The Production and Consumption of Music


A Special Issue of Consumption, Markets & Culture with Guest Editors Alan Bradshaw and Avi Shankar; Deadline 28 Feb 2007

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Date: Thu, 3 Aug 2006 20:49:31 -0500
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Consumption, Markets & Culture
Special Edition Call for Papers
"The Production and Consumption of Music"

Dr Alan Bradshaw, Exeter University, UK
Dr Avi Shankar (no relation!), Bath University, UK

For Attali (1985), music serves as a mirror of society, an instrument for understanding, a prophecy of change, and crucially the site par excellence for studying political economy and the changing interface between consumption and production. In so doing, he follows a lengthy tradition of locating music at the heart of human endeavour, a project in which Aristotle, Nietzsche, Rousseau, Schopenhauer, Adorno and others have contributed and have provided us with a rich tapestry for understanding music in our lives: by the Ancient Greeks as a form of mathematics that carried the secrets of the universe; by Shakespeare as a healing device for King Lear; by the Romantics as a glimpse of the sublime and a manifestation of pure humanity; and by the Frankfurt School as part of the schemata of mass culture itself. Meanwhile authors such as Elias (1993) and Raynor (1978) have illustrated how music and musicians have been part of major social movements, including the military, economics, industry, science, literature and art.

More recently, sociologists have theorised an ‘auditory culture’ (Bull and Back, 2003), understood music as a device for social control and the management of agency (De Nora, 2000) and examined the meaning of music as a social and interpretive process – the subjective in the collective (Frith, 1998). Meanwhile social psychologists have considered the social and interpersonal context within which musical meaning is constructed (North and Hargreaves, 1997), ethnomusicologists have explored the anthropological background in which music is performed (e.g. Maxwell, 2003) whilst management and marketing scholars have framed music as a tool for servicescape management as a form of social control, with music as a ‘key on a lock, activating brain processes with corresponding emotional reactions’ (Bruner and Gordon, 1990) and also as meaningful and language-like (Scott, 1994). In the field of community musical therapy, music is understood as a mechanism to help people in a health context (Pavlicevic and Ansdell, 2004). We recognize a trend whereby increased attention is being paid to the personal, social and cultural significance of music, yet how this trend relates to both the production and consumption of music remains under researched. In keeping with the cross-disciplinary and inter-disciplinary roots of Consumption, Markets & Culture we seek submissions that address any aspect of the production and consumption of music. Any form or type of music will be considered – from jazz, classical, rock and pop through to background music in retail outlets and music in films and advertising.

Topics for papers could include but are by no means limited to:

  • The dilution of the production and consumption dichotomy within music
  • The business of music
  • Musicians/ Bands and their fans
  • Representations of consumer culture in music
  • Critiques of music marketing (e.g. Pop Idol)
  • Music and identity (personal, social/ group and cultural)
  • DJ culture and the impact of digital music technologies
  • Analyses of specific musical genres, musicians, bands or lyrics
  • Social structures (race, gender, age etc.) and music
  • Music festivals
  • iPod culture
  • Technology and the production and consumption of music
  • Music as protest
  • Reflective papers on the history of the study of music

Submissions should conform to the editorial guidelines of Consumption, Markets & Culture to be found at

Papers for consideration for this special edition should be emailed to Papers will undergo a double peer review process and should be submitted by 28 February 2007.  Planned publication date is 2008. Informal enquiries are welcomed and both editors will be happy to talk through potential topics.

Alan Bradshaw (
Avi Shankar  (


Attali, J. (1985). Noise: The political economy of music. Minneapolis: University of Minneapolis.

Bruner, I. and Gordon, C. (1990). Music, mood and marketing. Journal of Marketing, 54: 94-104.

Bull, M. and Back, L. (2003). The Auditory Culture Reader. Berg: Oxford

De Nora, T. (2000). Music in Everyday Life. Cambridge: Cambridge University Press

Elias, N. (1993). Mozart – Portrait of a Genius (E. Jephcott, Trans.). Cambridge: Polity

Maxwell, H. A. (2003). Divas of the Wassoulou sound: transformations in the matrix of cultural production, globalisation and identity. Consumption, Markets and Culture, 6(1): 43-63.

North, A. C. and Hargreaves, D. J. (1997). The social psychology of music. In A. C. North and D. J. Hargreaves (Eds.), The Social Psychology of Music: 1-25. Oxford: Oxford University Press.

Pavlicevic, M. and Ansdell, G. (2004). Community Music Theory. London: Jessica Kingsley Publishers

Raynor, H. (1978). A Social History of Music: From the Middle Ages to Beethoven. New York: Taplinger

Scott, L. M. (1994). Understanding jingles and needledrop: a rhetorical approach to music in advertising. Journal of Consumer Research, 17: 223-236.

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