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.

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.

Using data from the 1982, 1985, 1992, and 1997 Survey of Public Participation in the Arts (SPPA), this thesis tests the effects of class, age, gender and race on the breadth of musical preferences that respondents report to liking. Specifically, the omnivore/univore framework developed by Peterson (1992) is examined. It is hypothesized that age and social class are positively related to musical omnivorousness (liking a wide variety of music). That is, older people and people higher in social economic standing will be more omnivorousness in musical preferences. The underlying theory here is that in today's society, being omnivorous is a form of cultural capital. Cultural exclusivity is no longer valued as it may have been in the past and is more often a sign of ignorance rather than status. Hence, the hypothesis is that people today will use a wide knowledge of musical forms to help them network and "get ahead." This should be more important for people as they age because the need to network as a way of moving higher in the social economic hierarchy should be more important. Additionally, it is hypothesized that women and whites will be more omnivorousness because they may feel less alienated in general from mainstream society, especially at younger ages. Hence, blacks and men will gravitate towards fewer genres of musical as a symbolic rejection of the values of mainstream society. This should also be more salient when people are younger. Overall, the findings presented support the contention the omnivorousness is replacing exclusiveness as a sign of status. Indeed, the findings show that class is positively related to omnivorousness, age is positively related to omnivorousness, being female is positively related to omnivorousness, and that whites are more omnivorous than blacks. Perhaps most interesting, however, is that the relationship between age and omnivorousness was determined to be a curvilinear relationship. No other analysts have reported this. Moreover, the findings present evidence that age may indeed be a more important determinant of musical omnivorousness than social class. Hence, it is concluded that no longer should musical preferences be examined simply as varying by social class but also as changing across the life cycle. / Master of Science

The main objective of this dissertation is to study the subjective class identification and the importance of this identification for social attitudes and leisure habits. Class identification is a significant, yet often neglected, area of research in the study of social class and stratification. The aim of this thesis has been to explore in what way the Swedish citizens perceive their own place in the structure of stratification. This thesis is based on three Swedish surveys, collected between 1993 and 2000. The results show that a vast majority of the citizens think that Sweden is still a class society and can place themselves in this structure. The most important sources for this identification are the objective class position and the class position of the father during childhood and adolescence. Identification with the working class is to a higher extent connected with a view that the differences in living conditions are too high, that the differences in the possibility to advance in the Swedish society are unequal and that the gap in income should decrease. This standpoint is nearly as common for people who identify with the working class irrespective of a socialistic or non- socialistic position. The results also show that class identification is related to the level of participation in different leisure activities. Identification with the middle class is connected with a higher degree of participation in a variety of activities, especially in highbrow culture such as theatre and opera. In the conclusion it is discussed that the relevance of class identification in the future is highly dependent on how class in the political and ideological sphere is formulated and attached with different attitudes, and if class is expressed as a positive source in the construction of the social identity.

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