Musical preferences and their relationships to subcultural values
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Musical preferences and their relationships to subcultural values

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Published by s.n.] in [Bloomington .
Written in English

Subjects:

  • Music -- Social aspects.,
  • Popular music -- Texts -- History and criticism.

Book details:

Edition Notes

StatementTerri Lynn Phillips.
GenreTexts
Classifications
LC ClassificationsML3795 .P42 1990a
The Physical Object
Paginationv, 251 p.
Number of Pages251
ID Numbers
Open LibraryOL20923516M

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This article explores our current understanding of why we like and choose to listen to the music that we do. It begins by defining terms and considering methods, moving on to discuss the biological influences of arousal and other personality traits on music preference, questions of style discrimination, and finally the cultural influences of experience upon preference. book. Special thanks to Richard Barnes, Pauline Black, Caroline Coon, Paul Gorman, Dick Hebdige and David Hesmondhalgh, to Jon Garland and Paul Hodkinson for their support and editorial input, to Bernard G. Mills and Nadine Fraczkowski for permission to reprint their photographs, and to Dominic Shryane for his help in preparing the manuscript. Despite the criticisms of subcultural theory as a framework for the sociological study of the relationship between youth, music, style and identity, the term 'subculture' continues to be widely.   By expressing one’s music preferences, individuals are effectively revealing that they possess beliefs and values that are similar to those of others with the same music preferences. 3. Age.

Music subcultures: Theoretical view. 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 . There are many subcultures created by musical genres. Sometimes a genre of music is so dynamic, the fans assemble together with a similar look, ideas, and values that the fans themselves become a cultural phenomenon. Of course not everyone in a music subculture fits all of the stereotypes of the group, but for the sake of the post I must generalize each of the subcultures since I don’t have. D) subcultural divisions. E) cultural classifications. Answer: D. Diff: 1 Page Ref: Skill: Application. Objective: Understand what subculture is and its relationship to culture. 3) Members of a specific _____ possess beliefs, values, and customs that set them apart from other members of the same society. A) subculture. B. The vast majority of members of the Crips are disadvantaged low-income African-American youth. Robert Merton suggested that those who do experience equal opportunity are more likely to follow a deviant path, and young, poor, African-American youth fit the bill. Many researchers, including Cloward, Ohlin, and Cohen believe that “young people who think they will be able to gain their fair.

range of music genres to measure the personality and music preference relationship, and were the first to examine this relationship using a specific unambiguous personality trait with dimensions of music preferences. It therefore laid the methodological foundation for future research (Rentfrow & . Nave: Yes, the musical preferences are from actual music that you listen to. In terms of personality, we use the model that is called the Big Five. In terms of personality, we use the model that. This literature review of 18 works examines two questions: “How is popular music used by society to determine or develop a subcultural identity?” And “How can subcultural members use popular music to determine or develop a subcultural identity?” The. Bell, David, ed. (). "Cybersubcultures". An Introduction to dge. ISBN ; Epstein, Jonathon S. (). Youth Culture: Identity.