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The Conferralist Framework: Method and Application in Popular Music Studies

image of The Conferralist Framework: Method and Application in Popular Music Studies
  • By Hussein Boon
  • Source: The Intellect Handbook of Popular Music Methodologies , pp 386-400
  • Publication Date: June 2025
  • DOI: https://doi.org/10.1386/9781835951033_25
  • Language: English
  • Accessibility Summary:  EPUB 3 and pdf file included; compatible with devices and software which can read these formats. Adjustable font size, spacing, contrast, text justification, number of columns (ePUB only). Alternative text for images. Tagged with a logical reading order to assist screen readers. Navigation between in-text citations and reference list, and endnotes and endnote markers.

The features vital to the study of popular music can, at times, be elusive to pinpoint. Scholars such as Tara Rodgers have criticised academic writing on sampling as generally misrepresenting or misunderstanding the practice, and Dave Harker has criticised popular music studies academics for their focus upon Rock and Punk as popular, focused on White males, thereby neglecting the popular ‘other’. The question that this chapter is directed towards is what sorts of tools could be deployed to guard against issues of exclusion. This chapter outlines Ásta's conferralist framework applied to the study of popular music. Whilst this framework should not be viewed as solving all research problems, it is particularly useful in areas of gender, race, and class, revealing areas of exclusion that can arise when academics redefine existing categories or make ‘new’ ones as an act of rehistoricisation.

Keywords: class ; critical popular music studies ; equality ; gender roles ; music production ; race ; rehistoricism ; songwriting

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The Conferralist Framework: Method and Application in Popular Music Studies
Intellect , 386 (2025); https://doi.org/10.1386/9781835951033_25
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References

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References

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     [Google Scholar]
  2. Ásta (2019), ‘Response to critics’, Journal of Social Ontology, 5:2, pp. 273–83, https://doi.org/10.1515/jso-2020-2007.
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  3. Austin, John L. (1962), How to Do Things with Words, London: Oxford University Press.
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  33. Leibetseder, Doris (2016), Queer Tracks: Subversive Strategies in Rock and Pop Music, Farnham: Taylor & Francis.
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  34. Lorber, Judith (1999), ‘Crossing borders and erasing boundaries: Paradoxes of identity politics’, Sociological Focus, 32:4, pp. 355–70.
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  38. Pinch, Trevor J. and Trocco, Frank (2002), Analog Days: The Invention and Impact of the Moog Synthesizer, Cambridge, MA: Harvard University Press.
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  39. Polachek, Caroline (2014), interviewed by R. Saxelby, The Fader, https://www.thefader.com/2014/10/30/why-arent-more-women-becoming-music-producers. Accessed 12 July 2023 .
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  42. Riva, Chris D. (2023), ‘Women are superstars on stage, but still rarely get to write songs’, The Pudding, July, https://pudding.cool/2023/07/songwriters/. Accessed 30 August 2023.
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     [Google Scholar]
  45. Rorty, Amélie and David Wong (1993), ‘Aspects of identity and agency’, in O. Flanagan and A. Rorty (eds), Identity, Character, and Morality: Essays in Moral Psychology, Cambridge, MA: Bradford Books and MIT Press, pp. 19–36.
     [Google Scholar]
  46. Roy, William, G. and Dowd, Timothy, J. (2010), ‘What is sociological about music?’ Annual Review of Sociology, 36, pp. 183–203, http://www.jstor.org/stable/25735074. Accessed 12 July 2023 .
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     [Google Scholar]
  48. Rubin, Rick (2023), interviewed by J. Lonsdale, Rolling Stone, 1 May, https://www.rollingstone.com/product-recommendations/books/rick-rubin-book-the-creative-act-1234665058/. Accessed 12 July 2023 .
     [Google Scholar]
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     [Google Scholar]
  50. Schmutz, Vaughn and Faupel, Alison (2010), ‘Gender and cultural consecration in popular music’, Social Forces, 89:2, pp. 685–707, https://www.jstor.org/stable/40984552. Accessed 4 April 2022 .
     [Google Scholar]
  51. Searle, John (1969), Speech Acts: An Essay in the Philosophy of Language, Cambridge: Cambridge University Press.
     [Google Scholar]
  52. Smith, Gareth Dylan (2013), I Drum, Therefore I Am: Being and Becoming a Drummer, Abingdon: Routledge.
     [Google Scholar]
  53. Smith, Stacy, L. , Pieper, Katherine , Hernandez, Karla and Wheeler, Sam (2024), Inclusion in the recording studio? Gender & Race/Ethnicity of Artists, Songwriters & Producers across 1,200 Popular Songs from 2012 to 2023, USC Annenberg Inclusion Initiative, 31 January, https://assets.uscannenberg.org/docs/aii-inclusion-recording-studio-20240130.pdf. Accessed 9 August 2024 .
     [Google Scholar]
  54. Suhadolnik, Sarah (2016), ‘Outside voices and the construction of Adele's singer-songwriter persona’, in K. Williams and J. A. Williams (eds), The Cambridge Companion to the Singer-Songwriter, Cambridge: Cambridge University Press, pp. 179–86.
     [Google Scholar]
  55. Thornton, Sarah (1995), Club Cultures: Music, Media and Subcultural Capital, Chichester: John Wiley & Sons Limited.
     [Google Scholar]
  56. Till, Rupert (2016), ‘Singer-songwriter authenticity, the unconscious and emotions (feat. Adele's “Someone Like You”)’, in K. Williams and J. A. Williams (eds), The Cambridge Companion to the Singer-Songwriter, Cambridge: Cambridge University Press, pp. 291–304.
     [Google Scholar]
  57. Toppin, Julia (2022), ‘“They're not in it like the man dem”: How gendered narratives contradict patriarchal discourse in electronic dance music’, in C. Anderton and M. James (eds), Media Narratives in Popular Music, London: Bloomsbury, pp. 53–70.
     [Google Scholar]
  58. Wajcman, Judy (2010), ‘Feminist theories of technology’, Cambridge Journal of Economics, 34:1, pp. 143–52, https://doi.org/10.1515/culture-2018-0041.
     [Google Scholar]
  59. Walzer, Daniel (2024), Leadership in Music Technology Education, Abingdon: Routledge.
     [Google Scholar]
  60. Whelan, Andrew and Nowak, Raphaël (2018), ‘“Vaporwave is (not) a critique of capitalism”: Genre work in an online music scene’, Open Cultural Studies, 2:1, pp. 451–462, https://doi.org/10.1515/culture-2018-0041.
     [Google Scholar]
  61. Whiteley, Sheila (2000), Women and Popular Music: Sexuality, Identity, and Subjectivity, New York: Routledge.
     [Google Scholar]
  62. Whiteley, Sheila and Rycenga, Jennifer (eds) (2006), Queering the Popular Pitch, New York: Taylor & Francis.
     [Google Scholar]
  63. Wolfe, Paula (2012), ‘A studio of one's own: Music production, technology and gender’, Journal on the Art of Record Production, November, https://www.arpjournal.com/asarpwp/a-studio-of-one%E2%80%99s-own-music-production-technology-and-gender/.
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content/books/9781835951033
Book
false
en
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