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Music Communities

音乐社区

基本信息

批准号：
AH/J006807/1
负责人：
Siobhan McAndrew
金额：
$ 10.19万
依托单位：
University of Manchester
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2012
资助国家：
英国
起止时间：
2012 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FJ006807%2F1
关键词：
Music Communities

项目摘要

Both scholarly and popular discourse recognise that the production and consumption of music tends to be organised within 'scenes' or 'worlds', and that these are formed of social networks. From the brass band movement of the nineteenth century to the latest virtual 'happening', to participate in a music community is to participate in a network. While network ties may be competitive and antagonistic as well as co-operative, music scholars generally recognise that networks are beneficial for those involved. Art, as Howard Becker famously put it, is collective action. Artists rely upon the contribution of others to make their mark, and the vitality of a musical world is partly a function of the relationships between participants. They may share moral or financial support, or organisational expertise. Musicians in particular may share skills and techniques, collectively determine musical status, and, most importantly, generate new musical ideas through collaboration and exchange of knowledge.These observations on music networks overlap significantly with research into social capital. Social capital theorists have consistently found that dense networks foster reciprocity and trustworthiness, facilitating action impossible in their absence. They may also sustain esoteric and specialised cultural forms, by supporting those with interests discouraged in wider society, as is echoed in cultural sociological research on taste. However, this overlap remains largely unnoticed by both music scholars and social capital researchers. We propose to make it explicit, exploring the significance of social networks for music and the arts. We wish to do so, moreover, with specific reference to formal social network analysis (SNA), a methodological approach relatively common in the social capital literature but almost absent in music research. While the term 'network' is often used as a metaphor, and communities described qualitatively, the sociology of music and musicology fields are at a very early stage of applying the mathematically-based techniques of network analysis used in disciplines as diverse as innovation research, security and terrorism studies, and financial regulation. A small number of studies of music have been published, including work on punk scenes by Nick Crossley at the University of Manchester. We wish to contribute further by applying these techniques ourselves, and encouraging their adoption by music and arts scholars more broadly.SNA has great potential for arts and humanities research. Many music historians recognise the importance of networks, and compile vast data on relationships, particularly with the explosion of online social network data. SNA intersects quantitative, qualitative and computational methods, and allows us to map and analyse musical worlds in precise, systematic ways. Given a list of music scene participants, and their links within the group and to other organisations or resources, SNA generates measures of connectivity: not simply the number of ties each member has, but also measures of their position within the music world, and further measures of the network as a whole. We can then examine questions such as whether originality and movement against the mainstream is sustained amongst a denser, more cohesive community; or whether it is associated with weak links to other worlds and a diversity of social and financial resources. We aim to investigate such questions by examining network data in detail from the following music worlds: classical, punk, folk and jazz, both by analysing data we have already collected on punk, classical and folk scenes, and by collecting further data from directories, discographies, interviews, biographies and journals of record for these scenes and for the international jazz world.

学术和流行的话语都承认，音乐的生产和消费往往是在“场景”或“世界”中组织起来的，而这些都是由社交网络组成的。从世纪的铜管乐队运动到最新的虚拟“发生”，参与一个音乐社区就是参与一个网络。虽然网络关系可能是竞争和对抗以及合作，音乐学者普遍认识到，网络是有益的，为那些参与。正如霍华德·贝克尔的名言所说，艺术是集体行动。艺术家们依靠他人的贡献来取得成功，音乐世界的活力部分取决于参与者之间的关系。他们可以分享道义或财政支持，或组织专长。特别是音乐家可以分享技能和技巧，集体决定音乐地位，最重要的是，通过合作和知识交流产生新的音乐想法。社会资本理论家一直发现，密集的网络可以促进互惠和可信度，从而促进在没有网络的情况下不可能采取的行动。他们也可能通过支持那些在更广泛的社会中受到阻碍的兴趣来维持深奥和专业的文化形式，这在文化社会学关于品味的研究中得到了回应。然而，这种重叠在很大程度上仍然没有被音乐学者和社会资本研究者注意到。我们建议将其明确化，探索社交网络对音乐和艺术的意义。我们希望这样做，此外，具体参考正式的社会网络分析（SNA），一种方法论的方法在社会资本文献中相对常见，但在音乐研究中几乎没有。虽然“网络”一词经常被用作一个比喻，定性描述社区，但音乐社会学和音乐学领域还处于应用创新研究，安全和恐怖主义研究以及金融监管等学科中使用的基于知识的网络分析技术的早期阶段。一些关于音乐的研究已经出版，包括曼彻斯特大学的尼克·克罗斯利（Nick Crossley）对朋克场景的研究。我们希望通过自己应用这些技术，并鼓励音乐和艺术学者更广泛地采用这些技术，做出更大的贡献。SNA在艺术和人文研究方面具有巨大的潜力。许多音乐历史学家认识到网络的重要性，并汇编了大量有关关系的数据，特别是随着在线社交网络数据的爆炸式增长。SNA交叉了定量、定性和计算方法，使我们能够以精确、系统的方式绘制和分析音乐世界。给定一个音乐场景参与者的列表，以及他们在团体内和与其他组织或资源的联系，SNA生成连接性的度量：不仅仅是每个成员的联系数量，而且还度量他们在音乐世界中的位置，以及整个网络的进一步度量。然后，我们可以研究一些问题，例如，在一个更密集、更有凝聚力的社区中，原创性和反主流运动是否能持续下去;或者，它是否与其他世界的薄弱联系以及社会和财政资源的多样性有关。我们的目标是调查这样的问题，详细检查网络数据，从以下音乐世界：古典，朋克，民谣和爵士乐，既通过分析数据，我们已经收集了朋克，古典和民谣场景，并通过收集进一步的数据目录，唱片，访谈，传记和期刊记录这些场景和国际爵士乐世界。