Skip to content
1981

A Two-Way Street! Reflections on Supervising Ethnographic Popular Music Ph.D. Projects

image of A Two-Way Street! Reflections on Supervising Ethnographic Popular Music Ph.D. Projects

This chapter critically examines the practice of supervising ethnographically focused PhD projects in fields related to popular music. For the purposes of this chapter, an ethnographic PhD is taken to mean a PhD project that involves the collection of data through immersive qualitative methods. Such an approach may involve face-to-face and/or online interaction between the research and the research participants

Keywords: ethics ; ethnography ; festival ; fieldwork ; insider research ; interview ; music ; music scenes ; observation ; PhD supervision ; place ; popular music ; reflexivity ; space ; young people

Loading full text...

Full text loading...

References

  1. Armour, Zoe (2018), ‘Dedicated followers of PaSSion (1995–present): Seasoned clubbers and the mediation of collective memory as a process of digital gift giving’, in A. Hardy, A. Bennett and B. Robards (eds), Neo-Tribes: Consumption, Leisure and Tourism, Basingstoke: Palgrave Macmillan, pp. 137–52.118
     [Google Scholar]
  2. Barone, Stefano (2016), ‘Fragile scenes, fractured communities: Tunisian metal scenes and sceneness’, Journal of Youth Studies, 19:1, pp. 20–35.
     [Google Scholar]
  3. Barone, Stefano (2019), ‘Electronic dunes and downtown vibes: The social construction of an underground scene in Tunisia’, Popular Music & Society, 42:2, pp. 210–29.
     [Google Scholar]
  4. Bennett, Andy (1998), ‘The Frankfurt “Rockmobil”: A new insight into the significance of music-making for young people’, Youth and Policy, 60, pp. 16–29.
     [Google Scholar]
  5. Bennett, Andy (1999a), ‘Hip hop am Main: The localisation of rap music and hip hop culture’, Media, Culture and Society, 21:1, pp. 77–91.
     [Google Scholar]
  6. Bennett, Andy (1999b), ‘Subcultures or neo-tribes? Rethinking the relationship between youth, style and musical taste’, Sociology, 33:3, pp. 599–617.
     [Google Scholar]
  7. Bennett, Andy (2002), ‘Researching youth culture and popular music: A methodological critique’, British Journal of Sociology, 53:3, pp. 451–66.
     [Google Scholar]
  8. Bennett, Andy (2003), ‘The use of “insider” knowledge in ethnographic research on contemporary youth music scenes’, in A. Bennett, C. Cieslik and S. Miles (eds), Researching Youth, Basingstoke: Palgrave Macmillan, pp. 186–99.
     [Google Scholar]
  9. Blackman, Shane and Commane, Gemma (2012), ‘Double reflexivity: The politics of fieldwork and representation within ethnographic studies of young people’, in S. Heath and C. Walker (eds), Innovations in Researching Youth, Basingstoke: Palgrave Macmillan, pp. 229–47.
     [Google Scholar]
  10. Chakravarty, Devpriya (2023), ‘Indian electronic dance music festivals as spaces of play in regional settings: Understanding situated and digital electronic dance music performances’, in A. Bennett, D. Cashman, B. Green and N. Lewondowski (eds), Popular Music Scenes: A Regional and Rural Perspective, Basingstoke: Palgrave Macmillan, pp. 67–82.
     [Google Scholar]
  11. Chakravarty, Devpriya and Bennett, Andy (2023), ‘Is there an Indian way of raving? Reading the cultural negotiations of Indian youth in the trans-local EDM scene’, Journal of Youth Studies, https://doi.org/10.1080/13676261.2024.2305911.
     [Google Scholar]
  12. Chambers, Iain Michael (1985), Urban Rhythms: Pop Music and Popular Culture, Basingstoke: Palgrave Macmillan.
     [Google Scholar]
  13. Chaney, David C. (1994), The Cultural Turn: Scene Setting Essays on Contemporary Cultural History, Abingdon: Routledge.
     [Google Scholar]
  14. Cohen, Sara (1991), Rock Culture in Liverpool: Popular Music in the Making, Oxford: Clarendon Press.
     [Google Scholar]
  15. Driver, Christopher and Bennett, Andy (2015), ‘Music scenes, space and the body’, Cultural Sociology, 9:1, pp. 99–115.
     [Google Scholar]
  16. Elwood, Sarah A. and Martin, Deborah G. (2000), ‘“Placing” interviews: Location and scales of power in qualitative research’, The Professional Geographer, 52:4, pp. 649–57.
     [Google Scholar]
  17. Frenneaux, Richard and Bennett, Andy (2021), ‘A new paradigm of engagement for the socially distanced artist’, Rock Music Studies, 8:1, pp. 66–75.119
     [Google Scholar]
  18. Golpushnezhad, Elham (2018), ‘Untold stories of DIY/underground Iranian rap culture: The legitimization of Iranian hip-hop and the loss of radical potential’, Cultural Sociology, 12:2, pp. 260–75.
     [Google Scholar]
  19. Haenfler, Ross (2013), Subcultures: The Basics, Abingdon: Routledge.
     [Google Scholar]
  20. Hall, Stuart and Jefferson, Tony (1976) (eds), Resistance Through Rituals: Youth Subcultures in Post-War Britain, London: Hutchinson.
     [Google Scholar]
  21. Hobbs, Dick (1988), Doing the Business: Entrepreneurship, the Working Class, and Detectives in the East End of London, Oxford: Oxford University Press.
     [Google Scholar]
  22. Hodkinson, Paul (2002), Goth: Identity, Style and Subculture, Oxford: Berg.
     [Google Scholar]
  23. Hodkinson, Paul (2005), ‘“Insider research” in the study of youth cultures’, Journal of Youth Studies, 8:2, pp. 131–49.
     [Google Scholar]
  24. Malbon, Ben (1999), Clubbing: Dancing, Ecstasy and Vitality, London: Routledge.
     [Google Scholar]
  25. Stahl, Geoff (2004), ‘“It's like Canada reduced”: Setting the scene in Montreal’, in A. Bennett and K. Kahn-Harris (eds), After Subculture: Critical Studies in Contemporary Youth Culture, Basingstoke: Palgrave Macmillan, pp. 51–64.
     [Google Scholar]
  26. Straw, Will (1991), ‘Systems of articulation, logics of change: Communities and scenes in popular music’, Cultural Studies, 5:3, pp. 368–88.
     [Google Scholar]
  27. Thornton, Sarah (1995), Club Cultures: Music, Media and Subcultural Capital, Middletown, CT: Wesleyan University Press.
     [Google Scholar]
  28. Willis, Paul (1978), Profane Culture, London: Routledge and Kegan Paul.
     [Google Scholar]

References

  1. Armour, Zoe (2018), ‘Dedicated followers of PaSSion (1995–present): Seasoned clubbers and the mediation of collective memory as a process of digital gift giving’, in A. Hardy, A. Bennett and B. Robards (eds), Neo-Tribes: Consumption, Leisure and Tourism, Basingstoke: Palgrave Macmillan, pp. 137–52.118
     [Google Scholar]
  2. Barone, Stefano (2016), ‘Fragile scenes, fractured communities: Tunisian metal scenes and sceneness’, Journal of Youth Studies, 19:1, pp. 20–35.
     [Google Scholar]
  3. Barone, Stefano (2019), ‘Electronic dunes and downtown vibes: The social construction of an underground scene in Tunisia’, Popular Music & Society, 42:2, pp. 210–29.
     [Google Scholar]
  4. Bennett, Andy (1998), ‘The Frankfurt “Rockmobil”: A new insight into the significance of music-making for young people’, Youth and Policy, 60, pp. 16–29.
     [Google Scholar]
  5. Bennett, Andy (1999a), ‘Hip hop am Main: The localisation of rap music and hip hop culture’, Media, Culture and Society, 21:1, pp. 77–91.
     [Google Scholar]
  6. Bennett, Andy (1999b), ‘Subcultures or neo-tribes? Rethinking the relationship between youth, style and musical taste’, Sociology, 33:3, pp. 599–617.
     [Google Scholar]
  7. Bennett, Andy (2002), ‘Researching youth culture and popular music: A methodological critique’, British Journal of Sociology, 53:3, pp. 451–66.
     [Google Scholar]
  8. Bennett, Andy (2003), ‘The use of “insider” knowledge in ethnographic research on contemporary youth music scenes’, in A. Bennett, C. Cieslik and S. Miles (eds), Researching Youth, Basingstoke: Palgrave Macmillan, pp. 186–99.
     [Google Scholar]
  9. Blackman, Shane and Commane, Gemma (2012), ‘Double reflexivity: The politics of fieldwork and representation within ethnographic studies of young people’, in S. Heath and C. Walker (eds), Innovations in Researching Youth, Basingstoke: Palgrave Macmillan, pp. 229–47.
     [Google Scholar]
  10. Chakravarty, Devpriya (2023), ‘Indian electronic dance music festivals as spaces of play in regional settings: Understanding situated and digital electronic dance music performances’, in A. Bennett, D. Cashman, B. Green and N. Lewondowski (eds), Popular Music Scenes: A Regional and Rural Perspective, Basingstoke: Palgrave Macmillan, pp. 67–82.
     [Google Scholar]
  11. Chakravarty, Devpriya and Bennett, Andy (2023), ‘Is there an Indian way of raving? Reading the cultural negotiations of Indian youth in the trans-local EDM scene’, Journal of Youth Studies, https://doi.org/10.1080/13676261.2024.2305911.
     [Google Scholar]
  12. Chambers, Iain Michael (1985), Urban Rhythms: Pop Music and Popular Culture, Basingstoke: Palgrave Macmillan.
     [Google Scholar]
  13. Chaney, David C. (1994), The Cultural Turn: Scene Setting Essays on Contemporary Cultural History, Abingdon: Routledge.
     [Google Scholar]
  14. Cohen, Sara (1991), Rock Culture in Liverpool: Popular Music in the Making, Oxford: Clarendon Press.
     [Google Scholar]
  15. Driver, Christopher and Bennett, Andy (2015), ‘Music scenes, space and the body’, Cultural Sociology, 9:1, pp. 99–115.
     [Google Scholar]
  16. Elwood, Sarah A. and Martin, Deborah G. (2000), ‘“Placing” interviews: Location and scales of power in qualitative research’, The Professional Geographer, 52:4, pp. 649–57.
     [Google Scholar]
  17. Frenneaux, Richard and Bennett, Andy (2021), ‘A new paradigm of engagement for the socially distanced artist’, Rock Music Studies, 8:1, pp. 66–75.119
     [Google Scholar]
  18. Golpushnezhad, Elham (2018), ‘Untold stories of DIY/underground Iranian rap culture: The legitimization of Iranian hip-hop and the loss of radical potential’, Cultural Sociology, 12:2, pp. 260–75.
     [Google Scholar]
  19. Haenfler, Ross (2013), Subcultures: The Basics, Abingdon: Routledge.
     [Google Scholar]
  20. Hall, Stuart and Jefferson, Tony (1976) (eds), Resistance Through Rituals: Youth Subcultures in Post-War Britain, London: Hutchinson.
     [Google Scholar]
  21. Hobbs, Dick (1988), Doing the Business: Entrepreneurship, the Working Class, and Detectives in the East End of London, Oxford: Oxford University Press.
     [Google Scholar]
  22. Hodkinson, Paul (2002), Goth: Identity, Style and Subculture, Oxford: Berg.
     [Google Scholar]
  23. Hodkinson, Paul (2005), ‘“Insider research” in the study of youth cultures’, Journal of Youth Studies, 8:2, pp. 131–49.
     [Google Scholar]
  24. Malbon, Ben (1999), Clubbing: Dancing, Ecstasy and Vitality, London: Routledge.
     [Google Scholar]
  25. Stahl, Geoff (2004), ‘“It's like Canada reduced”: Setting the scene in Montreal’, in A. Bennett and K. Kahn-Harris (eds), After Subculture: Critical Studies in Contemporary Youth Culture, Basingstoke: Palgrave Macmillan, pp. 51–64.
     [Google Scholar]
  26. Straw, Will (1991), ‘Systems of articulation, logics of change: Communities and scenes in popular music’, Cultural Studies, 5:3, pp. 368–88.
     [Google Scholar]
  27. Thornton, Sarah (1995), Club Cultures: Music, Media and Subcultural Capital, Middletown, CT: Wesleyan University Press.
     [Google Scholar]
  28. Willis, Paul (1978), Profane Culture, London: Routledge and Kegan Paul.
     [Google Scholar]

  • From This Site

    /content/books/9781835950579.c05
    dcterms_title,dcterms_subject,pub_keyword
    -contentType:Contributor -contentType:Concept -contentType:Institution
    10
    5
/content/books/9781835950579.c05
dcterms_title,dcterms_subject,pub_keyword
-contentType:Contributor -contentType:Concept -contentType:Institution
10
5
Chapter
content/books/9781835950579
Book
false
en
Loading
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error
Please enter a valid_number test