Class Position and Musical Tastes: A Sing‐Off between the Cultural Omnivorism and Bourdieusian Homology Frameworks
Bibliographic record
Abstract
The longstanding debate between the homology and omnivorism approaches to the class bases of cultural tastes and practices rages on in cultural sociology. The homology thesis claims that class positions throughout the class hierarchy are accompanied by specified cultural tastes and specialized modes of appreciating them while the cultural omnivorism thesis contends that elites are (increasingly) characterized by a breadth of cultural tastes of any and all kinds. This study tests the applicability of these theses to musical tastes in Canada through the application of multiple correspondence analysis, latent class analysis, and logistic regression modeling to original telephone survey data (n = 1,595) from Toronto and Vancouver. I find that musical omnivorism, an appreciation for diverse musical styles, is not dispersed along class lines. Instead I find a homology between class position and musical tastes that designates blues, choral, classical, jazz, musical theater, opera, pop, reggae, rock, and world/international as relatively highbrow and country, disco, easy listening, golden oldies, heavy metal, and rap as relatively lowbrow. Of the highbrow tastes, all but jazz are disliked by lower class people, and of the lowbrow tastes, country, easy listening, and golden oldies are concurrently disliked by higher class people. Consistent with the homology thesis, it appears that class position is aligned with specific musical likes and dislikes. Le vieux débat entre les approches de l'homologie et de l'omnivorisme aux bases des classes des goûts et des pratiques culturels fait rage dans la sociologie culturelle. La thèse de l'homologie prétend que les positions des classes à travers la hiérarchie des classes sont accompagnées par des goûts culturels spécifiés et des modes spécialisés permettant leur appréciation. La thèse de l'omnivorisme culturel, en revanche, soutient que les élites sont (de plus en plus) caractérisées par un éventail de goûts culturels de toutes sortes. Cette étude expérimente l'applicabilité de ces thèses aux goûts musicaux au Canada à travers l'application de l'analyse des correspondances multiples, de l'analyse des classes latentes et du modèle de régression logistique aux données d'origine de l'étude collectées par téléphone (n = 1,595) de Toronto et de Vancouver. Je me rends compte que l'omnivorisme musical, une appréciation de styles musicaux divers, n'est pas dispersé le long des classes sociales. Bien au contraire, je trouve qu'il existe une homologie entre la position des classes et les goûts musicaux qui désigne les blues, la chorale, la musique classique, le jazz, le théâtre musical, l'opéra, la pop, le reggae, le rock et la musique du monde/internationale comme des styles des classes au niveau intellectuel relativement élevé. Cette homologie désigne la country, la disco, la musique d'ambiance, les anciens succès, le heavy metal et le rap comme des styles des classes au niveau intellectuel relativement bas. Des goûts des classes au niveau intellectuel élevé, tous les styles à l'exception du jazz ne sont pas appréciés de la basse classe. De même, des goûts des classes au niveau intellectuel bas, le country, la musique d'ambiance et les anciens succès ne sont pas appréciés de la haute classe. Selon la thèse de l'homologie, il apparaît que la position des classes est fonction des préférences et des aversions musicales spécifiques.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.006 | 0.014 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.003 | 0.004 |
| Science and technology studies | 0.004 | 0.027 |
| Scholarly communication | 0.007 | 0.004 |
| Open science | 0.001 | 0.007 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.005 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".