By Dan Laughey
Song and formative years tradition deals a groundbreaking account of ways song interacts with younger people's daily lives. Drawing on interviews with and observations of sweet sixteen teams including archival study, it explores younger people's enactment of tune tastes and performances, and the way those are articulated via narratives and literacies. an intensive assessment of the sector unearths an bad emphasis on devoted, fanatical, superb adolescence song cultures akin to rock or punk. to the contrary, this booklet argues that rules approximately adolescence subcultures and membership cultures not practice to modern younger iteration. quite, archival findings express that the song and dance cultures of juvenile in Nineteen Thirties and Nineteen Forties Britain proportion extra in universal with early life at the present time than the countercultures and subcultures of the Sixties and Seventies. by way of targeting the connection among track and social interactions, the ebook addresses questions which are scarcely thought of via experiences caught within the early life cultural worlds of subcultures, membership cultures and post-subcultures:What are the most affects on younger people's track tastes? How do youngsters use track to precise identities and feelings? To what volume can ultra-modern formative years and their track look radical and innovative? and the way is the 'special dating' among track and formative years tradition performed out in daily rest, schooling and paintings locations? beneficial properties* the 1st accomplished examine of well known song and early life cultural reports* contains infrequent old paintings on pre-1950s adolescence cultures* includes unique pictures and diagrammatic illustrations.
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Extra resources for Music and Youth Culture
What Tia DeNora rightly interprets as ‘an epistemologically naïve move’ in ‘a tacit shift in many semiotic “readings” of music [. ] from description of musical material and its social allocation to the theorisation of that material’s “wider” significance and cultural impact’ (2000: 28) is a move naively made by Bradley. Second, more sophisticated studies of youth cultural consumption have placed less emphasis on the binary conflict between cultural dominance and resistance, and more on grounded uses and influences of cultural artefacts.
What he might have explored in his initial suggestion that ‘The ideological essence of [the sixth form] culture was its individualism’ was the dynamics within this culture, and how, despite individualist tastes, sixth formers could still ‘assert themselves as a group’ (1978: 40 and 42). My fieldwork analysis in Chapters 5 and 6 will explore such dynamic interactions between different musical taste groups within this sixth form age range and slightly older. 34 Although Geoff Mungham’s (1976) study assumed a sample of workingclass youth, the Mecca dance hall that he used for participant observation and to interview the management served as a ‘mass-dance’ (1976: 82), a territorial space shared by youth of a particularly locality more than a particular social class.
Where are the voices of fans – other than authorial voices – during contexts of fandom? Accounts of fandom that improve upon this lack of contextualisation are considered shortly. David Robins and Phil Cohen (1978) evaluated the effects of Osmondmania – caused by the male pop idol, Donny Osmond – on teenage girl fans in a youth club where they carried out participant observation during the mid-1970s. They too noticed that these girls used pop music as a collective means of resistance, this time against ridicule of their tastes from boys, who the male authors sympathetically felt ‘aspired to more sophisticated tastes – progressive, reggae, and rhythm and blues’ (1978: 56).