何为音乐中的社会学?-今日播报

威廉·罗伊、蒂莫西·多德 著

李小诺、王莹晨、赵钰茜 译

(资料图)

[2] Philip Bohlman, “Ontologies of music,” in Rethinking Music, ed. N Cook, M Everist, Chicago: The University of Chicago Press, 1999, pp.17-34.

[3] Ross W. Duffins, How Equal Temperament Ruined Harmony (And Why You Should Care), New York: Norton, 2007. Howard S. Becker, Art Worlds, Berkeley: University of California Press, 1982.

[4] Ian Cross, “Pitch schemata,” in Perception and Cognition of Music, ed. I Delige, J Sloboda East Sussex: Psychology Press, 1997, pp.353-386.

[5] Andrew Abbott, Alexandra Hrycak, “Measuring Resemblance in Sequence Data: an Optimal Matching Analysis of Musician Careers,” American Journal of Economics and Sociology 96/1, 1990, pp.144-185.Tia DeNora, Musical patronage and social change in Beethoven’s Vienna. American Journal of Sociology. 97, 1991, pp.310–346. Frederic. M. Scherer, “The evolution of free-lance music composition, 1650–1900,” J. Cult. Econ. 25, 2001, pp.307–319.

[6] Hans Lenneberg, On the Publishing and Dissemination of Music, 1500–1850. Hillsdale, NY: Pendragon, 2003. 同时参见5。

[7] William Weber, “Redefining the status of opera: London and Leipzig, 1800–1848,” J. Interdiscipl. Hist. 36: 2006, pp. 507-532.同时参见5。

[8] Timothy J. Dowd, “Structural power and the construction of markets: the case of rhythm and blues,” Comp. Soc. Res 21, 2003, pp.147–201.John Ryan, The Production of Culture in the Music Industry: The ASCAP-BMI Controversy , Lanham, MD: Univ. Press Am, 1985.

[9] Russell Sanjek, David Sanjek, American Popular Music Business in the Twentieth Century, New York: Oxford Univ. Press, 1991.同时参见8。

[10] Michael Bull, Sound Moves: iPod Culture and Urban Experience , London: Routledge, 2007.

Andrew Leyshon, Peter Webb, Shaun French, Nigel Thrift, Louise Crewe, “On the reproduction of the musical economy after the internet,” Med. Cult. Soc. 27, 2005, pp.177-209

[11] 同10、9。

[12] Peter L. Berger, Thomas Luckmann, The Social Construction of Reality: A Treatise on the Sociology of Knowledge, New York: Anchor Worldwide, 1966.

[13] Eviatar Zerubavel, The Seven Day Circle: The History and Meaning of the Week, Chicago: Univ. Chicago Press, 1985. 同时参见3。

[14] Christopher Small, Musicking: The Meanings of Performing and Listening, Hanover, CT: Univ. Press N. Engl, 1998.

[15] 本文将“musicking”一词译为“音乐行为”。——译者注

[16] J. Keith Murnighan, Donald E. Conlon, “The dynamics of intense work groups: a study of British string quartets,” Adm. Sci. Q. 36,1991, pp.165-186.

[17] Claudio E. Benzecry, “Curtain rising, baton falling: the politics of musical conducting in contemporary Argentina,” Theory and Society 33, 2006, pp. 445-479. Dmitry M. Khodyakov, “The complexity of trust-control relationships in creative organizations: insights from a qualitative analysis of a conductorless orchestra,” Soc. Forces 86, 2007, pp.1-22. Mark Marotto, Johan Roos, Bart Victor, “Collective virtuosity in organizations: a study of peak performance in an orchestra,” J. Manag. Stud. 44, 2007, pp. 388-413.

[18] Allmendinger Jutta, J. Richard Hackman, “The more, the better? A four-nation study of the inclusion of women in symphony orchestras,” Social Forces 74, 1995, pp.423-460. Mary Ann Glynn, “When cymbals become symbols: conflict over organizational identity within a symphony orchestra,” Organ. Sci. 11, 2000, pp. 285-298. 同时参见16。

[19] Robert R. Alford, Andras Szanto, “Orpheus wounded: the experience of pain in the professional world of piano,” Theory and Society 25, 1996, pp.1-44. Lisa McCormick, “Higher, faster, louder: representations of the international music competition,” Cult. Sociol. 3, 2009, pp.5-30.

[20] Bryan S. Turner, Steven P. Wainwright, “"Just crumbling to bits?’: an exploration of the body, aging, injury and career in classical ballet dancers,” Sociology 40, 2006, pp.237-255.

[21] Paul F. Berliner, Thinking in Jazz: The Infinite Art of Improvisation, Chicago: The University of Chicago Press, 1994. Nicholas P. Dempsey, “Hook-ups and train wrecks: contextual parameters and the coordination of jazz interac- tion,” Symb. Interact. 31, 2008, pp.57-75. Will Gibson, “Material culture and embodied action: sociological notes on the examination of musical instruments in jazz improvisation,” Sociol. Rev 54, 2006, pp.171-187. Bruce A. MacLeod, Club Date Musicians: Playing the New York Party Circuit, Urbana: Univ. Ill. Press, 1993. David Sudnow, Ways of the Hand: The Organization of Improvised Conduct, Cambridge, MA: Harvard Univ. Press, 1978.

[22] 同14。

[23] 同2。

[24] Tia DeNora, “How is musical meaning possible? Music as a place and space for "work’,” Social Theory(4), 1986, pp.84-94. Tia DeNora, Music in Everyday Life, New York: Cambridge University. Press, 2000.

[25] Turino Thomas, Music as Social Life: The Politics of Participation, Chicago: Univ. Chicago Press, 2008.

[26] Eharis E. Kubrin, “Gangstas, thugs, and hustlas: identity and the code of the street in rap music,” Soc. Probl. 52, 2005, pp. 360-378.

[27] Jason Rodriquez, “Color-blind ideology and the cultural appropriation of hip-hop,” J. Contemp. Ethnogr. 35, 2006, pp.645-668.

[28] Eduard Hanslick, The Beautiful in Music, New York: Liberal Arts Press, 1957(1854). Deryck Cooke, The Language of Music, London: Oxford Univ. Press, 1959. Susan McClary, Feminine Endings: Music, Gender, and Sexuality, Minneapolis: Univ. Minn. Press, 1991. Robert Walser, Running wih the Devil: Power, Gender, and Madness in Heavy Metal Music, Hanover, CT: Wesleyan Univ. Press,1999. 同时参见3。

[29]God Save The Queen：《天佑女王》又叫《上帝保佑女王》，在历史上曾广泛在大英帝国及英联邦国家作为国歌使用。现在，它在部分英国海外领土仍作为国歌使用。它也是新西兰的两首国歌之一（1977年之前是唯一的国歌)，一些英国海外领土也同样将它与另一首歌并列为国歌。在澳大利亚（1984年起）、加拿大（1980年起），巴巴多斯和图瓦卢，《天佑女王》作为皇家礼乐使用。——译者注

[30] La Marseillaise：《马赛曲》，法国国歌。——译者注

[31] 同24。

[32] Simon Feld, “Sound structure and social structure,” Ethnomusicology 28, 1984, pp.383–409.

[33] 同14。

[34] Amy Binder, “Constructing racial rhetoric: media depictions of harm in heavy metal and rap music,” American Sociological Review 58, 1993, pp.753-767. Craig Watkins, “"A nation of millions’: hip hop culture and the legacy of black nationalism,” Commun. Rev. 4, 2001, pp.373-398.

[35] Alfred Schutz, “Making music together: a study in social relationships,” Soc. Res. 18, 1951, pp.76-97.

[36] Anthony Seeger, Why Suya´ Sing: A Musical Anthropology of an Amazonian People, Urbana: Univ. Ill. Press, 2004.

[37] Andy Bennett, “"Punk’s not dead’: the continuing significance of punk rock for an older generation of fans,” Sociology 40, 2006, pp.219-235.

[38] Claudio E. Benzecry, “Becoming a fan: on the seductions of opera,” Qualitative Sociology 32, 2009, pp.131-151.

[39] Sarah Thornton, Club Cultures: Music, Media and Subcultural Capital, Hanover, CT: Wesleyan Univ. Press, 1996.

[40]蓝草音乐：乡村音乐的一个分支。——译者注

[41] 同24。

[42] Karol Berger, Bach’s Cycle, Mozart’s Arrow: An Essay on the Origins of Musical Modernity, Berkeley: Univ. Calif. Press, 2007.

[43] William H. McNeill, Keeping Together in Time: Dance and Drill in Human History, Cambridge, MA: Harvard Univ. Press, 1995. 同时参见2433。

[44] 同24。

[45] Antoine Hennion , “Music lovers: tastes as performance,” Theory Cult. Soc. 18, 2001, pp.1-22.

[46] 同10。

[47] Matthew J. Salagnik, Duncan J. watts,“Leading the herd astray: an experimental study of self-fulfilling prophecy in an artificial cultural market,” Soc. Psychol. Q. 71, 2008, pp. 338-355.

[48] Mark Chaves, Congregations in America. Cambridge, MA: Harvard University Press, 2004. Robert Wuthnow, All in Sync: How Music and Art Are Revitalizing American Religion, Berkeley: Univ. Calif. Press, 2003.

[49] 同36。

[50] Frederick Douglass, Narrative of the Life of Frederick Douglass, an American Slave, Boston, MA: Bedford, 1993(1845).

[51] Vincent J. Roscigno, and William F. Danaher, The Voice of Southern Labor: Radio, Music, and Textile Strikes, 1929-1934, Minneapolis: Univ. Minn. Press, 2004.

[52] Marc Steinberg, “When politics goes pop: on the intersection of popular and political culture and the case of Serbian student protests,” Soc. Mov. Stud. 3, 2004, pp.3-29.

[53] Pierre Bourdieu, Distinction: A Sociological Critique of the Judgement of Taste. Cambridge, UK: Cambridge University. Press, 1984. William Roy, “Aesthetic identity, race, and American folk music,” Qual. Sociol. 25, 2002 pp.59-69.

[54] Paul DiMaggio, “Classification in art,” American Sociological Review. 52, 1987, pp.440-455. Paul DiMaggio, “Social structure, institutions and cultural goods: the case of the United States,” in Social Theory for a Changing Society, ed. P Bourdieu, JS Coleman, Boulder, CO: Westview, 1991, pp.133-155.

[55] Andy Bennett, “Consolidating the music scenes perspective,” Poetics 32, 2004, pp.223-234.

[56] David Grazian, Blue Chicago: The Search for Authenticity in Urban Blues Clubs, Chicago: Univ. Chicago Press, 2003.

[57] Patria Roma´n-Vela´zquez, The Making of Latin London: Salsa Music, Place and Identity. Aldershot: Ashgate, 1999.

[58] Daid Beer, “Making friends with Jarvis Cocker: music culture in the context of Web 2.0,” Cultural Sociology 2, 2008, pp.222-241.

[59] Keith Kahn-Harris, Extreme Metal: Music and Culture on the Edge, Oxford: Berg, 2007.

[60] William Roy, Reds, Whites and Blues: Social Movements, Folk Music, and Race in America. Princeton, NJ: Princeton Univ. Press. In press, 2010. 同时参见53。

[61] Wendy Griswold, “The fabrication of meaning: literary interpretation in the United States, Great Britain and the West Indies,” Am. J. Sociol. 92, 1987, pp.1077-1117.

[62] Caltlin Killian, Cathryn Johnson, “"I’m not an immigrant’: resistance, redefinition, and the role of resources in identity work,” Soc. Psychol. Q. 69, 2006, pp.60-80.

[63] Ron Eyerman, Andrew Jamison, Music and Social Movements, New York: Cambridge Univ. Press,1998.

[64] Tia DeNora, “How is musical meaning possible? Music as a place and space for work,” Sociological Theory 4, 1986, pp.84-94.

[65] Tia DeNora, After Adorno: Rethinking Music Sociology, Cambridge, UK: Cambridge University Press, 2003.

Eric F. Clarke, Ways of Listening: An Ecological Approach to the Perception of Musical Meaning, New York: Oxford University. Press, 2005. 同时参见24。

[66] 同3。

[67] Max Weber, The Rational and Social Foundations of Music, Carbondale: South. Ill. Press, 1958.

[68] Lars Bo Jeppesen, Lars Frederiksen, “Why do users contribute to firm-hosted communities? The case of computer-controlled musical instruments,” Organ. Sci. 17, 2006, pp.45-63.

[69] David Hesmondhalgh, “The British dance music industry: a case study of independent cultural production,” Br. J. Sociol. 4, 1998,pp.234-252.

[70] Motti Regev. “Who does what with music videos in Israel?,” Poetics 25, 1998, pp.225-240.

[71]同3。

[72] Richard A. Peterson, N. Anand, “The production of culture perspective,” Annu. Rev. Sociol. 30, 2004, pp.311-334.

[73] Nick Prior, “Putting a glitch in the field: Bourdieu, actor network theory and contemporary music,” Cult. Sociol. 2, 2008, pp.301-319.

[74] 同62。

[75] 同54。

[76] Barbara Rosenblum, “Style as social process,” Am. Sociol. Rev. 43, 1975, pp.422-438.

[77] Robert Walser, Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, Hanover, CT: Wesleyan Univ. Press, 1999.

[78] Franco Fabbri, “A theory of musical genres: two applications,” in Popular Music Perspectives, ed. P Tagg, D Horn, Exeter: Int. Assoc. Study Popular Music,1982, pp.52-81. Franco Fabbri, “The system of canzone in Italy today,” in World Music, Politics and Social Change, ed. S Frith, Manchester, UK: Manchester Univ. Press, 1989, pp.122-142.

[79] 诞生于1960~1970年间的意大利歌手/作曲家运动。——译者注

[80] Als Cantautore，被称为当代意大利音乐中背诵自编歌曲的歌手。这个词是cantante“singer”和作家“author，composer”的组合，由唱片公司Ricordi的员工1960年以意大利语与英语在通信中而成。“歌手兼词曲作者”被发明了。法国女歌手和德国作曲家也有类似的指称，但这些术语绝不是可互换的，而是指特定的音乐传统。参考Wikimedia Foundation--Creative Commons《德语字典》。——译者注

[81] Keith Negus, Music Genres and Corporate Cultures, London: Routledge, 1999. Marco Santoro, “What is a "cantautore?’ Distinction and authorship in (Italian) popular music,” Poetics 30, 2004, pp.11-32.

[82] Jennifer Lena, “Sonic networks: economic, stylistic, and expressive dimensions of rap music, 1979-1995,” Poetics 32, 2004, pp.297-310.Paul Lopes, The Rise of a Jazz Art World, New York: Cambridge Univ. Press, 2002. Richard A. Peterson, Creating Country Music: Fabricating Authenticity, Chicago: Univ. Chicago Press, 1997. 同时参见81。

[83]同3。

[84] 同73。

[85] Mavis Bayton, Frock Rock: Women Performing Popular Music, Oxford: University of Oxford Press, 1998. Mary Ann Clawson, “When women play the bass: instrument specialization and gender interpretation in alternative rock music,” Gender Society 13, 1999, pp.193-210.Geoffrey M. Curran, “From "swinging hard’ to "rocking out’: classification of style and the creation of identity in the world of drumming,” Symb. Interact 19, 1996, pp. 37-60.

[86] Nick Crossley, “The man whose web expanded: network dynamics in Manchester’s post/punk music scene, 1976-1980,” Poetics 73, 2008, pp.24-49.

[87] 同58。

[88] 同82。

[89] 同3。

[90] 同21。

[91] Diogo L. Pinheiro, Timothy J. Dowd, “All that jazz: the success of jazz musicians in three metropolitan areas,” Poetics 37, 2009, pp.490-506.

[92] 同3。

[93] Timothy J. Dowd, “Concentration and diversity revisited: production logics and the U.S. mainstream recording market, 1940 to 1990,” Soc. Forces 82, 2004, pp.1411-1455.Damon J. Phillips, David A. Owens, “Incumbents, innovation, and competence: the emergence of recorded jazz, 1920 to 1929,” Poetics 32, 2004, pp.281–295.William Roy, “"Race records’ and "hillbilly music’: the institutional origins of racial categories in the American commercial recording industry,” Poetics 32, 2004, pp.265-279.同时参见⑧。

[94] Jarl A. Ahlkvist, Robert Faulkner, “Will this record work for us? Managing music formats in commercial radio,” Qualitative Sociology 25, 2002, pp.189-215.

[95] 同8、69、93。

[96] Sumiko Asai, “Firm organisation and marketing strategy in the Japanese music industry,” Popular Music 27/3, 2008, pp.473-485.

Robert Burnett, The Global Jukebox: The International Music Industry,London: Routledge,1996.同时参见85、73。

[97] Sumiko Asai,“Firm organization and marketing strategy in the Japanese music industry,”Pop Music 27, 2008, pp.473-485.同时参见1058。

[98] Simon Frith, Performing Rights: On the Value of Popular Music, Cambridge, MA: Harvard Univ. Press, 1996.

[99] Emile Durkheim发展了包括功能主义、劳动分工和社会反常在内的社会结构理论。这些理论建立在社会事实的概念或社会规范、价值和结构之上。功能主义是一个包含三个要素的概念。——译者注

[100] Michele Lamont, Virág Molnár, “The study of boundaries in the social sciences,” Annu. Rev. Sociol. 28, 2002, pp.167-195.

[101] Eviatar Zerubavel, The Fine Line: Making Distinctions in Everyday Life,” New York: Free Press, 1991.

[102] William H. Sewell, Jr, “A theory of structure: duality, agency and transformation,” Am. J. Sociol. 98, 1992, pp.1–29.

[103]结构二元性（duality of structure）是Anthony Giddens解释结构化理论时提出的短语和主要命题之一。二元性的基础在于中介与结构之间的关系，在二元性中，中介对其生存环境的影响远比以往结构主义理论所赋予的要大得多。——译者注；参考来源：Giddens Anthony, Central Problems in Social Theory, London and Basingstoke: The Macmillan Press,1979, p.69.

[104]朋克亚文化在20世纪70年代中期的英国和美国出现。包括各种各样的意识形态、时尚，以及其他诸如视觉艺术、舞蹈、文学、电影的艺术表达。它的主要特点是反建制观点，促进个人自由，自定道德规范，并以响亮、激进的摇滚音乐流派（称为朋克摇滚）为中心。——译者注

[105] 同55。

[106] William Weber, “The contemporaneity of eighteenth-century musical taste,” Music. Q. 70, 1984, pp.175-194. 同时参见⑦。

[107] Victoria Johnson, “What is organizational imprinting?: cultural entrepreneurship in the founding of the Paris Opera,”Am. J. Sociol. 113, 2007, рр.97-127.

[108] Allmendinger Jutta, and J. Richard Hackman, “Organizations in changing environments: the case of East German symphony orchestras,” Administrative Science Quarterly 41, 1996, pp.337-369. Claudio E. Benzecry, “Curtain rising, baton falling: the politics of musical conducting in contemporary Argentina,” Theory and Society 33, 2006, pp.445-479. Levine L, Highbrow, Lowbrow: The Emergence of Cultural Hierarchy in America, Cambridge, MA: Harvard Univ. Press, 1988. Marco Santoro, Constructing an artistic field as a political project: lessons from La Scala, Poetics. In press, 2010.

[109] Timothy J. Dowd, Maureen Blyler, “Charting race: the success of black performers in the mainstream recording market, 1940 to 1990,” Poetics 30, 2002, pp.87-110. Pierre-Antoine Kremp, “Innovation and selection: symphony orchestras and the construction of the musical canon in the United States (1879-1959),” Soc. Forces 88, 2010, pp.1051-1082.

[110] Paul DiMaggio, “Nonprofit organizations and the intersectoral division of labor in the arts,” in The Nonprofit Sector: A Research Handbook, ed. WW Powell, R Steinberg, New Haven, CT: Yale University Press, 2006, pp.423-461.

[111] Mark Katz, “Making America more musical through the phonograph, 1900–1930,” Am. Music 15, 1998, pp.448–476. Sophie Maisonneuve, “Between history and commodity: the production of a musical patrimony through the record in the 1920–1930s,” Poetics 29, 2001, pp.89-108. 同时参见⑧。

[112] Ton Bevers, “Cultural education and the canon: a comparative analysis of the content of secondary school exams for music and art in England, France, Germany and the Netherlands, 1990–2004,” Poetics 33, 2005, pp.388- 416. Susanne Janssen, Giselinde Kuipers, Marc Verboord, “Cultural globalization and arts journalism: the international ori-entation of arts and cultural coverage in Dutch, French, German, US newspapers, 1955 to 2005,” Am. Sociol. Rev. 73, 2008, pp.719-740. Alex van Venrooij, and Vaughn Schmutz, The evaluation of popular music in the United States, Germany and the Netherlands: a comparison of the use of high art and popular aesthetic criteria, Cult Sociol. In press, 2010.

[113] 同110。

[114] 同62。

[115] Mary Ann Glynn, Timothy J. Dowd, “Charisma (un)bound: emotive leadership in Martha Stewart Living Magazine, 1990-2004,” J. Appl. Behav. Sci. 44, 2008, pp.71-93. Mary Ann Glynn, Christopher Marquis, “When good names go bad: symbolic illegitimacy in organizations,” Res. Sociol. Organ. 22, 2004, pp.147-170.

[116] 同53。

[117] 同78、82。

[118] Robert S. Cantwell, When We Were Good: The Folk Revival, Cambridge, MA: Harvard University Press, 1997.

David Grazian, Blue Chicago: The Search for Authenticity in Urban Blues Clubs, Chicago: Univ. Chicago Press, 2003.

[119] 同27。

[120] 同53、93。

[121] William Roy, Making Societies: The Historical Construction of Our World, Thousand Oaks, CA: Pine Forge, 2001.同时参见93、100。

[122] Tia DeNora, “Music into action: performing gender on the Viennese concert stage, 1790–1810,” Poetics 30, 2002, pp.19-33. John Shepherd, Peter Wicke, Music and Cultural Theory, Malden, MA: Polity, 1997. 同时参见1、98。

[123] Theodor W. Adorno, “On the social situation of music,” in Essays on Music, ed. R Leppert, Berkeley: University of California Press, 2002, pp.391–436. Alan Lomax, “Song structure and social structure,” Ethnology 1, 1962, pp.1-27. 同时参见67。

[124] minstrel是美国的一种含有种族歧视色彩的黑人题材戏剧形式，通常指白人演员刻意将脸涂黑在舞台上扮演黑人。——译者注

[125] Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class, New York: Oxford Univ. Press, 1993.

[126] Jim Crow法，指1876 ~ 1965年间美国南部各州以及边境各州对有色人种（主要针对非洲裔美国人，但同时也包含其他族群）实行种族隔离制度的法律。——译者注

[127]贬义词，起源于拉丁美洲西班牙语单词zambo，在拉丁美洲是西班牙语单词，代表非洲裔和美洲原住民混合血统的人。——译者注

[128] W. T. Lhamon Jr, Raising Cain: Blackface Performance from Jim Crow to Hip Hop, Cambridge, MA: Harvard Univ. Press, 1998.同时参见60、125。

[129]20世纪初的录音音乐，专为非裔美国人而作，直接销售给黑人社区。该术语是由Ralph S. Peer创造的，被用来特指从20世纪20~40年代录制唱片的黑人音乐家。1940年代后，黑人表演者的音乐市场早已跨越了种族界限，在黑人和白人音乐家的影响下，爵士和布鲁斯风格也在不断发展。——译者注

[130]也称乡巴佬音乐，多指一种起源于美国南部山区的音乐类型，该音乐融合了民间音乐与流行音乐元素，主要乐器有班卓琴、小提琴和吉他。——译者注

[131] 同8、53、82、93。

[132] Damon J. Phillips, Young-Kyu Kim, “Why pseudonyms?: deception as identity preservation among jazz record com- panies,” Organ. Sci. 20, 2009, pp.481-499.同时参见93。

[133] Vaughn Schmutz, “Social and symbolic boundaries in newspaper coverage of music, 1995–2005: gender and genre in the US, France, Germany and the Netherlands,” Poetics 37, 2009, pp.298-314.

[134] Mavis Bayton, Frock Rock: Women Performing Popular Music, Oxford: University of Oxford Press, 1998. 同时参见77、114。

[135] Philippe Coulangeon, Hyacinthe Ravet, Ionela Roharik, “Gender differentiated effect of time in performing arts professions: musicians, actors, and dancers in contemporary France,” Poetics 33, 2005, pp.369-387.

[136] Timothy J. Dowd, Kathleen Liddle, Maureen Blyler, “Charting gender: the success of female acts in the U.S. mainstream recording market, 1940 to 1990,” Res. Sociol. Organ. 23, 2005, pp.81-123.

[137] 同18。

[138] 同55。

[139] Dick Hebdige, Subculture: The Meaning of Style, New York: Routledge, 1979.

[140] 同53。

[141] 同53。

[142] Karen Aschaffenburg, Ineke Maas, “Cultural and educational careers: the dynamics of social reproduction,” American Sociological Review, 62, 1997, pp.573-587. Susan A.Dumais, “Cultural capital, gender, and school success: the role of habitus. Sociol,” Educ. 75, 2002, pp.44-68.

[143] Evictor Zerubavel, The Fine Line: Making Distinctions in Everyday Life, New York: Free Press, 1991. 同时参见53、93、100、121。

[144] Philippe Coulangeon, Yannick Lemel, “Is "distinction’ really outdated?: questioning the meaning of the omnivorization of musical taste in contemporary France,” Poetics 35, 2007, pp.93-111.

[145] 同8、109。

[146] Katherine Skinner, “"Must be born again’: resurrecting the Anthology of American Folk Music,” Pop. Music 25, 2006, pp.57-75. 同时参见8、82、93。

[147] 同8、109。

[148] 同60。

[149] Jon Cruz, Culture on the Margins: The Black Spiritual and the Rise of American Cultural Interpretation, Princeton, NJ: Princeton University. Press, 1999.

[150] Jennifer C. Lena, Richard A. Peterson, “Classification as culture: types and trajectories of music genres,” Am. Sociol. Rev. 73, 2008, pp.697-718. 同时参见34、82。

[151] Alex van Venrooij, “The aesthetic discourse space of popular music, 1985-1986 and 2004-2005,” Poetics 37, 2009, pp.295-398.

[152] Richard A. Peterson, “Problems in comparative research: the example of omnivorousness,” Poetics 33, 2005, pp.257-282.

[153] 同51、53、60。

[154] 同53、60。

[155] 同53、60。

[156]也就是说荷兰上层阶级部分人对于音乐的品味由高雅音乐转向小众音乐，跨越了阶级社会区隔，包容性更强。——译者注

[157] Ercilia Garía-Álvarez, Tally Katz-Gerro, Jordi López-Sintas, “Deconstructing cultural omnivorousness 1982–2002: heterology in Americans’ musical preferences,” Soc. Forces 86, 2007, pp.755-764.

[158] 同144。

[159] Michèle Ollivier, “Modes of openness to cultural diversity: humanist, populist, practical, and indifferent,” Poetics 36, 2008, pp.120-147. Savage, “The musical field,” Cult. Trends 15, 2006, pp.159-174. Alan Warde, David Wright, Modesto Gayo-Cal, “The omnivorous orientation in the United Kingdom,” Poetics 36, 2008, pp.14-165.

[160] 同53。

[161] Jon Cruz, Culture on the Margins: The Black Spiritual and the Rise of American Cultural Interpretation, Princeton, NJ: Princeton University Press, 1999.