21st Century Sociology: A Reference Handbook (Volume 2), 2007

The sociology of music has enjoyed a notable boom during the final decade of the twentieth century and the early years of the twenty-first century. This is partly evident in the rising number of publications that address music in some capacity, be it the creation, dissemination, or reception of various musical genres. In this chapter, offer an overview that attends to the three domains of production, content, and consumption. These domains represent analytical stinctions that may blur in both sociological scholarship and contemporary experience. Nevertheless, distinguishing among these domains provides a convenient way to organize the vast works known as music sociology. To employ a musical metaphor, this chapter surveys substantive themes and variations that occur when sociologists turn to music.

IASPM@Journal, 2013

Using as its platform Philip Tagg's 2011 article 'Caught on the back foot: Epistemic inertia and visible music', this essay identifies gaps in the literature of popular music studies. In particular it discusses aspects and forms of music-making which do not fit the model of popular music based on modern mediations and commodification, but which are nonetheless crucial to an understanding of the history and present state of the relationship between music, affect and society. These are discussed under the headings 'vernacular music' and 'corporeality', both of which are largely occluded by theoretical models that deploy conceptual categories inappropriate in the analysis of sonic phenomenologies. The essay proposes a greater interdisciplinary and historical range, and a closer link between the study of music and the physiology and physics of sonicity and noise.

Marija Dumnić Vilotijević and Ivana Medić, Eds, Contemporary Popular Music Studies Proceedings of the International Association for the Study of Popular Music 2017, 2019

It is normally taken for granted that popular music fans listen to recorded music, and that their preferences are mainly shaped by that activity. However, studying what happens while they are listening appears as a challenging task. In the last two decades music psychologists, social psychologists, sociologists and popular music scholars, among others, have proposed different qualitative research strategies to address the complexity of popular music fans’ everyday listening experiences. While these methods are normally sensitive to the diversity of listening contexts and subjective experiences, and even occasionally deal with situations where music listening happens alongside other actions (Lilliestam 2013; Kassabian 2013), they may also raise questions of representativeness, and do not always allow an understanding of the intersubjectivity of listening practices, and of the ways in which they may be related to musical structures. This paper reviews some of those empirical methods and aims to contribute to the design of useful research procedures.

American Behavioral Scientist, 2005

This is the intro for a special issue that I edited for American Behavioral Scientist (Volume 48 / Issue 11). It featured contributed articles by Scott Appelrouth, Willian F. Danaher, Joseph A. Kotarba, Paul Lopes, Jan Marontate, Vaughn Schmutz, Erin Trapp, and Jean Van Delinder.

Media is one of the most important factors that affect the consumption habits of the society. The ever-growing influence of media on societies has also a significant impact on the music listening habits. It was first the articles and stories in the press that affected the consumption of music products. As the media technology has developed, the aural characteristics of radio and then the visual characteristics of cinema and television began to have significant impacts on this consumption. In the development process of the music industry, the influence of the media has changed in direct proportion to the periodic effects of the media platforms. The aim of this study is to determine the media effects of university students living in Turkey for their music listening habits. The paper starts with a literature research on the historical impact of media and music relation and goes on with a questioner done to 420 İstanbul living university students. The research examines which media platforms effects more university students' music listening habits and how. The study concludes with two points. The first one is expressing that media's effect to music listening habits is getting more integrated and changing with every new technological development done in communication systems. The second point is about media's impact factor on music listening and consuming. The new media start effecting more than the traditional media on youths music listening habits and this created new distribution platforms for the music industry.

Psychology of …, 2011

A typology of music listeners was constructed on the basis of importance attributed to music and four types of music use: mood enhancement; coping with problems; defining personal identity; and marking social identity. Three Listener Groups were identified through Latent Class Analysis of internet survey data of 997 Dutch respondents, aged 12-29. High-Involved listeners (19.7%) experienced music as a very important medium and used music most often for mood enhancement, coping with distress, identity construction and social identity formation. Medium-(74.2%) and Low-Involved (6.1%) listeners formed two distinct groups with less intense importance/use patterns Furthermore, High-Involved listeners reported that they liked a broad range of genres (Pop, Rock, High Brow, Urban and Dance) and experienced the most intense positive affect when listening. However, both High-and Medium-Involved listeners also reported more negative affects (anger and sadness) when listening, compared to the Low-Involved group. Even the Low-Involved group listened frequently to music and used music as a mood enhancer. Generally, people who are 'moved by music', either positively or negatively, use it for mood enhancement and coping more often. Therefore, the High-Involved group seems to benefit most from music's capacity to enliven and enlighten life.

Background music is often used in ads as a means of persuasion. Previous research has studied the effect of music in advertising using neutral or uncontroversial products. The aim of the studies reported here was to examine the effect of music on the perception of products promoting unethical behavior. Each of the series of three studies described examined the effect of background music on recall and evaluation of a fictive radio ad promoting different types of cheating. The studies consider the effect of involvement, attitudes, priming and presentation context, and music's valence. In all the studies, background music led to reduced recall of information. Positive-valence music reduced awareness of the unethical message, and increased acceptance of the product. The results demonstrate the power of music to manipulate and bias moral judgment.

International Encyclopedia of Communication Theory and Philosophy

To trace the connections between popular music studies and communication research is to recognize the nebulous, interdisciplinary, and often uncertain character of both fields of study. For sure, the study of both existed long before there were defined disciplines dedicated to either. As such, tracing their linkages requires thinking about the place of music in a number of adjacent fields—sociology, psychology, journalism, American studies—as well as how communication has conceived of popular media such as television , film, and radio, which are intrinsically musical even if not always understood that way. This makes for something of a " secret history " of popular music and communication theory, and there is little room in this brief treatment to uncover it all. What follows will therefore mark, in broad strokes, some revelations that arise from thinking about these two areas of academic inquiry in tandem, as well as a few notes toward what popular music studies has offered—and may offer in the future—to the field of communication, especially in the American context.

A typology of music listeners was constructed on the basis of importance attributed to music and four types of music use: mood enhancement; coping with problems; defining personal identity; and marking social identity. Three Listener Groups were identified through Latent Class Analysis of internet survey data of 997 Dutch respondents, aged 12-29. High-Involved listeners (19.7%) experienced music as a very important medium and used music most often for mood enhancement, coping with distress, identity construction and social identity formation. Medium-(74.2%) and Low-Involved (6.1%) listeners formed two distinct groups with less intense importance/use patterns Furthermore, High-Involved listeners reported that they liked a broad range of genres (Pop, Rock, High Brow, Urban and Dance) and experienced the most intense positive affect when listening. However, both High-and Medium-Involved listeners also reported more negative affects (anger and sadness) when listening, compared to the Low-Involved group. Even the Low-Involved group listened frequently to music and used music as a mood enhancer. Generally, people who are 'moved by music', either positively or negatively, use it for mood enhancement and coping more often. Therefore, the High-Involved group seems to benefit most from music's capacity to enliven and enlighten life.