All That Gliders Is Not Gold
How do we arrive at our musical taste? Is musical taste an individual consideration or purely a product of our social circumstances? How do people acquire musical taste and what do they use the music for?
The pure intention of this essay is to decode and critically examine the meaning of taste in a sociological attempt, of how we acquire and arrive at our musical taste and what we use the music for, with the support of different arguments presented in intellectually defused articles of numerous sociologists like Pierre Bourdieu, David Hargreaves and Adrian North, Antoine Hennion and others.
Pierre Bourdieu (1984,p.1) brilliantly supports that “ whereas the ideology of charisma regards taste in legitimate culture as a gift of nature, scientific observation shows that cultural needs are the product of upbringing and education”. Empirical investigations establish that the level of education measured by qualifications or length of schooling is closely related with the frequency of participating in all cultural practices like museum visits or concert going and preferences in literature, painting or music. Home background and education are strongly attached with social origin and their weight on taste is a variable changing according to different cultural practices as taught in the educational system or built in social culture out of school.
Taste can be claimed as a clear element of cultural nobility which has to be earned through the family inheritance which consists of the chromosomes of earlier parental generation qualities and is determined by the family status and environment where the individual adjusts his abilities and judgments. Bourdieu (1984,p.2) strongly supports that “a work of art has meaning and interest only for someone who possesses the cultural competence, that is, the code , into which it is encoded”. This means that this symbolic code presupposes that the individual has to gain the proper kind of cultural capital. With this on mind,
The pure intention of this essay is to decode and critically examine the meaning of taste in a sociological attempt, of how we acquire and arrive at our musical taste and what we use the music for, with the support of different arguments presented in intellectually defused articles of numerous sociologists like Pierre Bourdieu, David Hargreaves and Adrian North, Antoine Hennion and others.
Pierre Bourdieu (1984,p.1) brilliantly supports that “ whereas the ideology of charisma regards taste in legitimate culture as a gift of nature, scientific observation shows that cultural needs are the product of upbringing and education”. Empirical investigations establish that the level of education measured by qualifications or length of schooling is closely related with the frequency of participating in all cultural practices like museum visits or concert going and preferences in literature, painting or music. Home background and education are strongly attached with social origin and their weight on taste is a variable changing according to different cultural practices as taught in the educational system or built in social culture out of school.
Taste can be claimed as a clear element of cultural nobility which has to be earned through the family inheritance which consists of the chromosomes of earlier parental generation qualities and is determined by the family status and environment where the individual adjusts his abilities and judgments. Bourdieu (1984,p.2) strongly supports that “a work of art has meaning and interest only for someone who possesses the cultural competence, that is, the code , into which it is encoded”. This means that this symbolic code presupposes that the individual has to gain the proper kind of cultural capital. With this on mind,