility argument and assess their empirical validity using recent survey data on music and visual arts consumption in the UK. By applying diagonal reference models to our data, we show that none of these three arguments receives empirical support. Both parents' and respondent's educational level affect music/visual arts consumption, with the weight of the former being about a third in magnitude of the latter. There is no difference between the upwardly mobile and the downwardly mobile in the relative weights of origin and destination. Finally, socially mobile individuals are actually less omnivorous than those who are intergenerationally stable in advantaged positions. In light of these findings, we argue that social mobility does not explain the emergence of music/visual arts omnivores in the UK.

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Social mobility and musical tastes: A reappraisal of the social meaning of taste eclecticism

Cited by 22 publications

References 62 publications

Digital omnivores? How digital media reinforce social inequalities in cultural consumption

Digital omnivores? How digital media reinforce social inequalities in cultural consumption

Bourdieu, Distinction, and Aesthetic Consumption

Where Do Cultural Omnivores Come from? The Implications of Educational Mobility for Cultural Consumption

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