In this episode, Alev and Anuja cover a broad range of topics ranging from whether Backstreet Boys has ever been cool, to Bollywood music in the UK, and to the politics of Kurdish music in Turkey. SDU MMA student Maria Seitjen Reiss joins them with insights into flamenco as local heritage as well as tourist spectacle in Andalusia. Guest researcher Alex Skandalis from Lancaster University sheds light on the intersections of taste, place as well as gender in the fields of Indie and Classical music consumption.


Reading list and notes:

Alex’s research on music, taste, and place:
Skandalis, A., Banister, E. and Byrom, J., 2018. The spatial aspects of musical taste: Conceptualizing consumers’ place-dependent identity investments. Marketing Theory, 18(2), pp.249-265.

Skandalis, A., Banister, E. and Byrom, J., 2020. Musical taste and the creation of place-dependent capital: Manchester and the indie music field. Sociology, 54(1), pp.124-141.

Skandalis, A., Banister, E., & Byrom, J. (2016). Marketplace orchestration of taste: insights from the Bridgewater Hall. Journal of Marketing Management, 32(9-10), 926-943.


Alev’s research on Kurdish music:
Kuruoğlu, A. P., & Ger, G. (2015). An emotional economy of mundane objects. Consumption Markets & Culture, 18(3), 209-238.

Kuruoğlu, A., & Hamelink, W. (2017). “Sounds of resistance. Performing the Political in the Kurdish Music Scene” in The Politics of Culture in Turkey, Greece & Cyprus: Performing the Left Since the Sixties; p. 103-121. Routledge

Podcast: “The Kurdish Music Industry: History and Politics.” Ottoman History Podcast, Episode #116, hosted by Chris Gratien. https://www.ottomanhistorypodcast.com/2013/08/the-kurdish-music-industry-history-and.html


Inspiration from (and for) Maria’s research on Flamenco:
Aoyama, Y. (2007). The role of consumption and globalization in a cultural industry: The case of flamenco. Geoforum, 38(1), 103-113.

Aoyama, Y. (2009). Artists, tourists, and the state: Cultural tourism and the flamenco industry in Andalusia, Spain. International Journal of Urban and Regional Research, 33(1), 80-104.

Machin-Autenrieth, M. (2015, February). Flamenco¿ algo nuestro?(something of ours?): Music, regionalism and political geography in Andalusia, Spain. In Ethnomusicology Forum (Vol. 24, No. 1, pp. 4-27). Routledge.

Malefyt, T. D. (1998). " Inside" and" Outside" Spanish Flamenco: Gender Constructions in Andalusian Concepts of Flamenco Tradition. Anthropological Quarterly, 63-73.

Papapavlou, M. (2003). The city as a stage: Flamenco in Andalusian culture. Journal of the Society for the Anthropology of Europe, 3(2), 14-24.

Washabaugh, W. (1995). Ironies in the History of Flamenco. Theory, Culture & Society, 12(1), 133-155.

Washabaugh, W. (2021). Flamenco: passion, politics and popular culture. Taylor & Francis.


Imagined Communities, Traditions - General Inspiration:
Anderson, B. (2006). Imagined communities: Reflections on the origin and spread of nationalism. Verso books.

Herzfeld, M. (2005). Cultural intimacy: Social poetics in the nation-state. Psychology Press.

Hobsbawm, E., & Ranger, T. (Eds.). (2012). The invention of tradition. Cambridge University Press.


Music, Belonging(s), and Representations:
Baily, J., & Collyer, M. (2006). Introduction: Music and migration. Journal of Ethnic and Migration Studies, 32(2), 167-182.

Baker, C. (2016). Sounds of the borderland: Popular music, war and nationalism in Croatia since 1991. Routledge.

Feld, Steven. 1990. Sound and Sentiment: Birds, Weeping, Poetics and Song in the Kaluli Expression. Philadelphia: University of Pennsylvania Press.

Hamelink, W. (2016). The Sung Home. Narrative, Morality, and the Kurdish Nation. Brill.

Hamelink, W., & Barış, H. (2014). Dengbêjs on borderlands: Borders and the state as seen through the eyes of Kurdish singer-poets. Kurdish Studies, 2(1), 34-60.

Harris, R., & Dawut, R. (2002). Mazar festivals of the Uyghurs: music, Islam and the Chinese state. British Journal of Ethnomusicology, 11(1), 101-118.

Henderson, E. A. (1996). Black nationalism and rap music. Journal of Black Studies, 26(3), 308-339.

Manuel, P. (1993). Cassette culture: Popular music and technology in North India. University of Chicago Press.

Morcom, A. (2008). Getting heard in Tibet: Music, media and markets. Consumption, Markets and Culture, 11(4), 259-285.

Punathambekar, A. (2005). Bollywood in the Indian-American diaspora: Mediating a transitive logic of cultural citizenship. International Journal of Cultural Studies, 8(2), 151-173.

Revill, G. (2000). Music and the politics of sound: nationalism, citizenship, and auditory space. Environment and Planning D: Society and Space, 18(5), 597-613.

Scalbert-Yucel, Clemence. 2009. “The Invention of a Tradition: Diyarbakır’s Dengbej Project.” European Journal of Turkish Studies (10)


Music Materialities, Practices and Taste:
Arsel, Z. and Thompson, C.J., 2011. Demythologizing consumption practices: How consumers protect their field-dependent identity investments from devaluing marketplace myths. Journal of consumer research, 37(5), pp.791-806.

Bartmanski, D., & Woodward, I. (2015). The vinyl: The analogue medium in the age of digital reproduction. Journal of consumer culture, 15(1), 3-27.

Bartmanski, D., & Woodward, I. (2015). Vinyl: The analogue record in the digital age. Bloomsbury Publishing.

Born, Georgina. 2011. “Music and the Materialization of Identities.” Journal of Material Culture 16 (4): 376–388.

Hennion, A. (2001). Music lovers: Taste as performance. Theory, Culture & Society, 18(5), 1-22.

Bradshaw, A. and Shankar, A., 2008. The production and consumption of music. Consumption, Markets and Culture, 11(4), pp.225-227.

Shankar, A., 2000. Lost in music? Subjective personal introspection and popular music consumption. Qualitative Market Research: An International Journal.

Webster, J. (2020). Taste in the platform age: music streaming services and new forms of class distinction. Information, Communication & Society, 23(13), 1909-1924.