Подходы к исследованию культурного производства в музыкальной сфере: теоретико-методологические аспекты
Аннотация
The article provides a critical overview of the main approaches to studying cultural production applicable to the sphere of music. The relevance of research in this area is due to the rapid transformations in the field of musical production in Russia, as well as a tangible lack of complex critical works in this area. Applying qualitative content analysis as the leading method of research the author highlights three distinctive approaches: the production of culture perspective, collaborative network approach and the paradigm of cultural intermediation. The author attempts to conduct a critical overview of these theoretical and methodological approaches dealing with their specific methods, concepts, research issues and shortcomings. The author examines these approaches as possible variations on cultural production theme highlighting their objects of analysis, methods and critical points. The article lays the foundation for further research in the field of cultural production, particularly in the music field.
Литература
Abbott K.W. (1993) Trust but verify: The production of information in arms control treaties and other international agreements. Cornell International Law Journal, 26(1): 1–58.
Alexander V.D. (2003) Sociology of the Arts. Oxford: Blackwell.
Bagdadli S. (2003) Museum and Theatre Networks in Italy: Determinants and Typology. International Journal of Arts Management, 6(1): 19–29.
Becker H.S. (1982) Art Worlds. Berkeley: University of California Press.
Bielby W., Bielby D. (1994) "All Hits Are Flukes": Institutionalized Decision Making and the Rhetoric of Network Prime-Time Program Development. American Journal of Sociology, 99(5): 1287–1313.
Borovinskaya D.N. (2014) Ekonomicheskiye i kul’turnyye osnovaniya kreativnosti [Economical and cultural groundings of creativity]. Vestnik Tomskogo gosudarstvennogo universiteta [Tomsk State University Journal], 388: 47–53 (in Russian).
Bossio D., McCosker A., Milne E., Golding D., Albarrán-Torres C., (2020) Social media managers as intermediaries: negotiating the personal and professional in organisational communication. Communication Research and Practice, 6(2): 95–110.
Bourdieu P. (1984) Distinction: A Social Critique of the Judgement of Taste. Cambridge, MA: Harvard University Press.
Bourdieu P. (1990) The Logic of Practice. Stanford, CA: Stanford University Press.
Bourdieu P. (1997) The forms of capital. In: Halsey A., Lauder H., Brown P., Wells A. (eds.) Education: Culture, Economy, and Society. Oxford University Press, Oxford, UK; 46–58.
Brook O., O’Brien D., Taylor M. (2019) The creative economy, the creative class and cultural intermediation. In: Jones P., Perry B., Long P. (eds.) Cultural intermediaries connecting communities: Revisiting approaches to cultural engagement. Bristol: Bristol University Press: 27–42.
Camarinha-Matos L.M. Afsarmanesh H. (2005) Collaborative networks: A new scientific discipline, Journal of Intelligent Manufacturing, 16(4–5): 439–452.
Chaney D. (2012) The Music Industry in the Digital Age: Consumer Participation in Value Creation. International Journal of Arts Management, 15(1): 42–52.
Charnaya I.V. (2015) Obyomy kul’turnogo proizvodstva [Volumes of cultural production]. Vestnik Moskovskogo gosudarstvennogo universiteta kul’tury i iskusstv [The bulletin of Moscow State University of Culture and Arts], 4(66): 180–187 (in Russian).
Choi H., Burnes B. (2013) The internet and value co-creation: the case of the popular music industry. Prometheus, 31(1): 35–53.
Corciolani M., Grayson K., Humphreys A. (2020) Do more experienced critics review differently?: How field-specific cultural capital influences the judgments of cultural intermediaries. European Journal of Marketing, 54(3): 478–510.
Coser L. (1975) Publishers as gatekeepers of ideas. Annals of the American Academy of Political & Social Sciences, 421 (September): 14–22.
D’Amato F. (2015) In-store music in Italy. Forum Italicum, 49(2): 567–580. https://doi.org/10.1177/0014585815581811.
De Propris L. (2019) Mapping cultural intermediaries. In: Jones P., Perry B., Long P. (eds.) Cultural intermediaries connecting communities: Revisiting approaches to cultural engagement. Bristol: Bristol University Press: 43–62.
DeNora T. (1995) Beethoven and the Construction of Genius. Berkeley: University of California Press.
DiMaggio P., Hirsch P. (1976) "Production Organizations in the Arts." American Behavioral Scientist, 9(1): 735–752.
Dowd T.J., Blyler M. (2002) Charting race: The success of black performers in the US mainstream recording market, 1940 to 1990. Poetics, 30: 87–110.
du Gay P., Negus K. (1994) The Changing Sites of Sound: Music Retailing and the Composition of Consumers. Media, Culture & Society, 16(3): 395–413. https://doi.org/10.1177/016344379401600303.
Durrer V., Miles S. (2009) New perspectives on the role of cultural intermediaries in social inclusion in the UK. Consumption Markets & Culture, 12(3): 225–241.
Eisenmann T., Bower J. (2000) The Entrepreneurial M-Form: Strategic Integration in Global Media Firms. Organization Science, 11(3): 348–355.
Elkins E. (2019) Algorithmic cosmopolitanism: on the global claims of digital entertainment platforms. Critical Studies in Media Communication. (36): 1–14. doi:10.1080/15295036.2019.1630743.
Fine G.A. (1977) Popular culture and social interaction: Production, consumption, and usage. Journal of Popular Culture, 11(2): 453.
Flier A.Ya. (2012) Kul’turnyye industrii v istorii i sovremennosti: tipy i tekhnologii [Cultural industries in history and contemporaneity: the types and technologies]. Informatsionniy gumanitarniy portal Znanie. Ponimanie. Umenie [Informational humanities portal Knowledge. Understanding. Skill], 3: 4–4 (in Russian).
Foster P., Borgatti S.P., Jones C. (2011) Gatekeeper search and selection strategies: Relational and network governance in a cultural market. Poetics, 39(4), 247–265.
Freeman J., Godfrey M. (2010) Creative collaboration between audiences and musicians in Flock. Digital Creativity, 21(2): 85–99.
Galuszka P. (2015) Music Aggregators and Intermediation of the Digital Music Market. International Journal of Communication, 9: 254–73.
Garofalo R. (1999) From Music Publishing to MP3: Music and Industry in the Twentieth Century. American Music, 17(3): 318–354. doi:10.2307/3052666.
Halbert L. (2012) Collaborative and Collective: Reflexive Coordination and the dynamics of Open Innovation in the digital industry clusters of the Paris Region. Urban Studies, 49(11): 2357–2376.
Hemming J. (2016) Ökonomische Analyse: Musikindustrie und Urheberrecht. In: Methoden der Erforschung populärer Musik. Springer VS, Wiesbaden: 377–430
Hennion A. (1989) An Intermediary between Production and Consumption: The Producer of Popular Music. Science, Technology, & Human Values, 14(4): 400–424. https://doi.org/10.1177/016224398901400405.
Hesmondhalgh D. (2006) Bourdieu, the media and cultural production. Media, Culture & Society, 28(2): 211–231.
Hesmondhalgh D., Baker S. (2010) ‘A very complicated version of freedom’: Conditions and experiences of creative labour in three cultural industries. Poetics, 38(1): 4–20.
Hesmondhalgh D., Baker S. (2015) Sex, gender and work segregation in the cultural industries. The sociological review, 63: 23–36.
Hughes J., Lang K. R. (2003) If I had a song: The culture of digital community networks and its impact on the music industry. International Journal on Media Management, 5(3): 180–189.
IFPI Global Music Report 2019. [https://www.ifpi.org/ifpi-global-music-report-2019/ ] (accessed: 04.09.2020).
Jeffcutt P., Pratt A.C. (2002) Managing creativity in the cultural industries. Creativity and innovation management, 11(4): 225–233.
Kadushin C. (1976) Networks and Circles in the Production of Culture. American Behavioral Scientist, 19(6): 769–784. https://doi.org/10.1177/000276427601900607.
Kaufman J. (2004) Endogenous explanation in the sociology of culture. Annual Review of Sociology, 30: 335–357.
Leyshon A., Webb P., French S., Thrift N., Crewe L. (2005) On the reproduction of the musical economy after the Internet. Media, Culture & Society, 27(2): 177–209.
Lopes P. D. (1992) Innovation and diversity in the popular music industry, 1969 to 1990. American sociological review, 57: 56–71.
Luo M. (2020) The omnivore turn in cultural production: Case study of China’s Rainbow Chamber Singers. International Journal of Cultural Studies, 23(1): 81–101. https://doi.org/10.1177/1367877919875972.
Luonila M., Johansson T. (2016) Reasons for Networking in Institutionalized Music Productions: Case Studies of an Opera House and a Music Festival. International Journal of Arts Management, 18(3): 50–66.
Matthews J. T. (2017) Beyond ‘Collaborative Economy’ Discourse: Present, Past and Potential of Digital Intermediation Platforms. In: Graham J., Gandini A. (eds.) Collaborative Production in the Creative Industries. London: University of Westminster Press: 33–49.
McAndrew S., Everett M. (2015) Music as Collective Invention: A Social Network Analysis of Composers. Cultural Sociology, 9(1): 56–80. https://doi.org/10.1177/1749975514542486.
McIntyre P. (2008) Creativity and cultural production: A study of contemporary Western popular music songwriting. Creativity research journal, 20(1): 40–52.
Mihelj S., Leguina A., Downey J. (2019) Culture is digital: Cultural participation, diversity and the digital divide. New Media & Society, 21(7): 1465–1485. https://doi.org/10.1177/1461444818822816.
Negus K. (2002) The Work of Cultural Intermediaries and the Enduring Distance Between Production and Consumption. Cultural Studies, 16(4): 501–515.
Nixon S., Gay P.D. (2002) Who needs cultural intermediaries? Cultural studies, 16(4): 495–500.
Peterson R.A. (1990) Why 1955? Explaining the advent of rock music. Popular Music, 9(1): 97–116.
Peterson R.A. (1976) The Production of Culture: A Prolegomenon. American Behavioral Scientist, 19(6): 669–684. https://doi.org/10.1177/000276427601900601.
Peterson R.A. (1979) Revitalizing the culture concept. Annual review of sociology, 5(1): 137–166.
Peterson R.A., Berger D. G. (1975) Cycles in symbol production: The case of popular music. American sociological review: 158–173.
Peterson R.A., Anand N. (2004) The Production of Culture Perspective. Annual Review of Sociology, 15: 311–34.
Piazza A., Phillips D. J., Castellucci F. (2020) High-Status Affiliations and the Success of Entrants: New Bands and the Market for Live Music Performances, 2000–2012. Organization Science, 31(5) 1272–1291.
Podporinova N.O. (2018) Prodyusirovanie v rossiyskoy muzykal’noy industrii [Producing in Russian music industry]. Modern aspects of dialog between literature, music and arts in space of local culture. Krasnodar: Krasnodar State Institute of Culture: 423–428 (in Russian).
Riezebos J., Klingenberg W., Hicks C. (2009) Lean production and information technology: connection or contradiction? Computers in industry, 60(4): 237–247.
Rosa G.A., Manzolli J. (2019) Complexity and Creativity in the Studio Music Production Process: A Systemic Perspective. Opus, 2(3): 50–65. doi: 10.20504/opus2019c2503.
Rosati C. (2007) MTV: 360° of the Industrial Production of Culture. Transactions of the Institute of British Geographers, 32(4), new series: 556–575.
Rössel J., Otte G. (2010) Culture. In: German Data Forum (RatSWD). Building on Progress: Expanding the Research Infrastructure for the Social, Economic, and Behavioral Sciences. Opladen: Verlag Barbara Budrich: 1153–1172
Rossman G., Esparza N., Bonacich P. (2010) I’d Like to Thank the Academy, Team Spillovers, and Network Centrality. American Sociological Review, 75: 31–51.
Schäfer M. (2011) The Extension of Cultural Industries. In: Bastard Culture! How User Participation Transforms Cultural Production. Amsterdam: Amsterdam University Press.
Scott A.J. (1999) The cultural economy: geography and the creative field. Media, culture & society, 21(6): 807–817.
Scott A.J. (2006) Entrepreneurship, innovation and industrial development: geography and the creative field revisited. Small business economics, 26(1): 1–24.
Sewell W.H. (1992) A theory of structure: Duality, agency, and transformation. American journal of sociology, 98(1): 1–29.
Shmatko N.A. (2003) Analiz kul’turnogo proizvodstva Pierra Bourdieu [Analysis of Pierre Bourdieu’s cultural production]. Sotsiologicheskoye obozrenie [Sociological Review], 8: 113–120 (in Russian).
Sinnreich A. (2019) Music, Copyright, and Technology: A Dialectic in Five Moments. International Journal of Communication (19328036), 13.
Strachan R. (2007) Micro-independent record labels in the UK: Discourse, DIY cultural production and the music industry. European Journal of Cultural Studies, 10(2): 245–265.
Sukhanov V.V. (2012) Phenomenon of music labels in modern Russia [Fenomen muzykal’nykh leyblov v sovremennoy Rossii]. Vestnik Sankt-Peterburgskogo universiteta kul’tury [The Bulletin of St. Petersburg University of Culture], 1: 25–28 (in Russian).
Sutton A.C. (2020) The Composition of Success: Competition and the Creative Self in Contemporary Art Music. Qualitative Sociology, 43(4): 489–513.
Throsby D. (1994) The production and consumption of the arts: A view of cultural economics. Journal of economic literature, 32(1): 1–29.
Top U.S. music streaming services by users. Statista.com, 2019. [https://www.statista.com/statistics/798125/most-popular-us-music-streaming-services-ranked-by-audience/ ] (accessed: 09.06.2020).
Tussey D. (2005) Music at the Edge of Chaos: A Complex Systems Perspective on File Sharing. Loyola University Chicago Law Journal, 37(1): 147–212.
Uzzi B., Spiro J. (2005) Collaboration and creativity: The small world problem. The American Journal of Sociology, 111(2): 447–504.
Venkatesh A., Meamber L. A. (2006) Arts and aesthetics: Marketing and cultural production. Marketing Theory, 6(1): 11–39. https://doi.org/10.1177/1470593106061261.
Verbitskii S.A. (2020) Approaches towards studying cultural industries and the analysis of their applicability within the reality of modern Russian culture [Podkhody k issledovaniyu kul’turnykh i muzykal’nykh industriy i analiz ikh primenimosti v realiyakh sovremennoy rossiyskoy kul’tury]. Vestnik instituta sotsiologii [The Bulletin of the Institute of Sociology], 11(11): 155–178. doi: 10.19181/vis.2020.11.3.668 (in Russian).
Warren G., Dinnie K. (2018) Cultural intermediaries in place branding: who are they and how do they construct legitimacy for their work and for themselves? Tourism Management, 66: 302–314. https://doi.org/10.1016/j.tourman.2017.12.012.
Webster J. (2019) Music on-demand: A commentary on the changing relationship between music taste, consumption and class in the streaming age. Big Data & Society, 6(2). https://doi.org/10.1177/2053951719888770.
