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"Tails out": Social Phenomenology and the Ethnographic Representation of Technology in Music-Making
16 references·10 citing·26 second hop
"Tails out": Social Phenomenology and the Ethnographic Representation of Technology in Music-Making (1998)"Tails out": Social Phenomenology and the…Distinction: A Social Critique of the Judgement of Taste* (2018)Distinction: A Social Critiqu…Music Grooves: Essays and Dialogues (2000)Music Grooves: Essays and Dia…Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology (1998)Shadows in the Field: New Per…A Space on the Side of the Road: Cultural Poetics in an `Other' America. (1998)A Space on the Side of the Ro…Handbook of semiotics (1997)Handbook of semioticsThe Theory of Participatory Discrepancies: A Progress Report (1995)The Theory of Participatory D…Running with the devil: power, gender, and madness in heavy metal music (1993)Running with the devil: power…Feminine Endings: Music, Gender, and Sexuality (1992)Feminine Endings: Music, Gend…Noise, the Political Economy of Music (1989)Noise, the Political Economy …Music talent, and performance: a conservatory cultural system (1988)Music talent, and performance…Participatory Discrepancies and the Power of Music (1987)Participatory Discrepancies a…Anthropology as Cultural Critique: An Experimental Moment in the Human Sciences (1987)Anthropology as Cultural Crit…Writing Culture: The Poetics and Politics of Ethnography (1986)Writing Culture: The Poetics …Outline of a Theory of Practice. (1980)Outline of a Theory of Practi…[Cultural anthropology. 2]. (1968)[Cultural anthropology. 2].Field Work: An Introduction to the Social Sciences (1961)Field Work: An Introduction t…‘I opened the door to develop kuduro at JUPSON:’ Music Studios as Spaces of Collective Creativity in the Context of Electronic Dance Music in Angola (2020)‘I opened the door to develop…Tape: Or, Rewinding the Phonographic Regime (2017)Tape: Or, Rewinding the Phono…Phenomenological Approaches in the History of Ethnomusicology (2015)Phenomenological Approaches i…Free Improvisation as Living Expression (2013)Free Improvisation as Living …Afterword: a worldly musicology? (2013)Afterword: a worldly musicolo…Theory and Method in Popular Music Analysis: Text and Meaning (2012)Theory and Method in Popular …Children's Music, MP3 Players, and Expressive Practices at a Vermont Elementary School: Media Consumption as Social Organization among Schoolchildren (2011)Children's Music, MP3 Players…Bytes and Backbeats (2011)Bytes and BackbeatsDeci-belles: Gender and Power in Sound Engineering for Popular Music in New Zealand (2010)Deci-belles: Gender and Power…The Recording Studio as Fetish (2003)The Recording Studio as FetishTalking science: language, learning, and values (1991)What Is Agency? (1998)The Field behind the Screen: Using Netnography for Marketing Research in Online Communities (2002)Music in Everyday Life (2000)Authenticity as authentication (2002)Classification as Culture: Types and Trajectories of Music Genres (2008)Disjuncture and Difference in the Global Cultural Economy (1990)Competing paradigms in qualitative research. (1994)Theory Construction in Qualitative Research (2012)Indexicality and the Verification Function of Irreplaceable Possessions: A Semiotic Analysis (2000)A Taxonomy of Social Cues for Conversational Agents (2019)Discovering the tourists' behaviors and perceptions in a tourism destination by analyzing photos' visual content with a computer deep learning model: The case of Beijing (2019)Music and Language (1994)Music and the Global Order (2004)“To Play as if from the Soul of the Composer”: The Idea of the Performer in Early Romantic Aesthetics (2005)One-to-one tuition in a conservatoire: the perceptions of instrumental and vocal students (2009)Rethinking Giftedness and Gifted Education (2011)Club cultures: music, media and subcultural capital (1996)A Sweet Lullaby for World Music (2000)Beyond “Culture”: Space, Identity, and the Politics of Difference (1992)Identity and interaction: a sociocultural linguistic approach (2005)CRITICAL QUESTIONS FOR BIG DATA (2012)Handbook of Emotions (1993)Culture in Action: Symbols and Strategies (1986)Organizational Learning and Communities-of-Practice: Toward a Unified View of Working, Learning, and Innovation (1991)Social Capital, Intellectual Capital, and the Organizational Advantage (1998)
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References

  • 2018Distinction: A Social Critique of the Judgement of Taste*20,290 cited
  • 1980Outline of a Theory of Practice.14,545 cited
  • 1986Writing Culture: The Poetics and Politics of Ethnography6,196 cited
  • 1987Anthropology as Cultural Critique: An Experimental Moment in the Human Sciences3,658 cited
  • 1993Running with the devil: power, gender, and madness in heavy metal music942 cited
  • 1992Feminine Endings: Music, Gender, and Sexuality828 cited
  • 1989Noise, the Political Economy of Music710 cited
  • 1997Handbook of semiotics530 cited
  • 1988Music talent, and performance: a conservatory cultural system374 cited
  • 1987Participatory Discrepancies and the Power of Music361 cited
  • 2000Music Grooves: Essays and Dialogues356 cited
  • 1998Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology305 cited
  • 1995The Theory of Participatory Discrepancies: A Progress Report255 cited
  • 1961Field Work: An Introduction to the Social Sciences228 cited
  • 1998A Space on the Side of the Road: Cultural Poetics in an `Other' America.226 cited
  • 1968[Cultural anthropology. 2].

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221 cited

Cited by

  • 2017Tape: Or, Rewinding the Phonographic Regime79 cited
  • 2011Children's Music, MP3 Players, and Expressive Practices at a Vermont Elementary School: Media Consumption as Social Organization among Schoolchildren9 cited
  • 2015Phenomenological Approaches in the History of Ethnomusicology9 cited
  • 2012Theory and Method in Popular Music Analysis: Text and Meaning8 cited
  • 2013Afterword: a worldly musicology?7 cited
  • 2011Bytes and Backbeats7 cited
  • 2020‘I opened the door to develop kuduro at JUPSON:’ Music Studios as Spaces of Collective Creativity in the Context of Electronic Dance Music in Angola6 cited
  • 2013Free Improvisation as Living Expression4 cited
  • 2003The Recording Studio as Fetish3 cited
  • 2010Deci-belles: Gender and Power in Sound Engineering for Popular Music in New Zealand3 cited