Music and Youth Culture

Music and Youth Culture

Dan Laughey
Copyright Date: 2006
Pages: 256
https://www.jstor.org/stable/10.3366/j.ctt1r1zxm
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  • Book Info
    Music and Youth Culture
    Book Description:

    This book offers a groundbreaking account of how music interacts with young people’s everyday lives.

    eISBN: 978-0-7486-2638-0
    Subjects: Anthropology

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-vii)
  3. List of Figures and Tables
    (pp. viii-ix)
  4. Preface
    (pp. x-xii)
  5. CHAPTER 1 Introduction
    (pp. 1-13)

    Music is considered by many to be the highest form of art and culture. Music is also considered by many to epitomise their values and tastes, as well as those of other people. Music is very often a product of its time – both a reflection of the ‘here and now’ and a ‘recaller’ of memories. Meantime, music and youth are usually deemed to hold a special relationship with each other. Music is delivered and sold to youth audiences, and young people on the whole are fans of one music genre or another. Any attempt to study young people’s relationship...

  6. CHAPTER 2 Subculture, Club Cultures and Post-Subcultures: Music/Social Interactions?
    (pp. 14-54)

    What is a subculture? There is no simple, catch-all definition and this chapter will show how an understanding of subculture is inextricably dependent on competing methodological approaches. To understand the theories and research into youth and music subcultures that represented a substantial area of scholarly activity in the USA and Britain during the latter half of the twentieth century, it is first necessary to trace the process by which subcultural ideas arose from wider perspectives on culture and society. Early developments in cultural studies from different critical traditions in North American social research, and European literary and cultural theory, had...

  7. CHAPTER 3 Early Youth Cultures of Music and Dance
    (pp. 55-86)

    In this chapter I will consider both early and more recent accounts of youth cultures that consider such cultures to be intergenerational rather than intra-generational¹ – or counter cultural – units based in geographically and historically specific localities. As Karl Mannheim (1952, originally published in 1927) rightly proposes with regard to the social characteristics of a generational unit, ‘At any given point in time we must always sort out the individual voices of the various generations, each attaining their point in time in its own way’ (1952: 283). Furthermore, ‘Mere contemporaneity becomes sociologically significant only when it also involves participation...

  8. CHAPTER 4 Towards Everyday Consumption and Production: Approaching Music Audiences and Performances
    (pp. 87-114)

    In the previous chapter it was argued that de Certeau’s (1984) ‘tactics’ and the idea of texts as read provided an alternative framework to orthodox structuralist accounts of dominance and resistance, as typified by much of the subcultures literature discussed in Chapter 2. In the context of audience research, the classic ‘Encoding/decoding’ model (Hall 1992) and the semiotics which informed it have been challenged by more detailed ethnographic investigations of everyday life. Abercrombie and Longhurst (1998) contend that these audience ethnographies reconfigured previous models of simple and mass audiences to those of diffused audiences. Simple audiences are co-present at live...

  9. CHAPTER 5 Music Media Uses and Influences
    (pp. 115-156)

    Following on from the broad divisions drawn in Chapter 3 between mediated and co-present youth music practices of promenade performances, this chapter will focus on the former and Chapter 7 will examine the latter. There are three reasons why I have chosen to distinguish mediated from co-present music practices. First, the distinction between these sets of practices is qualitatively defined by the specific contexts in which music is consumed and produced. Thornton’s (1995) distinction between mass, micro and niche media as resources for subcultural capital may be insightful textual analysis but it ultimately ignores how such resources are experienced within...

  10. CHAPTER 6 Public Music Practices
    (pp. 157-202)

    Qualitatively distinct from young people’s music media uses and influences, this chapter will interpret empirical findings into youth music cultures in public contexts where co-present consumer and producer practices provide the foreground for social interactions. Like the pervasive presence of music media in public contexts as shown in Chapter 5, the following findings will nevertheless reveal how public music consumers and producers often project media influences on to everyday performances.My use of the term ‘practice’ (as outlined in Chapter 4) is central to the intentions of this book to situate music within the routine and often mundane contexts of young...

  11. CHAPTER 7 Everyday Youth Music Cultures and Media
    (pp. 203-216)

    I will now succinctly tie together previous theoretical propositions and empirical analyses that have attempted to understand how music interacts with young people’s everyday lives. These empirically informed theoretical propositions are to be applied throughout to the five aims outlined in the introduction. The three sections of this chapter will address these aims collectively so as to show how the book as a whole has been underpinned by a consistent and sustained research agenda. First, I will propose a situational interactionist model for the study of everyday youth music cultures and media. This model will not only address the initial...

  12. CHAPTER 8 Overall Conclusions
    (pp. 217-221)

    Each concluding point hereafter refers to one of five aims that this book has attempted to address. For each point I will evaluate the extent to which the corresponding aim has been fulfilled, as well as summarising the theoretical outcomes that developed from the attempt to address that aim. Each of the aims has shared a common agenda to understand how music cultures and media interact with young people’s everyday lives. Music, it has been argued, is a pervasive cultural resource for young people not only in contexts such as clubs, where it functions as a foreground, but in more...

  13. Appendix: Interview Schedules and Transcript Notation Conventions
    (pp. 222-225)
  14. Bibliography
    (pp. 226-241)
  15. Index
    (pp. 242-248)