Music, Fans and Fandom

2013 ◽  
Author(s):  
Dr Daragh O’Reilly ◽  
Dr Gretchen Larsen ◽  
Dr Krzysztof Kubacki
Keyword(s):  
Popular Music ◽  
Social Organization ◽  
Consumer Behaviour ◽  
Historical Context ◽  
Social Identities ◽  
Soap Operas ◽  
Symbolic Resources ◽  
Production And Consumption ◽  
Music Consumption ◽  
Material Productivity

Fans and fandom have been studied in a variety of different contexts, from soap operas to novels. Although there is a lot one can learn from studies about the characteristics of fandom and the behaviour of fans in general, research into music fans and fandom remains relatively scarce, with only a handful of works in the fields of popular music, marketing and consumer behaviour. Yet understanding music fans is crucial if one is to comprehend the production and consumption of music. For so many avid music consumers, the pleasures derived from music allows them to make sense of their everyday lives and experiences (Willis, 1990), ‘letting other people know who we are, or would like to be, what group we belong to, or would like to belong to’ (Shankar, 2000: 28). Music consumption is a very rich source of symbolic resources that can be drawn on by music fans to construct their individual and social identities. The purpose of this chapter is to explore fans and fandom in the context of music consumption and production. It builds on the earlier discussion in Chapter 7 on music consumption, where the frame of the music ‘fan’ was introduced. The chapter begins, therefore, with an attempt to provide a historical context for fans and fandom, and then outlines our understanding of fans and their behaviours and motivations. This is followed by an overview of fandom, its intensity and social organization. The chapter concludes with some observations on the material productivity of fans.

Heralds and witnesses poets of Serbian romanticism - between religion of the nation and loss of faith

2017 ◽  
pp. 635-649
Author(s):  
Aleksandra Pavicevic
Keyword(s):  
Social Change ◽  
Social Organization ◽  
Historical Context ◽  
The Other ◽  
Modern State ◽  
Orthodox Church ◽  
The Balkans ◽  
Poor Condition ◽  
Institutional Infrastructure ◽  
National Romanticism

Ideas of Enlightement, national romanticism and transformation of geopolitical situation on the Balkans, were cultural and historical context in which bases of modern Serbian state was established. That was the time of intensive social change directed towards building institutional infrastructure as well as towards transforming traditional, ?obsolete? folk customs and habits. Poor condition of Serbian Orthodox Church and domination of religious world views among people were considered to be the most serious obstacles in creating modern state. Thus, great number of intelectuals were anticlerical and promoted liberal and secularized social organization. On the other hand, the whole epoch was characterized by strong antiscientistic orientation which was expresed through developing of different mistical, alternative, neopagan cults. Specific for our region was so called ?religion of the nation? which appeared as substitution for loss of eshatological perspective in life of Christian civilization. Poets of Serbian romanticism were heralds and witnesses of this civilization ?turn?. Their poetry can be observed as reflex and announcement of secularization in Serbian society. In this paper, we analyzed their writings about death, love, hope, nature and nation.

scholarly journals ‘What Difference does it Make? Women's Pop Cultural Production and Consumption in Manchester’

2000 ◽  
Vol 5 (1) ◽  
pp. 116-129 ◽  
Author(s):  
Nicola Richards ◽  
Katie Milestone
Keyword(s):  
Popular Music ◽  
Urban Space ◽  
Cultural Production ◽  
Consumption Patterns ◽  
Cultural Industries ◽  
Production And Consumption ◽  
Gender Characteristics ◽  
Gender Power ◽  
The City ◽  
Experiences Of Women

This paper explores the experiences of women in small cultural businesses and is based upon interviews with women working in a range of contexts in Manchester's popular music sector. The research seeks to promote wider consideration of women's roles in cultural production and consumption. We argue that it is necessary that experiences of production and consumption be understood as inter-related processes. Each part of this process is imbued with particular gender characteristics that can serve to reinforce existing patterns and hierarchies. We explore the ways in which female leisure and consumption patterns have been marginalised and how this in turn shapes cultural production. This process influences career choices but it is also reinforced through the integration of consumption into the cultural workplace. Practices often associated with the sector, such as the blurring of work and leisure and ‘networking’, appear to be understood and operated in significantly different ways by women. As cultural industries such as popular music are predicated upon the colonisation of urban space we explore the use of the city and the particular character of Manchester's music scene. We conclude that, despite the existence of highly contingent and individualised identities, significant gender power relations remain evident. These are particularly clear in discussion of the performative and sexualised aspects of the job.

scholarly journals Cultural Divergence in popular music: the increasing diversity of music consumption on Spotify across countries

2021 ◽  
Vol 8 (1) ◽  
Author(s):  
Pablo Bello ◽  
David Garcia
Keyword(s):  
Popular Music ◽  
Large Scale ◽  
Global Perspective ◽  
Digital Music ◽  
Upward Trend ◽  
Music Consumption ◽  
Cultural Markets ◽  
Cross Country ◽  
The Moment ◽  
Music Distribution

AbstractThe digitization of music has changed how we consume, produce, and distribute music. In this paper, we explore the effects of digitization and streaming on the globalization of popular music. While some argue that digitization has led to more diverse cultural markets, others consider that the increasing accessibility to international music would result in a globalized market where a few artists garner all the attention. We tackle this debate by looking at how cross-country diversity in music charts has evolved over 4 years in 39 countries. We analyze two large-scale datasets from Spotify, the most popular streaming platform at the moment, and iTunes, one of the pioneers in digital music distribution. Our analysis reveals an upward trend in music consumption diversity that started in 2017 and spans across platforms. There are now significantly more songs, artists, and record labels populating the top charts than just a few years ago, making national charts more diverse from a global perspective. Furthermore, this process started at the peaks of countries’ charts, where diversity increased at a faster pace than at their bases. We characterize these changes as a process of Cultural Divergence, in which countries are increasingly distinct in terms of the music populating their music charts.

Digital music and subculture: Sharing files, sharing styles (originally published in February 2004)

First Monday ◽  
2005 ◽  
Author(s):  
Sean Ebare
Keyword(s):  
Popular Music ◽  
Social Dynamics ◽  
Online Communication ◽  
Digital Music ◽  
Music Production ◽  
Popular Music Studies ◽  
Production And Consumption ◽  
Online Music ◽  
Invaluable Tool ◽  
Identity And Difference

Digital music and subculture: Sharing files, sharing styles by Sean Ebare In this paper I propose a new approach for the study of online music sharing communities, drawing from popular music studies and cyberethnography. I describe how issues familiar to popular music scholars — identity and difference, subculture and genre hybridity, and the political economy of technology and music production and consumption — find homologues in the dynamics of online communication, centering around issues of anonymity and trust, identity experimentation, and online communication as a form of "productive consumption." Subculture is viewed as an entry point into the analysis of online media sharing, in light of the user–driven, interactive experience of online culture. An understanding of the "user–driven" dynamics of music audience subcultures is an invaluable tool in not only forecasting the future of online music consumption patterns, but in understanding other online social dynamics as well.

scholarly journals Spatial Divisions and Fertility in India

2012 ◽  
Vol 2012 ◽  
pp. 1-6
Author(s):  
Vijayan Pillai ◽  
Mashooq Salehin
Keyword(s):  
Social Organization ◽  
Family Size ◽  
Indian Subcontinent ◽  
Northern Plains ◽  
Child Loss ◽  
Age At Marriage ◽  
Production And Consumption ◽  
Physical Resources ◽  
Deccan Plateau ◽  
Organization Of Production

The Indian subcontinent can be divided into four geographical divisions. In this paper, we characterize three of the four divisions; the Northern Plains, the Deccan Plateau, and the Northern Mountains or the Himalayan as regions with dissimilar climatic and physical resources. It is argued that human adaptations to these variations would be varied by differences in social organization of production and consumption resulting in differences in fertility differences across the three divisions. We found significant differences in the median age at motherhood as well as in the total family size. The effects of the three selected fertility determinants, age at marriage, years of woman's education, and level of child loss on family size also varied significantly across the three divisions. There is considerable homogeneity with respect to fertility levels within the zones considered in this study.

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