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My Music: Explorations of Music in Daily Life (Music/Culture), by Susan D. Crafts, Daniel Cavicchi, Charles Keil, Music in Daily Life Proj
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My Music is a first-hand exploration of the diverse roles music plays in people's lives. "What is music about for you?" asked members of the Music in Daily Life Project of some 150 people, and the responses they received -- from the profound to the mundane, from the deeply-felt to the flippant -- reflect highly individualistic relationships to and with music. Susan Crafts, Daniel Cavicchi, and Project Director Charles Keil have collected and edited nearly forty of those interviews to document the diverse ways in which people enjoy, experience, and use music.
CONTRIBUTORS: Charles Keil, George Lipsitz.
- Sales Rank: #638478 in Books
- Brand: Brand: Wesleyan
- Published on: 1993-05-15
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .57" w x 5.98" l, .83 pounds
- Binding: Paperback
- 244 pages
- Used Book in Good Condition
From Library Journal
This book could serve as a Rorschach test for the reader; many will applaud it as a celebration of diversity, while some may see it as further evidence of the decline of Western civilization. People of all ages from Buffalo, New York were asked, in essence, "What is music about for you?" The book offers 41 of their answers. While it is impossible to categorize the responses, a few generalizations can be drawn. "Classical" music is generally marginal to people's lives. Instead, people identify with different popular styles, depending on age, ethnicity, and socioeconomic status. The Grateful Dead, New Age, Country and Western, and Rap music are all diverse, highly symbolic styles worn as badges by their devotees. This book makes an important, stimulating contribution to an exciting area of study: the sociobiology of music. Recommended for academic lib raries.
- E. Gaub, Villa Maria Coll., Buffalo,
Copyright 1993 Reed Business Information, Inc.
Review
"Not surprisingly, people listen to music for many different reasons and in many different ways, but the authors express pleasant surpise at most respondents' keen interest and intelligence about popular music in general and the astonishing range of individuals' interests despite the narrowcasting principles of radio specifically and the media in general."—Washington Post
The subjects here are the weirdest of the weird: ordinary people. The project interviewed people aged four to 83 on what music meant to them, using relatives, friends, ex-employees, and neighbors as questioners so that the answers wouldn't be the usual lies we tell about our tastes. It's staggering."—SF Weekly
"My Music presents a lively cross-section of lay commentary on music... The interviews are very rich, and not only for their musical content. There are miniature psychodramas, and some clouded glimpses into private lives... My Music is unique in its use of open-ended, more-or-less nondirective interviews, and its focus on the voices of ordinary people...I suspect it will prove especially useful in the classroom."—Postmodern Culture
Review
“My Music captures the day-to-day and moment-to-moment experience of perfectly ordinary people. In revealing their keen interest in and their intelligence about popular music, it shows them to be the proper subject of musicology and cultural research.” (Paul Buhle, editor of Popular Culture in America)
“Whether they think [music is] occasional background, the meaning of life, or some unique amalgam of both, few of these informants pigeonhole neatly into one of those taste subcultures beloved of marketers, programmers, sociologists, and rock critics . . . With the most uncommitted users attesting to some degree of saturation, what comes through is how uncontrollably each bends music to his or her own semiconscious needs or well-conceived purposed.” (Robert Christgau)
Most helpful customer reviews
6 of 6 people found the following review helpful.
Fascinating, Worthwhile Study
By Lawrence A. Schenbeck
For what it is, this study of music in the lives of a diverse collection of people is hard to beat. The authors allowed individuals to speak about what they loved and didn't, in their own voices and in real time, so to speak. This is far richer material than you would imagine; don't be misled by the sniffy commentary offered by the library reviewer above.
The trick is that you, the reader, are left free to wander among these interviews and then construct your own hypotheses, make your own connections, draw your own conclusions. You may find a fundamental unity in the variety of human experiences described here. Or you may be struck by the ways in which the influences of age, gender, race, or historical context (the study was done several years ago) manifest themselves here.
I often recommend this book to college students struggling to find a focus for their introductory fieldwork in ethnomusicology. Will this reading help them narrow their focus? Will it provide them with ready-made theoretical models? No and no. It does enable them to see the value in NOT putting on one's analytical blinders too early in the process. It does remind them NOT to ask leading questions, NOT to stifle their garrulous or digressive respondents, and NOT to hesitate in changing their approach if the situation suggests it. And those are good lessons for any student, of almost any subject, to absorb.
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