Expressive Resources

2008 ◽  
Vol 17 (2) ◽  
pp. 114-129 ◽  
Author(s):  
Regina Bendix
Keyword(s):  
Popular Music ◽  
Knowledge Production ◽  
Folk Art ◽  
Cultural Expression ◽  
Classification Techniques ◽  
Political Identification ◽  
Multiple Context ◽  
Production And Consumption ◽  
Aesthetic Affect

Drawing examples from ethnic and popular music as well as from folk art, the paper explores the multivalence of expressive forms as local and European, even global aesthetic resources, whose territorial or ethno-national connection is - due to the power of aesthetic affect - but one among many possibilities of identification. It is argued first that the resource dimension of cultural expression has been furthered by the documentation and classification techniques of ethnological and folkloristic knowledge production, which in turn also facilitated circulation in multiple context. Second, the paper encourages that scholarship expand from recognising a political identification and instrumentalisation of aesthetic resources to understanding the economic appropriation of the production and consumption of such resources.

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 Music and the cutting edge of cultural expression

post(s) ◽  
2018 ◽  
Vol 4 ◽  
Author(s):  
Juan Pablo Viteri
Keyword(s):  
Popular Music ◽  
Copyright Law ◽  
Cutting Edge ◽  
Communication Studies ◽  
University Of Iowa ◽  
Prolific Author ◽  
Cultural Expression ◽  
Independent Media ◽  
The University

In this interview, Juan Pablo Viteri speaks with Kembrew McLeod. McLeod is a Professor of Communication Studies at the University of Iowa and an independent documentary producer. A prolific author and filmmaker, he has written and produced several books and documentaries that focus on popular music, independent media and copyright law.

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.

Practising and knowing management: A dialogic perspective

2012 ◽  
Vol 43 (4) ◽  
pp. 373-383 ◽  
Author(s):  
Robert MacIntosh ◽  
Nic Beech ◽  
Elena Antonacopoulou ◽  
David Sims
Keyword(s):  
Knowledge Production ◽  
Prior Work ◽  
Management Research ◽  
Research Organizations ◽  
Production And Consumption ◽  
Research Relationships ◽  
The Relationship

This article develops a dialogic perspective on practising and knowing management. It builds on prior work which has considered the nature of management research as well as the relationship between those who research organizations and those that manage them. The article argues that practising and knowing are co-constitutive, dialogic processes and that viewing the process in this way helps move beyond views of knowledge production and consumption which centre on translation between communities. The article sheds new light on the nature of research relationships by presenting two ways of mapping the dynamics of these relationships in terms of dialogue.

Music as Product

2013 ◽  
Author(s):  
Dr Daragh O’Reilly ◽  
Dr Gretchen Larsen ◽  
Dr Krzysztof Kubacki
Keyword(s):  
Popular Music ◽  
Music Production ◽  
Music Making ◽  
Production And Consumption ◽  
The Us ◽  
Sales Success ◽  
The Relationship ◽  
The Way

n order to develop a more holistic and integrated understanding of the relationship between music and the market, and consequently of music production and consumption, it is necessary to examine the notion of music as a product. The very act of exploring the relationship between music, markets and consumption immediately frames music as a ‘product’. In the marketplace, music is ‘produced’ and ‘consumed’ rather than made and heard. But the language and practices of the market and of marketing go far beyond the labelling of music making and listening in this way. They are pervasive and, as such, mediate our everyday engagement with music, regardless of the role we play in the market. The way the quality of music is evaluated is dominated by measures of sales success: songs ‘top the charts’, artists ‘sell out’ stadiums and tours, and recording companies sign ‘the next big thing’ to contracts in the expectation of future sales. Even a particular market can be held up as measure of success: in popular music, many bands, such as the Beatles, have been deemed to be successful only after they have ‘broken America’ by reaching high positions on the US music charts.

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.

Can literary events use Co-Creation to challenge stigmatisation?

2020 ◽  
pp. 155-172
Author(s):  
Christina Horvath
Keyword(s):  
Knowledge Production ◽  
Urban Areas ◽  
Rio De Janeiro ◽  
Large Scale ◽  
Literary Texts ◽  
Comparative Approach ◽  
Arts Festivals ◽  
Production And Consumption ◽  
Global North ◽  
North And South

This chapter takes a comparative approach to two initiatives developed by artists and cultural promoters from the Global North and South, to challenge clichés attached to French banlieues and Brazilian favelas as places devoid of the production and consumption of literary texts. The ‘Dictée des Cités’, a spelling competition promoted since 2013 in French banlieues by writer Rachid Santaki, and the ‘Literary Festival of the Urban Periphery’ (FLUP) curated in Rio de Janeiro since 2012 by writers Julio Ludemir and Écio Salles, are analysed through the lens of Co-Creation as examples of artist-driven initiatives to encourage large local audiences’ engagement with literary texts, transform literary institutions and canons and challenge stereotypes associated with urban peripheries. While the chapter seeks to evaluate the potential of large-scale literary events to change the perception of disadvantaged urban areas, it also explores differences between the Global North and South. The chapter ends with the conclusion that socially engaged arts festivals and Co-Creation events may promote similar aims, they however differ in their scale, approaches to knowledge production as well as in their strategies promoting engagement with creative methods.

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