جستجوی مقالات مرتبط با کلیدواژه "musical consumption" در نشریات گروه "علوم اجتماعی"

A kind of study shift from the mere focus on the modes of production to the modes of consumption, especially the cultural consumption occurred after 1970s, and by the same token a kind of explanatory turn happened from concentration on what are known as “hard variables” such as class to what are known as “soft variables” such as identity. Accordingly, music consumption, as one of the most important kinds of cultural consumption and explaining it based on collective identity came into focus. However, both realities of musical consumption mode and its explanation according to cultural factors have received little attention from the contemporary sociologists in Iran society.
Considering the mentioned limitations, the present study was done using quantity and survey method (description-explanatory) along with the researcher made questionnaire concerning the kind and the amount of musical consumption (dependent variable) and three modes of important modes of collective identity including ethnic, national and global ones (dependent variable). Lor students of Yasouj University were selected as the participants for some reasons: first by interacting with their families and in the city environment using Lori accent with their friends and relatives, they had access to ethnic talk. Second, they had access to national talk through their presence in the university, interaction with non-Lor friends, taking part in the classes and studying cultural texts with national and beyond ethnic content. Third, with the least skill in English and using new communication technologies like internet and new smart phones, they could have more access to global talk. Thus, for investigating the current study selecting students with Lori ethnic identity background who could also had access to national and global talks looked the most appropriate and logical strategy. According to Morgan table, 380 subjects were identified for the sample and this amount increased to 400 to increase the validity. To access the sample, the cluster random sampling method was also employed.
Discussion of results & The Friedman mean difference test results revealed that two kinds of pop music and western classic music had the most and the least musical consumptions respectively. Furthermore, the correlational test of different variables of the study showed that the relationship between ethnic identity and local, pop, and religious musical consumption is positive and significant while it is insignificant with western and traditional music. The correlation between national identity and western and pop musical consumption was significant and negative, while this correlation with religious musical consumption was significant and positive. The correlation between global identity and western, pop musical consumption was positive while this relationship with traditional, religious and local musical consumption was negative and significant. Finally, based on the findings it could be claimed that the degree of commitment and attachment to any type of collective identities shape the individual's musical consumption taste and leads him/ her towards consuming a particular musical type. In other words, people don’t select their musical consumption passively but this is an active process based on the identity assets of people. According to multiple regression test results all three kinds of collective identity played a role in the kind and the amount of musical consumption but in specifying one or more musical consumption mode and in different directions. Thus, it can be said that identity role in musical consumptions acts in two ways. First as a positive stimulator encourage people towards a specific musical consumption pattern and second as an inhibitor inhibit them from a specific musical consumption. Lastly, it was clarified that in investigating different musical consumption modes different factors should be taken into account and identical variables are not able to specify the variance and the diversity of musical consumption of different individuals.

Sociomusicology (sociology of music) as a branch of art sociology aims at identifying the relationships between music and social structures. The main question faced by the sociologists of music is how the conditions of a given social system affect the dominant music style of a culture or the subculture of a group and how the public tendencies for a specific music style affect a social system and its features. To answer these two and other issues such as the relationships between social distribution of cultural consumption tastes، social distinction in cultural consumption، determining the shaping of cultural tastes and consumption with the purpose of differentiation and demonstration of class borders، one faces two prominent theories; on one hand the proponents of Bourdieu''s theory believe that the higher social classes possess a sublime musical taste and individuals of lower social and economic status listen to genres of little value and on the other hand the advocates of Peterson believe that the taste of higher social classes is mixed while the taste of the lower social classes is one-dimensional. The related literature has presented various and at times contradictory results in confirming or refuting the claims of the aforementioned theories. Given the special conditions of Iranian society and its religious and traditional texture on one hand and the spread of media technologies and easier access to musical sources، etc. on the other hand، the current qualitative research aimed at identifying other possibly significant factors. The goal of this research was to investigate the music consumption patterns amongst students of Ferdowsi University of Mashhad and the social factors affecting their musical tastes. Applying qualitative methods، it was of interest to closely study the effect of various cultural and social contexts and the role of agency in dealing with them. The applied method in this study was in-depth interview for studying the musical taste of eleven students who were fans of one of the major music styles like classical، traditional Iranian music، pop، rock and rap. The findings of this research indicate that although the theories of music taste were in some cases reconfirmed، it seems that in Iranian society other factors are also at play affecting individuals'' tastes. They include reference groups، an individual''s favorite musical instrument، peers، visual effects (the attractiveness of the music videos)، personality of the singer and musical knowledge، music as a tool to express identity، music as a tool to express resistance and protest، ethical judgments، religious judgments، getting affected by collective feelings، ethnic orientation، recall of memories، impact of environment and environmental sounds. According to the present study، it can be claimed that if taste is a tool for social differentiation، such differentiation does not only show itself in social differentiation. Sometimes، individuals use their musical taste as a tool to express their privileged social identities. The identity of a protesting individual or attached to a certain ethnic group is best reflected in their musical taste. In this case، music is not a medium of excellence demonstration or avoidance of social inferiority، but a means to self-expression. This research belongs to sociological studies on musical activity and music consumption and lies within cultural sociology.

Ethnic Plurality is among important features of Iranian identity. Before the (1979) Islamic Revolution, a solution to the problem of ethnic Plurality towards accomplishing an integrated national identity was sought by relying on identity policies originating from the imperative Reza Khan-style pseudo-modern process. However, in a cultural turn after the Islamic Revolution, identity policies were mainly focused on indigenous values. On this basis, various cultural policies have been adopted and implemented in line with construction of an integrated national identity. With regard to the importance of type of individuals’ cultural consumption in specifying their identity attachment, this paper evaluates the cultural policies of the Islamic Republic of Iran by using some data on musical consumption (as an example of cultural consumption) of various ethnic groups and their success or failure in constructing national identity. The data of this research belongs to survey of a plan conducted in 1388 (2009 – 2010) to examine and measure the country’s public cultural indexes. After examining the data it was concluded that with due regard to the meaningful tendency of various ethnic groups towards consumption of musical Genres belonging to the official culture, the cultural policies of the Islamic Republic of Iran in constructing national identity have been successful and have created a sense of attachment to elements of national culture in various ethnic groups