The aesthetic discourse space of popular music: 1985–86 and 2004–05

Venrooij, Alex van

doi:10.1016/j.poetic.2009.06.005

Cited by 48 publications

(44 citation statements)

References 23 publications

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“…The fact that most of these listening clusters combine specific aspects of music genres is in line with research that advocates the importance of using a compositional approach on cultural omnivorousness, instead of a simple count measurement (see e.g. van Eijck & Lievens, 2008). Nevertheless, we find that different types of cultural omnivorousness are not necessarily defined by combining different music genres, but by combining specific aspects within and across music genres.…”

Section: Discussionsupporting

confidence: 89%

“…Next, we reduced the 17 music genres to three different overall music taste categories: highbrow music, pop music and folk music. These three broad music taste patterns are repeatedly found in similar representative datasets of the Flemish population in Belgium (Lievens & Waege, 2011;Van Eijck & Lievens, 2008, Vlegels & Lievens, 2009). The highbrow music category includes baroque music, classical music, contemporary classical music, opera and operetta.…”

Section: Comparison With 'Traditional Approach'supporting

confidence: 55%

“…During the last two decades, researchers around the world have shown the prevalence of cultural omnivorousness in a variety of social settings (e.g. Peterson & Kern, 1996;Peterson, 2005;Stichele & Laermans, 2006;van Eijck & Lievens, 2008;van Eijck, 2001). Some researchers have focused on 'volume' measurements, based on a score or a scale that counts the number of genres a person likes in order to quantify the 'voraciousness' of a cultural consumer (e.g.…”

Section: Introductionmentioning

confidence: 99%

“…Others have used a 'compositional' approach, which concentrates on specific combinations of music genres (e.g. van Eijck & Lievens, 2008).…”

Section: Introductionmentioning

confidence: 99%

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Music classification, genres, and taste patterns: A ground-up network analysis on the clustering of artist preferences

Vlegels

Lievens

2017

Poetics

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Section: Discussionsupporting

confidence: 89%

Section: Comparison With 'Traditional Approach'supporting

confidence: 55%

Section: Introductionmentioning

confidence: 99%

“…Others have used a 'compositional' approach, which concentrates on specific combinations of music genres (e.g. van Eijck & Lievens, 2008).…”

Section: Introductionmentioning

confidence: 99%

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Music classification, genres, and taste patterns: A ground-up network analysis on the clustering of artist preferences

Vlegels

Lievens

2017

Poetics

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“…Most sociologists of culture agree that there is a hierarchy in music genres and that classical music is high up on the social status ladder. The touting of classical music as superior to popular music has a long history and this "institutionalized hierarchy remains surprisingly robust" (Roy & Dowd, 2010, p. 193;van Venrooij, 2009). The preference for classical music is still widely treated in empirical research as marker of cultural prestige (Peterson, 2005;Savage & Gayo, 2011).…”

Section: The Case Of Classical Musicmentioning

confidence: 99%

Music Genres as Historical Artifacts: The Case of Classical Music

Vlegels

Lievens

2015

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This article reflects on the use of predetermined genre lists to measure patterns in music taste and, more specifically, classical music taste. Classical music as a whole is in quantitative research typically treated as marker of cultural prestige, although qualitative research suggests great internal diversity within the genre. The use of a predetermined array of genres to measure music taste risks to miss these subdivisions within the classical music genre and thus produces biased results. Therefore, inspired by Lamont's (2010) call to study classification systems 'from the ground up', we present an alternative strategy to measure classical music taste using an open question about artist preferences. We build a two-mode network of classical music artists and respondents and use Infinite Relational Models to identify clusters of respondents that have similar relationships to the same set of artists. We detect no less than five distinct listening patterns within the classical music genre. Two of these preference clusters focus only on very central, popular classical artists. Another cluster combines these popular artists with more contemporary artists. One cluster focuses on only one very accessible artist and, finally, there is a cluster of respondents that distinct themselves by having a real connoisseur taste. Furthermore, we find that expert taste in classical music is not related to social distinction. Instead, knowledge of the most central and popular artists (e.g. Bach, Beethoven, Mozart) is typical for respondents with a high socio-economic background. Social distinction seems more related to knowledge of popular artists in classical music than to distinctive, connoisseur taste. Our findings show the potential of social network analysis for the problem of music taste classification and cultural sociology in general. Keywords: Music genres, music taste, two-mode cluster analysis and cultural sociologyAuthors Jef Vlegels, is a post-doctoral researcher at the Vrije Universiteit Brussel, Brussels, Belgium and Ghent University, Gent, Belgium. His research focuses on cultural tastes, cultural participation, social networks, cultural policy and cultural education.John Lievens, is an associate professor at the Department of Sociology of Ghent University, Gent, Belgium. He teaches several courses in statistics and demography. His research focuses on culture and art participation/consumption, amateur art participation, perception of culture, lifestyles, sexual behavior, and partner choice in ethnic minorities. AcknowledgementsThe authors would like to thank Dr. Sam Werquin for his help with the Mathlab scripts.

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Strategic behavior by market intermediaries

Olson

Waguespack

2020

Strategic Management Journal

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Research summary We explore how information intermediaries preserve relationships with firms they cover and differentiate from competitors while also maintaining legitimacy with their audiences. We find that intermediaries evaluating movies and video games delay disclosing more negative reviews of heavily marketed products so that they do not coincide with the major product marketing push. We also find that media organizations artificially differentiate themselves from their competitors. We demonstrate that critics are more deviant when they can observe another's opinion and that differentiation increases when they tend to evaluate the same types of products. Our interpretation is that information intermediaries do not simply provide objective reviews, but instead appear strategic in balancing pressures from product “suppliers” and competitors as they compete for the attention of their audiences. Managerial summary We argue that film and video game reviews by professional media outlets reflect two types of strategic behavior. First, intermediaries evaluating movies and video games delay disclosing more negative reviews of heavily marketed products. Second, critics artificially deviate their review scores from those of close competitors. We conclude that information intermediaries do not simply provide objective reviews, but instead appear strategic in balancing pressures from product “suppliers” and competitors as they compete for the attention of their audiences.

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The aesthetic discourse space of popular music: 1985–86 and 2004–05

Cited by 48 publications

References 23 publications

Music classification, genres, and taste patterns: A ground-up network analysis on the clustering of artist preferences

Music classification, genres, and taste patterns: A ground-up network analysis on the clustering of artist preferences

Music Genres as Historical Artifacts: The Case of Classical Music

Strategic behavior by market intermediaries

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