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| 2. |
- Canalp, Safa, 1987-
(författare)
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Genre Transfer : Indie Music in Istanbul (1990s-2010s)
- 2023
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis sheds light on border crossings of popular music genres and proposes a novel approach to studying circulation of popular music across the globe. It propounds a critical discussion on the conventions and politics of knowledge production and dissemination within the scholarship that lies in the intersection of popular music studies, ethnomusicology and music sociology. The thesis points to the predominance of structure-driven and conjuncture-oriented approaches as well as issues of comprehension and representation within the scholarship, and it motivates an actor-oriented approach to account for transregional circulation of popular music genres. Through taking indie music in Istanbul as its case, the thesis develops an alternative approach called "genre transfer." It focuses on the emergence and development of indie music within the regional context of Istanbul from the 1990s to the 2010s. Apart from identifying the key agents and institutions that have been involved in the process of indie music's local legitimization, the thesis analyzes the agents' changing conditions, relations and strategies that have provided base to the transformation of their practices. In doing so, the thesis draws upon actor-oriented approaches of cultural transfer studies and remains informed by analytical and epistemological concerns laid out within the fields of relational sociology and sociology of knowledge.
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| 3. |
- de Boise, Sam, 1985-
(författare)
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“A Change is Gonna Come”? : Changing Music, Changing Masculinities
- 2024
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The issue of change has long been a central focus in critical studies on men and masculinities. The issue of if, how and why men and masculinity/masculinities change has been central to feminist strategy as well as a question of explanation. Scholars from a variety of academic disciplines have pointed frequently to contemporary popular music as evidence of broader cultural shifts in changing masculinities, whereby the question of change is viewed in positive terms though exploring open emotional expression, or as stasis, where very little changes. Importantly, popular music scholars are interested between the idea of changing representations and what these representations say about culture more generally; both in terms of musical texts as cultural representations and the power of music to shape gendered norms within cultures. Yet the question is how to study and how to ascertain cultural shifts as well as the impact of music is a tricky one. A well-worn sociological critique of musicological research on the issue is twofold: firstly that the tendency to argue on the basis of selected examples seeks confirm a particular interpretation (“cherry picking”); secondly that a methodology which seeks to locate meaning through an analysis of cultural texts does explain how they are interpreted by groups. The counter argument, however, is that sociological approaches reduce music to mere symbol, ignoring the specifically musical properties which convey meaning and failing to offer an explanation as to why and how and why the “music itself” resonates.This paper focuses on understanding the cultural resonance of popular musics in relation to theories around changing men, masculinity/masculinities. It offers a model which explores the link between text and interpretation through a framework of creation, representation, mediation and reception. In doing so it makes two main arguments: firstly that change is not necessarily progressive or egalitarian, with reference to the way in which right-wing movements mobilise masculinism and the idea of overly emotional men as a central resource in aesthetic critique; secondly that the increasing fragmentation of representations of masculinity in popular music, still require an analysis of the structural conditions under which multiple representations flourish.
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| 4. |
- de Boise, Sam, 1985-
(författare)
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Addressing Gender Inequalities in Music : Sweden as a Comparative Case Study
- 2017
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Konferensbidrag (refereegranskat)abstract
- Increasing media attention has been given to gender inequalities within the music industries, and across genres, in global Northern nations. Whilst noting that gender inequalities exist in different genres is not new, their persistence, as well as identifying successes in strategies to change them, require further exploration.In this respect, Sweden, a country with an international reputation for comparatively greater equality between binary genders, as well as popular music ‘folkbildning’ traditions, provides an important case study.This paper will address how notions of gender equality are constructed in activist and policy measures in Sweden. It notes how these influence and, in turn, are influenced by material resources which shape strategies in different ways. Drawing from 10 interviews with key-stakeholders in the UK and Sweden, as well as comparative policy analysis, the paper argues that both ‘cultural democratic’ and ‘gender mainstreaming’ traditions help to counter entrenched sexism and misogyny across genres. At the same time, it also advocates the need to extend and develop these in order to integrate more firmly intersectional understandings of equality as both an ethical and aesthetic concern.
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| 5. |
- de Boise, Sam, 1985-, et al.
(författare)
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An Interview with Professor Susan McClary : The Development of Research on Gender and Music
- 2019
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Ingår i: Per Musi: Scholarly Music Journal. - : Universidade Federal de Minas Gerais * Escola de Musica. - 1517-7599 .- 2317-6377. ; 39
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Susan McClary is a Professor of Musicology and the author of Feminine Endings, one of the most influential books on feminist musicology, both in majority–English–speaking and non–majority English–speaking countries. Throughout her distinguished career she has addressed questions of how gender and sexuality relate to the study and analysis of classical and popular musics. This interview focuses on how she initially became interested in the field, reflections on research on music and gender as well as her analysis of key theoretical and empirical areas for the future of research. The interview was conducted in May 2018 by Sam de Boise (Örebro University, Sweden)
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| 6. |
- de Boise, Sam, 1985-
(författare)
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Bored of Bourdieu? : On the Limits of Bourdieusian Approaches to Music Sociology
- 2017
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Ingår i: Beyond Bourdieu?. ; , s. 3-4
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Konferensbidrag (refereegranskat)abstract
- Bourdieu-inspired approaches have been the most influential in sociological research on music in many Western and Northern European nations, since the publication of Distinction in 1979. Cultural capital, particularly, was popularised in Anglophone countries through work on popular music aesthetics (Frith 2002) and notions of ‘subcultural capital’ (Thornton 1995) during the 1990s, whilst, more recently, habitus and cultural capital’s explanatory force in relation to music, have most obviously been indebted to large-scale projects around cultural capital and social exclusion (Bennett et al. 2008; Bihagen and Katz-Gerro 2000; Savage et al. 2015). In the Nordic countries, too, questions of music education and gentrification have also taken up Bourdieu’s concepts to explain the acquisition, deployment and institutionalisation of music taste (Burnard et al. 2015; Dyndahl et al. 2017). A number of scholars have challenged Bourdieu’s formulation and the way in which his work has been taken up in relation to music specifically (see Prior 2013; Rimmer 2012). The question is how to locate a discussion of social inequalities of music whilst carrying out meaningful social research which takes into account material practices of music listening (DeNora 2003) in relation to (unevenly) globally dispersed, technological change.This presentation outlines how a range of quantitative and qualitative sociological methods may help to reveal more complex, intersecting forms of inequalities and notions of aesthetic experience than are currently offered by Bourdieusian frameworks. It also seeks to offer insights from postcolonial and posthumanist-feminist theorising as a means of rethinking the linear value-hierarchy between hexis/doxa, subject/object and material/cultural which work to reinscribe simplistic notions of hierarchically determined taste. Through this, the presentation aims to raise some implications for sociologically grounded studies of music education, specifically around notions of value and musical development which take account of Bourdieusian insights but are not limited to their frameworks.
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| 7. |
- de Boise, Sam, 1985-
(författare)
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Cheer up emo kid : rethinking the ‘crisis of masculinity’ in emo
- 2014
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Ingår i: Popular Music. - : Cambridge University Press. - 0261-1430 .- 1474-0095. ; 33:2, s. 225-242
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Tidskriftsartikel (refereegranskat)abstract
- ‘Emo’, an abbreviation of the word ‘emotional’, is a term both used to describe music which places public emphasis on introspective displays of emotion and a pejorative phrase applied to fans of a diverse range of music. It is overwhelmingly male-dominated in terms of production and it has been suggested that the development of emo can be explained with reference to a ‘crisis in masculinity’. This implies that explicit, male emotional expression is historically incompatible with the performance of Western ‘masculinity’. This article first briefly explores how emo emerged and how it has been linked to the idea of a crisis. It then moves on to conduct a lyrical, discursive analysis around three themes: emotional expression and relationships; overt chauvinism; and ‘beta male misogyny’. Through these concepts I suggest that, rather than indicating a crisis or ‘softening’ of masculinity, there are actually a number of historical continuities with masculinities as a means of sustaining gendered inequalities.
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| 8. |
- de Boise, Sam, 1985-
(författare)
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Contesting ‘sex’ and ‘gender’ difference in emotions through music use in the UK
- 2016
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Ingår i: Journal of Gender Studies. - London : Routledge. - 0958-9236 .- 1465-3869. ; 25:1, s. 66-84
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Tidskriftsartikel (refereegranskat)abstract
- This article builds on social psychological critiques of ‘hardwired’ gender difference inemotions, looking at the topic through the emotional use of music. Starting from thepremise that gender differences in emotion are socially and discursively constructedrather than innate, it moves on to challenge existing work in which masculinity andfemininity are treated as singular, oppositional concepts, that are ‘normally’ attached toideas of existing sex differences. Drawing on data, generated from a UK-based onlinesurvey of 914 respondents (male = 361; female = 553), this article highlights thatwhilst gender plays a significant part in shaping the emotional experience of music, thisis often mediated heavily by age and personal experience. It suggests that music is apractical means of moving beyond ideas of differences in gender or sex differences inemotional display, towards ideas of diversity, especially given that existing face-to-face research has often found men to be ‘unable’ to communicate emotional experiencein particular ways. Both inductive quantitative trends and open-ended fragments frompeople’s emotional experiences of music are included in order to demonstrate howemotions and gender intersect discursively.
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| 9. |
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| 10. |
- de Boise, Sam, 1985-
(författare)
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Digitalization and the Musical Mediation of Anti-Democratic Ideologies in Alt-Right Forums
- 2022
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Ingår i: Popular music and society. - : Routledge. - 0300-7766 .- 1740-1712. ; 45:1, s. 48-66
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Tidskriftsartikel (refereegranskat)abstract
- Popular music research has explored digital technologies’ potential for democratizing music consumption, distribution, and produc-tion. This article, however, focuses on the anti-democratic implica-tions of digitalization for popular music by exploring discussions of music in 1,173 posts in 6 Alt-Right forums, from 2010–2018. It demonstrates that, first, owing to algorithmic architecture, inter-pretations of musical politics are mutually reinforcing in these spaces. Second, a large degree of musical “omnivorousness” in these forums is both a feature of contemporary far-right strategy and a consequence of digitalization. Third, by articulating “reac-tionary democratic” principles through music criticism, these move-ments more easily evade regulation.
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