On Cultural Capital: Fine Tuning the Role of Barriers, Timing and Duration of Socialization, and Learning Experiences on Highbrow Musical Participation

Recent research in the sociology of culture has placed significant focus on musical taste and practices. This research agenda has ushered an understanding of the relationship between social class and cultural consumption, and particularly, the implications that patterns of cultural preferences and practices have on social inequality. A frontrunner in this line of work is Bourdieu (1984), who offers a sophisticated and useful theoretical framework—the Cultural Capital Theory—to illuminate the role of culture and its consumption in society. Written as three publishable papers, the chapters use empirical evidence to explore three issues surrounding highbrow musical practices that enrich Bourdieu (1984)’s framework. The first paper (Chapter 2) examines the role of structural and personal barriers in blocking attendance to highbrow concerts. It takes as a starting point Bourdieu (1984)’s argument that upper class individuals are more likely to attend classical music and opera concerts than their lower class counterparts, and questions whether these distinct patterns of participation are attributable to the different barriers that each class faces. The second paper (Chapter 3) offers a sophisticated analysis of the impact of socialization on highbrow concert attendance. By innovatively integrating the concepts of timing and duration, hallmarks the Life Course Perspective, I map out the potentially dynamic nature of the socialization process. In doing so, I illustrate the varying implications that different timing and duration of exposure has on later life highbrow concert participation. The last paper (Chapter 4) investigates the process of socialization to understand what conditions present during this crucial period in time encourage persistence in highbrow musical practices. I find that engaging in interactions that allow one to experience positive emotional resonance, develop a musical identity, and feel a sense of autonomy over musical decisions lead to the propensity to remain engaged in musical activities throughout life.Ph