Toward an integrating score: orchestrating practice and taste in music consumption
DOI:
https://doi.org/10.5585/remark.v20i4.18041Keywords:
Theory of practice, Taste, Consumption, Music, Integrative reviewAbstract
Objective: to present a conceptual structure that promotes the dialogue between consumption practices and taste in the context of music scenes.
Method: an integrative review of the existing literature on the topic was carried out, adopting the approach suggested by Torraco (2016).
Originality/Relevance: it consists in the understanding that the passive-active listener can perform practices of internalization and externalization of taste in a music scene. This would occur through a process of mutual constitution, dependent on the integration between objects, actions and meanings that make musical practice viable.
Results: the conceptual framework presented states that, in a music scene, the learning process in the face of the formation of a taste regime can be guided by active listeners and / or digital platforms. In this way, taste is judged in the face of the listener's experiences, which improves his ability and becomes a particular individual in a music scene. This individual performs performances of taste in a music scene, whether in the sphere of virtual communities; when ritualizing musical practices; or when attending appropriate aesthetic spaces. This would have implications for the listener's musical taste, and may also generate a new taste.
Theoretical contributions: an alternative is conceived for the analysis of consumption practices that portray the listeners' tastes, highlighting music as a central element in this process. A research agenda within the scope of music scenes is suggested, contemplating the multiple musical practices that constitute the internalization and externalization of taste.
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