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“Genrefluid” Spotify Playlists and Mediations of Genre and Identity in Music Streaming
16 references·1 citing·42 second hop
“Genrefluid” Spotify Playlists and Mediations of Genre and Identity in Music Streaming (2023)“Genrefluid” Spotify Playlists and Mediat…Music Platforms and the Optimization of Culture (2020)Music Platforms and the Optim…Locating Power in Platformization: Music Streaming Playlists and Curatorial Power (2020)Locating Power in Platformiza…Control, curation and musical experience in streaming music services (2015)Control, curation and musical…Music and the materialization of identities (2011)Music and the materialization…Classification as Culture: Types and Trajectories of Music Genres (2008)Classification as Culture: Ty…Genre in Popular Music (2007)Genre in Popular MusicSubcultures, Scenes or Tribes? None of the Above (2005)Subcultures, Scenes or Tribes…Capturing sound: how technology has changed music (2005)Capturing sound: how technolo…Music genres and corporate cultures (2000)Music genres and corporate cu…Making Popular Music: Musicians, Creativity and Institutions (2000)Making Popular Music: Musicia…INDIE: THE INSTITUTIONAL POLITICS AND AESTHETICS OF A POPULAR MUSIC GENRE (1999)INDIE: THE INSTITUTIONAL POLI…Performing Rites: On the Value of Popular Music (1998)Performing Rites: On the Valu…Changing Highbrow Taste: From Snob to Omnivore (1996)Changing Highbrow Taste: From…Running with the Devil: Power, Gender, and Madness in Heavy Metal Music (1995)Running with the Devil: Power…Running with the devil: power, gender, and madness in heavy metal music (1993)Running with the devil: power…A Theory Of Musical Genres. Two Applications (1982)A Theory Of Musical Genres. T…“Your Wrapped doesn’t lie”: Data realism and Spotify’s constructions of music, listening, and listeners in algorithmic recommendation (2026)“Your Wrapped doesn’t lie”: D…Noise: The Political Economy of Music (1986)Club cultures: music, media and subcultural capital (1996)Mapping Shared Understandings Using Relational Class Analysis: The Case of the Cultural Omnivore Reexamined (2011)Rebels with a Cause: Formation, Contestation, and Expansion of the De Novo Category “Modern Architecture,” 1870–1975 (2011)Authenticity (2018)Distinction: A Social Critique of the Judgement of Taste* (2018)Zoot Suits and Second-Hand Dresses (1989)Systems of articulation, logics of change: Communities and scenes in popular music (1991)Senseless acts of beauty: cultures of resistance since the sixties (1996)Free Labor (2000)Bourdieu, the media and cultural production (2006)Amateur experts (2009)Performing Rites (1996)3.2. MARXISM AND LITERATURE (2006)In Defence of Subculture: Young People, Leisure and Social Divisions (2006)The post-subcultural turn: some reflections 10 years on (2011)Youth transitions, unemployment and underemployment (2011)Speech Genres and Other Late Essays (1987)Art And Agency (1998)Reassembling the Social (2005)Extended Self in a Digital World: Table 1. (2013)Sharing Versus Pseudo-Sharing in Web 2.0 (2014)Music as a Technology of Surveillance (2018)The Long Revolution (1961)Writing Culture: The Poetics and Politics of Ethnography (1986)Culture shift in advanced industrial society (1990)"Anything But Heavy Metal": Symbolic Exclusion and Musical Dislikes (1996)Cultural capital in educational research: A critical assessment (2003)Talk Is Cheap (2014)Music in Everyday Life (2000)Authenticity as authentication (2002)Sound Souvenirs : Audio Technologies, Memory and Cultural Practices (2009)Soundscapes: Toward a Sounded Anthropology (2010)When materiality ‘bites back’: Digital music consumption practices in the age of dematerialization (2011)Looking Back, Looking Forward: Arts-Based Careers and Creative Work (2013)Playing to the Crowd (2019)Between Commerciality and Authenticity: The Imaginary of Social Media Influencers in the Platform Economy (2021)'Roots'?: the relationship \nbetween the global and the local \nwithin the Extreme Metal scene (2000)Researching youth culture and popular music: a methodological critique (2002)What Is Sociological about Music? (2010)Looking for work in creative industries policy (2009)Cultural entrepreneurs, cultural entrepreneurship: Music producers mobilising and converting Bourdieu's alternative capitals (2012)
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References

  • 1996Changing Highbrow Taste: From Snob to Omnivore2,443 cited
  • 1993Running with the devil: power, gender, and madness in heavy metal music942 cited
  • 2005Capturing sound: how technology has changed music830 cited
  • 2008Classification as Culture: Types and Trajectories of Music Genres487 cited
  • 2005Subcultures, Scenes or Tribes? None of the Above413 cited
  • 2000Making Popular Music: Musicians, Creativity and Institutions382 cited
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  • 1995Running with the Devil: Power, Gender, and Madness in Heavy Metal Music338 cited
  • 1999INDIE: THE INSTITUTIONAL POLITICS AND AESTHETICS OF A POPULAR MUSIC GENRE303 cited
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  • 1982A Theory Of Musical Genres. Two Applications188 cited
  • 2020Locating Power in Platformization: Music Streaming Playlists and Curatorial Power175 cited
  • 2020

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Music Platforms and the Optimization of Culture
153 cited

Cited by

  • 2026“Your Wrapped doesn’t lie”: Data realism and Spotify’s constructions of music, listening, and listeners in algorithmic recommendation2 cited