Towards a Critical Understanding of Music, Emotion and Self-Identity

The article begins by outlining a dominant conception of these relations in sociologically informed analysis of music, which sees music primarily as a positive resource for active self-making. My argument is that this conception rests on a problematic notion of the self and also on an overly optimistic understanding of music, which implicitly sees music as highly independent of negative social and historical processes. I then attempt to construct a) a more adequately critical conception of personal identity in modern societies; and b) a more balanced appraisal of music-society relations. I suggest two ways in which relations between self, music and society may not always be quite so positive or as healthy as the dominant conception suggests: 1) Music is now bound up with the incorporation of authenticity and creativity into capitalism, and with intensified consumption habits. 2) Emotional self-realisation through music is now linked to status competition. Interviews are analysed

Jubilee mugs:the monarchy and the Sex Pistols

With rare exceptions sociologists have traditionally had little to say about the British monarchy. In the exceptional cases of the Durkheimian functionalism of Shills and Young (1953), the left humanism of Birnbaum (1955), or the archaic state/backward nation thesis of Nairn (1988), the British nation has been conceived as a homogenous mass. The brief episode of the Sex Pistols' Jubilee year song 'God Save the Queen' exposed some of the divisions within the national 'mass', forcing a re-ordering of the balance between detachment and belonging to the Royal idea. I argue that the song acted as a kind of 'breaching experiment'. Its wilful provocation of Royalist sentiment revealed the level of sanction available to the media-industrial complex to enforce compliance to British self-images of loyal and devoted national communicants

Pop stars and idolatry: an investigation of the worship of popular music icons, and the music and cult of Prince.

Prince is an artist who integrates elements from the sacred into his work. He uses popular iconography to present himself as an icon of consumer culture, as a deified ‘rock god’ worshipped by his fans, and as a preacher leading his audience like a congregation. His personality cult mixes spirituality and sexuality, and deals with issues of ecstasy and liberation, a transgressional approach that draws both controversy and public interest. This paper investigates Prince’s work and the role of the pop star as an icon within contemporary culture, an icon that contains a physicality and sexuality not present in contemporary western religious traditions. It discusses to what extent popular musical culture operates as a form of religious practice within contemporary western culture, and the implications that this has. The paper investigates the construction of Prince’s public character, his manipulation of the star system, and how he uses popular iconography to blur the distinctions between spirituality and sexuality, the idealised performer and the real world, the sacred and the profane, and the human and the divine. It explores how he possesses and is possessed by the audience, who enter into the hollow vessel he offers up to his fans

Expectations and experiences of gamete donors and donor-conceived adults searching for genetics relatives using DNA linking through a voluntary register

STUDY QUESTION: What are the experiences of donor-conceived adults and donors who are searching for a genetic link through the use of a DNA-based voluntary register service? SUMMARY ANSWER: Donor-conceived adults and donors held positive beliefs about their search and although some concerns in relation to finding a genetically linked relative were reported, these were not a barrier to searching. WHAT IS KNOWN ALREADY: Research with donor-conceived people has consistently identified their interest in learning about-and in some cases making contact with-their donor and other genetic relatives. However, donor-conceived individuals or donors rarely have the opportunity to act on these desires. STUDY DESIGN, SIZE, AND DURATION: A questionnaire was administered for online completion using Bristol Online Surveys. The survey was live for 3 months and responses were collected anonymously. PARTICIPANTS/MATERIALS, SETTING, AND METHODS: The survey was completed by 65 donor-conceived adults, 21 sperm donors and 5 oocyte donors who had registered with a DNA-based voluntary contact register in the UK. The questionnaire included socio-demographic questions, questions specifically developed for the purposes of this study and the standardized Aspects of Identity Questionnaire (AIQ). MAIN RESULTS AND THE ROLE OF CHANCE: Motivations for searching for genetic relatives were varied, with the most common reasons being curiosity and passing on information. Overall, participants who were already linked and those awaiting a link were positive about being linked and valued access to a DNA-based register. Collective identity (reflecting self-defining feelings of continuity and uniqueness), as assessed by the AIQ, was significantly lower for donor-conceived adults when compared with the donor groups (P 0.05) for donor-conceived adults. LIMITATIONS, REASONS FOR CAUTION: Participants were members of a UK DNA-based registry which is unique. It was therefore not possible to determine how representative participants were of those who did not register for the service, those in other countries or of those who do not seek information exchange or contact. WIDER IMPLICATIONS OF THE FINDINGS: This is the first survey exploring the experiences of donor-conceived adults and donors using a DNA-based voluntary register to seek information about and contact with genetic relatives and the first to measure aspects of identity using standardized measures. Findings provide valuable information about patterns of expectations and experiences of searching through DNA linking, identity and of having contact in the context of donor conception that will inform future research, practice and policy development

Popular Music Policy

This special issue of Popular Music has its origins in a seminar organised at the University of Stirling in 2004. This meeting, one of a series on cultural policy, brought together researchers from a number of European countries who were asked to describe state music policy in their respective countries and to reflect on what differences, if any, such policies had made to recent national music history. As the seminar’s organisers, we were interested in a couple of issues: first, how policy approaches to popular music had changed since it first began to appear on the European political agenda in the 1970s; second, how local political and cultural conditions had affected ideas of what popular music policy could or should be

I will leave you now and this loudspeaker will take my place

Notions of ‘presence’ and ‘liveness’ run through academic theories and popular conceptions of sound mediation generally, and mediation of voice in particular. This article looks at experimental video that engages with these questions, particularly around the notion of the ‘authentic’ voice and vocal ‘presence’. We will demonstrate how these different experimental approaches explore the interaction between voice, vocal technique and audio-visual technology, thus challenging and interrogating conventions of how the soundtrack represents the voice and (in conjunction with the moving image) the audio-visually mediated body. Presenting Anneke Kampman's work as an experimental practice-led research response to seminal theories of sound and the film soundtrack, we provide further context through engagement with key examples of earlier video art and sound art by Vladan Radovanović, Richard Serra, and Meredith Monk. Overall, the article intervenes by demonstrating how video art and sound art can address key theoretical questions concerning voice and body in a broader sound and moving image context, as well as adopting a sound-focussed approach to aesthetic analysis of video art