The Sociology of Music and Social Distinctions: P!NK's Career As an Example of Social Linkage
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Digital Commons @ Assumption University Honors Theses Honors Program 2019 The Sociology of Music and Social Distinctions: P!NK's Career as an Example of Social Linkage David Cifarelli Assumption College Follow this and additional works at: https://digitalcommons.assumption.edu/honorstheses Part of the Music Commons, and the Social and Behavioral Sciences Commons Recommended Citation Cifarelli, David, "The Sociology of Music and Social Distinctions: P!NK's Career as an Example of Social Linkage" (2019). Honors Theses. 49. https://digitalcommons.assumption.edu/honorstheses/49 This Honors Thesis is brought to you for free and open access by the Honors Program at Digital Commons @ Assumption University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Assumption University. For more information, please contact [email protected]. The Sociology of Music and Social Distinctions: P!NK’s Career as an Example of Social Linkage David Cifarelli Faculty Supervisor: Christopher Gilbert, Ph. D Department of English A Thesis Submitted to Fulfill the Requirements of the Honors Program at Assumption College Spring 2019 Cifarelli 1 Introduction Music is extremely social. It is one of the most expressive art forms our society holds. Due this expressive nature, the art of making music can hold many social connotations and directly involve or relate itself to social occurrences, movements and ideals. This intertwined relationship thus allows music to be a conductor of social change by existing and working within these various social constructs. In addition, those involved with the music-making business are, by association, also potential conductors of social change. The way in which this change occurs is through the linkage of various social distinctions. Social distinctions are areas in society that exist on their own and are kept from interacting with other distinctions. These distinctions can have many sub-categories as well. An example of a singular social distinction is race. Race is a singular distinction of a certain societal demographic. It stands alone based on its own inherent composition (biological, genetic and physical makeup) and social characteristics (culture, food, clothing style, etc.) that do not, or rarely, coincide with other races. Therefore race, as a social distinction, can be thought of as a single pearl on a strand of a necklace that touches other pearls but does not go past its exterior border. In addition social distinctions can have many subcategories. To picture this visually, it would look more like a circle inside of another circle, and so on, so that none of the circles are touching but are coexisting. So if we picture race as the outermost circle, the sub- circles can be labeled as White, Black, Asian, Hispanic and so on. All of these sub-categories fit within the realm of race as a social distinction but do not converge unless another force causes them to do so. This is where the power of an outside catalyst comes into play. Due the natural order of these distinctions, an outside force must break these rings and connect them in order for them to converge. We see this happen in many forms in society. Considering the potential and Cifarelli 2 social connotations music holds, we can consider this expressive art form as only one of the few catalysts for this change. Music and musicians hold the capacity to conduct social change. By creating means of opening these circles and allowing them to connect, those involved in the music business thus hold the potential to conduct social change by the linkage of these various social distinctions. This is due to their previous embedment into already existing social distinctions. Musicians are already a part of one or more social distinction and can use this position to their advantage by reconfiguring the inner workings of social interactions. In other words, the work to connect these distinctions comes from within the organization of society. Music and musicians conduct social change in a number of different ways and for multiple purposes. These include, but are not limited to, their capacity to conduct social change through various forms of social linkage (in this study referred to as bridging and bounding), appealing to and continuing to uphold a massive following of supporters who are engaged by their work, allowing their work to connect musicians more personally to their audiences who may also strive for social change, and through the act of collective enactment where multiple individuals are involved with the promotion and public image of these musicians – creating a platform for success. Overall, the purpose of this study is to examine musician’s potential to conduct positive social change because of their ability to connect multiple social distinctions. This study will highlight a number of social distinctions that musicians encounter throughout their career and how they either become well-placed individuals through the linkage of these distinctions, or link social distinctions due to their power status. In addition, this study is meant to stand as a testament to the power of musicians and music to conduct effective social change through active and creative means versus those of other well-placed individuals in society, for example Cifarelli 3 politicians, actors, authors or even activists. Furthermore, this study focuses on the career of a musician who has been labeled as a “trailblazer” and “music outsider” due to her unapologetic behavior and work. This artist also takes very uncustomary routes for conducting change and is still a contemporary voice involved with social activism. For these reasons, including the number of social distinctions encountered in her career, this artist was chosen to be a centerpiece of the explanation concerning musicians and social change. In this study, the artist whose career serves as an example of the linkage of social distinctions is known as Alecia Beth Moore, or P!NK to the entertainment world. Portions of the study will also explain how P!NK differs from similar artists in the music industry and their capacity to conduct social change. Methodology Multiple informational platforms went into the generation of content for this study. The main platform was academic and scholarly articles, journals and readings mostly surrounding the topics of sociology and music sociology. Each source was read and annotated for information that correlated most accurately with the research question for the study. This was done by extensive highlighting of information that I deemed applicable to the theoretical framework of the sociology of music as well as P!NK’s ability to conduct social change. I collected notes from each source in a singular document and used said notes to formulate the thesis. All the information gathered was measured alongside the experiences of P!NK in order to determine what insights best aligned with her career. The information gathered from these sources were used as scholarly reasoning to defend P!NK’s acts of social linkage. On their own, these examples only serve as examinations without academic content and thus required further context to fit within the world of academia. Cifarelli 4 This is also were I conducted a micro rhetorical analysis of P!NK’s career. Further content for this study generated from the analysis of song lyrics, music videos, interviews and performances done by P!NK. Lyrics were chosen to support claims of social linkage in the artist’s written content (for example songs with politically charged words), music videos for visual content and interviews and performances for interactive content. Each example exemplifies P!NK’s capacity to conduct social change through a number of mediums. By showcasing how the artist conducts social linkage through these various avenues, we can consider how the distinction nature of a musician to conduct social change differs from other social activists. In addition this study will distinguish P!NK as an artist separate from her peers. Theoretical Framework for the Sociology of Music and Social Distinctions Part A: The Identities of Music Music is a mode of interaction that expresses and constitutes the relationship of two or more individuals, known as social relations. These relations include, but are not limited to, subcultures, organizations, classes or nations. At the same time, music embodies cultural assumptions – the ideas common throughout a culture regarding those relations. It can then be said that music is a form of communication that holds communal understandings about society. There are those who form the communication (i.e. musicians, artists and authors) and those who thereafter use the communication (listeners, viewers and readers). From this standpoint, music holds two identities: one as an object, or craft, and one as an activity. In addition, each identity of music holds a certain, and more specifically intended, affect on those involved. A moment of creation, a stability of characteristics and a potential for use are what make music an object or craft. This object includes the physical productions of music as well as the Cifarelli 5 product that follows. This can encompass anything from turntables to instruments to synthesizers that result in a compact disc or digital track. In other terms, these are the crafts that form the object of music, thus accounting for its dual identity. From the instance a musician produces a sound, that sound holds a number of defining characteristics such as tempo, genre or lyrical content. The affect of this object comes in the form of a greater purpose than transcends the physical product. The attribution of music to soundtracks at weddings, graduation ceremonies and other gatherings are an example of this purpose. Music therefore has the ability to be placed and replaced throughout time or space but continues to hold these inherent qualities – making it an adaptable product. As an activity, music is identified as something unbounded and open.