Rationale & Background to the research project
Both academic and lay discourse recognise that the production and consumption of music tends to be organised within ‘scenes’ or ‘worlds’, and that these are formed of social networks (Becker 1974, 1982; Cohen 1991; Finnegan 1989; Noyes 1995). From the brass band movement of the nineteenth century (Russell 1997) to the latest virtual ‘happening’, to participate in a music community is to participate in a network. While network ties may be competitive and antagonistic as well as co-operative, music scholars generally recognise that networks are beneficial for those involved. Art, as Becker famously put it, is collective action. Artists rely upon the contribution of others to make their mark, and the vitality of a musical world is partly a function of the relationships between participants. They may share moral or financial support, or organisational expertise. Musicians in particular may share skills and techniques, collectively determine musical status, and, most importantly, generate new musical ideas through collaboration and exchange of knowledge.
These observations on music networks overlap significantly with research into social capital. Social capital theorists have consistently found that dense networks foster reciprocity and trustworthiness, facilitating action impossible in their absence (Burt 2005, Coleman 1990). They may also sustain esoteric and specialised cultural forms, by supporting those with interests discouraged in wider society. This is echoed in cultural sociological research on taste (e.g. DiMaggio 1987, Erickson 1996). However, this overlap remains largely unnoticed by both music scholars and social capital researchers. We propose to make it explicit, exploring the significance of social networks for music and the arts. We wish to do so, moreover, with specific reference to formal social network analysis (SNA), a methodological approach relatively common in the social capital literature (Lin 2002; Lin and Erickson 2008) but almost absent in music research. While the term ‘network’ is often used as a metaphor, and communities described qualitatively, the sociology of music and musicology fields are at an early stage in applying the mathematically-based techniques of network analysis used in disciplines as diverse as innovation research, security and terrorism studies,
and financial regulation. A small number of studies of music have been published, including work on punk scenes by co-Investigator Crossley (Crossley 2008, 2009, Foster et. al 2011, Goldberg 2011). We wish to contribute further by applying these techniques ourselves, and encouraging their adoption by music and arts scholars more broadly. SNA has great potential for arts and humanities research. Many music historians recognise the importance of networks, and compile vast data on relationships, particularly with the explosion of online social network data. SNA intersects quantitative, qualitative and computational methods, and allows us to map and analyse musical worlds in precise, systematic ways (Crossley 2008, 2009). Given a list of music scene participants, and their links within the group and to other organisations or resources, SNA generates measures of connectivity: not simply the number of ties each member has, but also measures of their position within the music world, and further measures of the network as a whole.
We can then examine questions such as whether originality and movement against the mainstream is sustained amongst a denser, more cohesive community; or whether it is associated with weak links to other worlds and a diversity of social and financial resources. Further, it provides an attractive and accessible
method of data visualisation (see visual evidence document).
However, SNA is rarely used by musicologists, who already require a multitude of skills: knowledge of musical forms; historical and ethnographic methods; familiarity with other cultures and languages. Some may be keen to adopt SNA methods to add value to their own research: the short course proposed here is of particular value. In many cases, though, such research will require collaboration between music scholars and social network analysts. The intellectual benefit of such collaboration would moreover run in both directions. The nuanced interpretation provided by deep knowledge of a particular music scene are critical for the findings of SNA to be understood correctly. Further, we should be aware of how evidence is gathered and sensitive to the unique insights that history among researchers involved in a range of cognate areas, including network analysis of other art worlds, and music scholars from other disciplinary traditions with an interest in social context.
The Project has both research and network-building aspects. The research comprises deeper analysis of our data on classical and punk musicians, as well as additional, focused research into two additional music scenes: jazz and folk. Network data on American jazz musicians has been collected by Leon Danon at the University of Warwick. We have a copy of the dataset, but wish to redress flaws at the data gathering stage for more accurate sociological and musicological analysis. Secondly, we wish to build upon the research of ethnomusicologist Fay Hield in her recent doctoral research. We wish to analyse her data in collaboration with her to assess the network structure of the Sheffield folk community as a local music scene. We also wish to develop a longer-term collaboration to map the network structure of professional British folk musicians as a ‘whole network’. Thirdly, emerging findings from the classical network and the folk network suggest that universities and music colleges are unique contexts where relationships and built are music movements are forged: the Manchester School at RNCM in the 1950s, the Scratch Orchestra emerging from Morley College in 1969, the 2000s generation of young folk artists who forged links at summer schools in Durham and undergraduate education at Newcastle. We will build upon Crossley’s findings regarding student activists, McAndrew and Everett regarding music colleges, Comuniam regarding higher
education’s role in the creative economy, Widdop on the importance of geography, and Hield on the Newcastle- Sheffield ‘folk corridor’ to analyse higher education as a critical attribute; where possible, we will also look to georeference our network data. Fourthly, a small and focused piece of research will be conducted by the PI and policy research consultant to evaluate a community music project. Our network-building aims to promote SNA as a theory and method. We will host a workshop and seminar, hosting British and international researchers working in the area of music, social capital and networks. We will invite sociologists, historians, geographers and ethnomusicologists, with interests in a variety of music worlds: punk, classical, folk and rock in particular.
Representation will be sought from leading international researchers alongside UK-based researchers. We will also engage key individuals and organisations from the wider music field: musicians, journalists, museums, Arts Council England (ACE), the Musicians’ Union, Music Tank, The Brit Trust, and the reference source Oxford Music Online.
These observations on music networks overlap significantly with research into social capital. Social capital theorists have consistently found that dense networks foster reciprocity and trustworthiness, facilitating action impossible in their absence (Burt 2005, Coleman 1990). They may also sustain esoteric and specialised cultural forms, by supporting those with interests discouraged in wider society. This is echoed in cultural sociological research on taste (e.g. DiMaggio 1987, Erickson 1996). However, this overlap remains largely unnoticed by both music scholars and social capital researchers. We propose to make it explicit, exploring the significance of social networks for music and the arts. We wish to do so, moreover, with specific reference to formal social network analysis (SNA), a methodological approach relatively common in the social capital literature (Lin 2002; Lin and Erickson 2008) but almost absent in music research. While the term ‘network’ is often used as a metaphor, and communities described qualitatively, the sociology of music and musicology fields are at an early stage in applying the mathematically-based techniques of network analysis used in disciplines as diverse as innovation research, security and terrorism studies,
and financial regulation. A small number of studies of music have been published, including work on punk scenes by co-Investigator Crossley (Crossley 2008, 2009, Foster et. al 2011, Goldberg 2011). We wish to contribute further by applying these techniques ourselves, and encouraging their adoption by music and arts scholars more broadly. SNA has great potential for arts and humanities research. Many music historians recognise the importance of networks, and compile vast data on relationships, particularly with the explosion of online social network data. SNA intersects quantitative, qualitative and computational methods, and allows us to map and analyse musical worlds in precise, systematic ways (Crossley 2008, 2009). Given a list of music scene participants, and their links within the group and to other organisations or resources, SNA generates measures of connectivity: not simply the number of ties each member has, but also measures of their position within the music world, and further measures of the network as a whole.
We can then examine questions such as whether originality and movement against the mainstream is sustained amongst a denser, more cohesive community; or whether it is associated with weak links to other worlds and a diversity of social and financial resources. Further, it provides an attractive and accessible
method of data visualisation (see visual evidence document).
However, SNA is rarely used by musicologists, who already require a multitude of skills: knowledge of musical forms; historical and ethnographic methods; familiarity with other cultures and languages. Some may be keen to adopt SNA methods to add value to their own research: the short course proposed here is of particular value. In many cases, though, such research will require collaboration between music scholars and social network analysts. The intellectual benefit of such collaboration would moreover run in both directions. The nuanced interpretation provided by deep knowledge of a particular music scene are critical for the findings of SNA to be understood correctly. Further, we should be aware of how evidence is gathered and sensitive to the unique insights that history among researchers involved in a range of cognate areas, including network analysis of other art worlds, and music scholars from other disciplinary traditions with an interest in social context.
The Project has both research and network-building aspects. The research comprises deeper analysis of our data on classical and punk musicians, as well as additional, focused research into two additional music scenes: jazz and folk. Network data on American jazz musicians has been collected by Leon Danon at the University of Warwick. We have a copy of the dataset, but wish to redress flaws at the data gathering stage for more accurate sociological and musicological analysis. Secondly, we wish to build upon the research of ethnomusicologist Fay Hield in her recent doctoral research. We wish to analyse her data in collaboration with her to assess the network structure of the Sheffield folk community as a local music scene. We also wish to develop a longer-term collaboration to map the network structure of professional British folk musicians as a ‘whole network’. Thirdly, emerging findings from the classical network and the folk network suggest that universities and music colleges are unique contexts where relationships and built are music movements are forged: the Manchester School at RNCM in the 1950s, the Scratch Orchestra emerging from Morley College in 1969, the 2000s generation of young folk artists who forged links at summer schools in Durham and undergraduate education at Newcastle. We will build upon Crossley’s findings regarding student activists, McAndrew and Everett regarding music colleges, Comuniam regarding higher
education’s role in the creative economy, Widdop on the importance of geography, and Hield on the Newcastle- Sheffield ‘folk corridor’ to analyse higher education as a critical attribute; where possible, we will also look to georeference our network data. Fourthly, a small and focused piece of research will be conducted by the PI and policy research consultant to evaluate a community music project. Our network-building aims to promote SNA as a theory and method. We will host a workshop and seminar, hosting British and international researchers working in the area of music, social capital and networks. We will invite sociologists, historians, geographers and ethnomusicologists, with interests in a variety of music worlds: punk, classical, folk and rock in particular.
Representation will be sought from leading international researchers alongside UK-based researchers. We will also engage key individuals and organisations from the wider music field: musicians, journalists, museums, Arts Council England (ACE), the Musicians’ Union, Music Tank, The Brit Trust, and the reference source Oxford Music Online.
Aims & Objectives
Our overarching aim is both substantive and methodological. We aim to further the understanding of music, culture and society by promoting a new analytical approach and generating innovative, important findings. We aim to build capacity in the study of how network structure shapes creativity. We wish to forge interdisciplinary connections and promote SNA to researchers within the arts and humanities more broadly, one which offers immense promise. We specifically aim to engage with ethnographers and cultural sociologists working within the arts and humanities.
These lead to five objectives.
These lead to five objectives.
- The first is delivery of a focused, original piece of research on the jazz and folk scenes to add to our developing work on punk and classical music, with particular interest in the importance of higher and further education for these scenes and musical careers more broadly.
- The second is to operationalise concepts of community using insights garnered from existing Programme research, particularly those of Co-I Graham Crow.
- The third is to host a seminar to showcase leading-edge work and foster engagement with music researchers.
- The fourth is to act as a focal point for idea exchange and collaboration between researchers from very different disciplinary backgrounds – from physics to musicology.
- The fifth is to generate scholarly articles and an edited book that will form the basis of future work in the area.