Download - Funciones Frith-estudio Práctico
-
8/9/2019 Funciones Frith-estudio Prctico
1/85
T H E F U N C T I O N S O F P O P U L A R M U S I C PN T H E L I V E S O F A D O L E S C E N T S
by
Isaac Lamont Bickmore
A thesis submitted to the faculty of
The Universi ty of Utah
in partial fulfillment of the requirements for the degree of
Master of Music
n
Music Educat ion
School of Music
The Universi ty of Utah
May 2 1
THE FUNCTIONS OF POPULAR MUSIC
N
THE LIVES OF ADOLESCENTS
by
Isaac Lamont Bickmore
thesis su
bmitted to
the
facu lt
y
o
The University o Utah
in
partial fulfi llm e
nt
o the requiremen ts for the degree o
Master
o
Music
n
Music ducation
School o Music
The University
o
Utah
May 2 1
-
8/9/2019 Funciones Frith-estudio Prctico
2/85
Copyr ight Isaac Lamont Bickmore 2 1
All Rights Reserved
Copyright Isaac Lamont Bickmore 2 1
All Rights Reserved
-
8/9/2019 Funciones Frith-estudio Prctico
3/85
THE UNIVRSIY OF UA GRADA SCOOL
SUPERVISORY COMMTTEE APPROVAL
of a esi umied y
ac amont Bikmore
Thi i ba een rea y a memer o e foowing upeoy omiee ad majoiy voe hs ee fou 10e aifao.
r ]
ltD
al : Ie Lien
,
-
8/9/2019 Funciones Frith-estudio Prctico
4/85
THE UNIVRSY OF A GRADA CL
FINAL READNG APPROVAL
o the Graduae Council of he ivesiy of Uh:
1 have ead e ess of saa amon Bckmoe in s al formand ve found ba (1) is oa, ctos ad ogpc sye re consse adacceptae; (2) s ustrae maeias cudg ges es and cs are i paceand 3) te a anscp s sasfacoy o e supevisoy coee d s eady forssso o he Grduae coo.
Dae
Appoved fo e MajorDeparen
Roe WazairDa
Appoed fo he Grdae Conci
Caes ightDe oTbe Gdue cboo
-
8/9/2019 Funciones Frith-estudio Prctico
5/85
A B S T R A C T
This study determines that a specified group of adolescents' favorite songs fulfill
Frith's functions of popular music; (a) to create a type of self-definition; (b) to provide a
way of managing the relat ionship between one's private and public emotional l ives; (c) to
shape popular memory, organize one's sense of t ime, and intensify a given experience;
and (d) to provide a sense of musical ownership, according to those same adolescents '
own writ ings and a survey on that topic. Sophomores from a high school in the Salt Lake
Valley were given an assignment that included a one-page essay describing what
functions their favorite song performs in their life, and a survey based on Frith's
Fun ctions of Popu lar M usic . The data collected from that assignm ent were analyzed
using a deductive approach described by Mark Abrahamson to determine whether the
functions that the students ascribed to their songs matched Fri th 's functions.
ABSTRACT
This study det ermines that a specified group
of
adolescents' favorite songs
fu
lfill
Frith's functions
of
popular music; (a) to create a lype of self-definition ; (b) to provide a
way
of
managing the relationship between
one's
private and public emotional lives; (c) to
shape popular memory. organize one 's sense
of
time, and intensify a given experience;
and Cd to provide a sense
of
musical ownership, according to those sa
me
ado lescents'
own writings and a su rvey on that topi
c.
Sophomores from a high school
in
the Salt Lake
Valley were given an assignment that included a one-page essay descr ibing what
functions their favorite song performs
in
their life, and a survey based on Frith 's
Functions ofPopuiar Music. The data collected from that ass igrun
en
t were analyzed
u
sing
a deductive approach described by Mark Abrahamson to determine whether the
functions that the students ascribed to their songs matched Frith's functions.
-
8/9/2019 Funciones Frith-estudio Prctico
6/85
Dedicated to Les ley Wil l Mo m and Dad
edicated to Lesley Will Mom and Dad
-
8/9/2019 Funciones Frith-estudio Prctico
7/85
T A B L E O F C O N T E N T S
ABS T RACT iv
C H A P T E R
I INT R ODU CT IO N 1
Justification of the Study 1
Purp ose of the Study 2
I I RE V IE W OF L IT E RA T UR E 4
Summary 13
III M ET HO D 14
Pilot Studies 14
Proce dure for Actu al Study 16
IV ANA L YS IS AN D RE S U L T S 2 2
Survey 22
The Essay 31
Summary 44
V S U M M A R Y D I S C U SS I O N C O N C L U S I O N S R E C O M M E N D A T I O N S
A N D A P P L I C A T I O N S O F P O P U L A R M U S I C I N T H E
C L A S S R O O M 4 5
Summary 45
Discussion 49
Conclusions 54
Reco mm endation s for Further Research 55
Applications of Popular M usic in the Classroom 59
TABLE OF CONTENTS
ABSTRACT. ..... . .... .... ... ..... ... . .... ... .. .. . IV
CHAPTER
INT
RODU
CTI
ON
.
..
.. .. .
....... . ...
..
Ju st ificat
ion
of
the Stud
y...............
.. .
..................
.. .
............
I
Purpo
se
orthe Study.......
..................................
.. .
............
2
II REVIEW OF LITERATURE ...... .. .. ........ .... ...... ........ 4
Summary.......................
.....
.. .
......
.. ..... ...
...
... ..... 13
II I METHOD
.
..
.
14
Pilot Studies .. . .. . ....................... .. . .........
.......
. .
....
. .. .
..
. . . .. 14
Procedure for Actual Study .. . .. . . ._._............................ .......... 16
IV ANALYSIS AND RESULTS............. ..... .........
22
Survey............................. .. .. .
.....
..................... .... . ... ......
22
The Essay...... ..................... .. . ........ .. . ....... .................. .... . 31
Sum .mary........................ ...............................................
44
V SUMMARY DIS
CUSS
ION CONCL
US
IONS RECOMMENDATIONS
AND APPLICATI
ONS OF
POPULAR MUSIC IN THE
CLASSROOM
......... 45
Sunlmary ...................... . . .
.....
... ... ......... . ........ .......... . ... 45
Discuss
ion
. ..... ... ... ... ... ....... ..... ... ... ... ... ... . .. . ... .. ... ... ... . .. .... 49
Conclu
sions......................................... ...... ...........
.
......
.... 54
Re
comm endations for Further Re search...
.....
.... ... ...
.....
....... ...... 55
Applications of Popular Music in the Classroom.. ............. ......... 59
-
8/9/2019 Funciones Frith-estudio Prctico
8/85
A P P E N D I X
A E S S A Y T E M P L A T E 6
B F IR S T S U R V E Y T E M P L A T E 6 4
C F IN A L E S S A Y T E M P L A T E 6 7
D F IN A L S U R V E Y 6 9
E THE FINA L SCRIPT 7
F A N A L Y Z E D E S S A Y 7 4
R E F E R E N C E S 7 6
vii
APPEN
DIX
A ESSAY TEMPLATE
62
B FIRST SURVEY TEMPLATE 64
C FINAL
ESSA
Y TEMPLATE
67
D FINAL SURVEy
69
E THE FINAL
SC
RIPT
72
F ANALYZED ESSAy 74
REFERENCES
76
ll
-
8/9/2019 Funciones Frith-estudio Prctico
9/85
CHAP T E R I
I N T R O D U C T I O N
Justification of the Study
The M usic Edu cators Nation al Conferen ce declared in 1969 that: M usic
education must encompass all mu sic (Housewright, Sarig , MacC luskey, & Hughes,
1969,
p.45). In the spirit of that declaration, and because I have found popular music
enriching, educational, and transformative in my life, I wanted to examine the functions
of popular music in the lives of adolescents. The reason that I chose to do this study with
a group of adolescents is because I am a music teacher and I work with adolescents. As a
music educator of adolescents, it is important to understand what my students listen to,
why they listen to it, and, in the case of this study, how that music functions in their lives.
Bucholtz (2002) delves into youth culture from an anthropological standpoint.
She challenges the approach of treating adolescence as a life stage only in the context of
preparing youth for adulthood. She presents evidence supporting the idea that
adolescence does function as a culture, independent in some ways from the culture of
adulthood. She discusses how popular music is one piece of evidence to support that idea.
Frith (1983) writes about the sociology of youth and popular music in a primarily
British context. His book is as much a discussion about youth and teenagers as it is a
discussion about popular music. Rock and roll and its many branches, including hip-hop,
CHAPTER I
INTRODUCTION
Justification
o
the Study
The Music Educators National Conference declared in 1969 that: Music
education must encompass all music (Housewright, Sarig, MacCluskey, Hughes,
1969, p.4S).
n
the spirit
o
that declaration, and because I have found popular music
enriching, educational, and trans formative in my life, I wanted to examine the functions
o popular music in the lives o adolescents. The reason that I chose to do this study with
a group o adolcscents
is
because I am a music teacher and I work with adolescents. As a
music educator
o
adolescents, it
is
important
to
understand what my students listen to,
why they listen
to
it, and, in the case o this study, how that music functions in their lives.
Bucholtz (2002) delves into youth culture from an anthropological standpoint.
She challenges the approach o treating adolescence as a life stage only in the context o
preparing youth for adulthood. She presents evidence supporting the idea that
adolescence does function
s
a culture, independent in some ways from the culture o
adulthood. She discusses how popular music is one piece
o
evidence
to
support that idea.
Frith (1983) writes about the sociology
o
youth and popular music in a primarily
British context. His book
is
as much a discussion about youth and teenagers
s
it is a
discussion about popular music. Rock and roll and its many branches, including hip-hop,
-
8/9/2019 Funciones Frith-estudio Prctico
10/85
2
rap,
punk rock, grunge, metal , and many others have generally always been considered as
music for teenagers.
Simo n Fri th s s study (1987 ) is an important piece of research about the function
of popular mus ic, including how it functions in society as a who le and in specific groups .
Fri th (1987) identif ies, and provides supporting ev idence for, four sociological functions
of popular mu sic: (a) to create a type of self-definit ion; (b) to provide a way of m anag ing
the relat ionship between on e s private and public emo tional l ives; (c) to shape po pular
mem ory, organ ize on e s sense of t ime, and intensify a given experience; and (d) to
provide a sense of musical ownership. Fri th writes about youth in relat ion to popular
mus ic culture and in relat ion to how mu sic functions in society, but he does not discuss
how these functions are fulfilled in the lives of adolescents specifically in this document.
The analysis of the data collected from this assignment proceeded using a
deductive approach described by Mark Abrahamson (1981) to determine whether the
functions that the students ascribed to their favorite so ngs match ed F ri th s (1987 )
functions.
Purpose of the Study
The purpo se of the present study was to verify wh ether Fr i th s four sociological
functions of popular music do in fact hold true in the lives of a specific group of
adolescents. Part icipants wrote a one-page essay about their favori te song and then
com pleted a survey based on Fri th s four sociological functions of popu lar music. Som e
part icipants divulged information in their writ ing that implied that their favori te songs do
function according to Fri t h s functions. The survey provides information that
rap, punk rock, grunge, metal, and many others have generally always been considered as
music for teenagers.
Simon Friths s study (1987) is an important piece o research about the function
o
popular music, including how it functions in society as a whole and in specific groups.
Frith (1987) identifies, and provides supporting evidence for, four sociological functions
o popular music: (a) to create a type o self-definition; (b) to provide a way o managing
the relationship between one s private and public emotional lives; (c) to shape popular
memory, organize one s sense o time, and intensify a given experience; and (d) to
provide a sense
o
musical ownership. Frith writes about youth in relation to popular
music culture and in relation to how music functions in society, but he does not discuss
how these functions are fulfilled in the lives o adolescents specifically in this document.
The analysis o the data collected from this assignment proceeded using a
deductive approach described by Mark Abrahamson (1981) to determine whether the
functions that the students ascribed to their favorite songs matched Frith s (1987)
functions.
Purpose
o
the Study
The purpose
o
the present study was to verify whether Frith s four sociological
functions o popular music do in fact hold true in the lives o a specific group o
adolescents. Participants wrote a one-page essay about their favorite song and then
completed a survey based on Frith s four sociological functions
o
popular music. Some
participants divulged information in their writing that implied that their favorite songs do
function according to Frith s functions. The survey provides information that
-
8/9/2019 Funciones Frith-estudio Prctico
11/85
3
dem onstrates that the part icipants favori te son gs do function ac cording to Fri th s four
functions at varying levels.
demonstrates that the participants favor
e songs do func
o
according to Frith s four
funct ions at varying levels.
3
-
8/9/2019 Funciones Frith-estudio Prctico
12/85
CHAPTER II
R E V I E W O F L I T E R A T U R E
There are many studies about the functions of music. These studies regarding both
the sociological and psychological functions of music have been as specific as
researching how music functions in the set t ing of the Civil Rights Movement and as
general as re-answe ring the question W hat psychological functions do es music serve in
everyday l ife? North (19 99) sets out to re-answer that question. He states:
The research findings lead us to conclude that the social functions of music are
manifested in three principal ways for the individual , namely in the management
of self-identi ty, interpersonal relat ionships and mo od. Th is leads us to propose a
new agenda for music psychology which places the social dimension at i ts core,
and which considers the interdisciplinary context; the effects of the
'democratization' of music; the role of theory the relat ionship between theory and
practice; and the implications for research methodology, (p.84)
Other scholars have done studies that examine the functions of music, including
popular m usic, in many different set t ings. There are, for examp le, scholars who have
exam ined the functions of music in the genre of fi lm (Vitouch, 2 001). The purpo se of his
study was to investigate experim entally mu sic context effects on perc eiver s ' plot related
exp ectatio n due to different typ es of film mu sic (p.70 ). He specifically tried not to use
stereotyped st imuli . In other words, he did not use music that people would normally
associate with certain feelings or actions. In Vitouch's (2001) study, 48 part icipants were
presented with one of two music versions (original v. fake score) of the visually identical
f i lm sequence. They then wrote brief continuations of the plot , which were subsequently
CHAPTER
II
REVIEW OF LITERATURE
There are many studies about the functions o music. These studies regarding both
the sociological and psychological functions
o
music have been as specific as
researching how music functions in the setting o the Civil Rights Movement and as
general as re-answering the question What psychological functions does music serve in
everyday life? North (1999) sets out to re-answer that question. He states:
The research findings lead us to conclude that the social functions o music are
manifested in three principal ways for the individual, namely in the management
o
self-identity, interpersonal relationships and mood. This leads
us
to propose a
new agenda for music psychology which places the social dimension at its core,
and which considers the interdisciplinary context; the effects o the
'democratization' o music; the role o theory the relationship between theory and
practice; and the implications for research methodology. (p.84)
Other scholars have done studies that examine the functions o music, including
popular music, in many different settings. There are, for example, scholars who have
examined the functions
o
music in the genre o film (Vitouch, 2001). The purpose o his
study was to investigate experimentally music context effects on perceivers' plot related
expectation due to different types
o
film music (p.70). He specifically tried not to use
stereotyped stimuli. In other words, he did not use music that people would normally
associate with certain feelings or actions. In Vitouch's (2001) study,
48
participants were
presented with one o two music versions (original
v
fake score) o the visually identical
film sequence. They then wrote brief continuations
o
the plot, which were subsequently
-
8/9/2019 Funciones Frith-estudio Prctico
13/85
5
analyzed using quantitative and qualitative content analysis, with the focus on emotional
content. The results of the study indicated that vie we rs '/l isten ers ' an ticipations about the
further development of a sequence are systematically influenced by the underlying film
mu sic, which implicitly co-determ ines the psycholo gical reality of the scen e (p.70).
Lapedis (1999) studied the function and effect of popular music in cinema. In this
study she examines the soundtracks of three films and how popular music functions in the
particular context of each film. She argues that the Thre e-m inute cu lture of Rock and
P o p (p.368) has affected the narrative structure of mainstream cinema. Her study is
important, because it discusses the functionality of popular music, and popular music
song lyrics in the context of film.
Rosenthal (2001) and Rose (2007) both present studies that have to do with the
function of music in the context of socio-political movements such as the civil rights
movement. Rose (2007) specifically discusses how music functioned in the civil rights
movement. Rose bases her examination on the 10 functions of music as described by
Merriam (1964). Rose concludes that Merriam's functions held true in the lives of the
Freedom Singers. Rosenthal discusses how music functions within any movement. He
specifically discusses the functions of popu lar mu sic as mo vem ent mu sic and
concludes that popular music has properties that lend themselves to mobilizing people.
He further concludes that in certain instances mo vem ent m usi c can help educate,
recruit, and/or mob ilize those not already comm itted to strug gle (p.l 1).
Pieslak (2009) examines the function of popular music, particularly rap and metal,
in the lives of soldiers in the Iraq war. Many personal accounts are given of how music is
used by soldiers in different way s. Pieslak describes in detail how mu sic plays a part in
5
analyzed using quantitative and qualitative content analysis, with the focus on emotional
content. The results of the study indicated that viewers' /listeners' anticipations about the
further development
of
a sequence are systematically influenced by the underlying film
music, which implicitly co-determines the psychological reality of the scene (p.70).
Lapedis (1999) studied the function and effect of popular music
in
cinema. In this
study she examines the soundtracks
of
three films and how popular music functions in the
particular context
of
each film. She argues that the Three-minute culture of Rock and
Pop (p.368) has affected the narrative structure of mainstream cinema. Her study is
important, because it discusses the functionality of popular music, and popular music
song lyrics in the context of film.
Rosenthal (200 I) and Rose (2007) both present studies that have to do with the
function
of
music in the context of socio-political movements such as the civil rights
movement. Rose (2007) specifically discusses how music functioned in the civil rights
movement. Rose bases her examination on the 1 functions of music as described by
Merriam (1964). Rose concludes that Merriam's functions held true in the lives
of
the
Freedom Singers. Rosenthal discusses how music functions within any movement. He
specifically discusses the functions of popular music as movement music and
concludes that popular music has properties that lend themselves to mobilizing people.
He further concludes that in certain instances movement music can help educate,
recruit, and/or mobilize those not already committed to struggle p.ll).
Pieslak (2009) examines the function of popular music, particularly rap and metal,
in the lives of soldiers in the Iraq war. Many personal accounts are given
of
how music
is
used
by
soldiers in different ways. Pieslak describes in detail how music plays a part in
-
8/9/2019 Funciones Frith-estudio Prctico
14/85
6
the every-day life of a soldier. He describes the use of technology as a factor in how
music plays a bigger role now in the life of a soldier than it has in previous wars.
Pieslak's (2009) work is a descriptive account rather than a study but the information in
his work is valuable to this study because of the personal accounts of soldiers that
describe how music functions in their lives. Many of the soldiers ' accounts imply that
Frith's four sociological functions hold true in their lives.
Cooper (1996) examines the sociological functions of popular love songs whose
themes were epistolary in nature, or relating to or denoting the writing of letters, during a
time of forced separation for many couples, the Second World War. Cooper concludes
that the epistolary form became a standard form for popular music in this era and that it
was calculatedly marketed to a willing population who wanted songs that sounded like
letters from home. People adopted the songs for themselves and used lyrics from them for
their own letters to loved ones. These songs helped to enhance many couples ' long
distance relationships.
McL eod (2006) writes about how gay anthe ms by well-know n homosexual
artists function in the context of sporting events. M cLe od conclud es that gay ant hem s
have thus been successfully co-opted to serve traditional heterosexual masculine leisure
(p.543) He also concludes that rock music can function in ways that it was not intended
to function. Popular music songs can be and have been adopted by groups or individuals
for reasons other than the reasons that artists had for writing the song. One famous
example of this is Charles Manson's use of the Beatles song Helter Skelter Manson
claimed that this song and other songs from the White Album were part of an apocalyptic
prophecy. Paul McCartney has said that the song was written in response to a review of
the every-day life o a soldier. He describes the use o technology as a factor in how
music plays a bigger role now in the life o a soldier than it has in previous wars.
Pieslak's (2009) work is a descriptive account rather than a study but the information n
his work is valuable to this study because o the personal accounts o soldiers that
describe how music functions in their lives. Many o
the soldiers' accounts imply that
Frith's four sociological functions hold true in their lives.
6
Cooper (1996) examines the sociological functions o popular love songs whose
themes were epistolary in nature, or relating to or denoting the writing o letters, during a
time o forced separation for many couples, the Second World War. Cooper concludes
that the epistolary form became a standard form for popular music in this era and that it
was calculatedly marketed to a willing population who wanted songs that sounded like
letters from home. People adopted the songs for themselves and used lyrics from them for
their own letters to loved ones. These songs helped to enhance many couples' long
distance relationships.
McLeod (2006) writes about how gay anthems by well-known homosexual
artists function in the context
o sporting events. McLeod concludes that gay anthems
have thus been successfully co-opted to serve traditional heterosexual masculine leisure
(p.543) He also concludes that rock music can function in ways that it was not intended
to function. Popular music songs can be and have been adopted by groups or individuals
for reasons other than the reasons that artists had for writing the song. One famous
example o this s Charles Manson's use o the Beatles song
Helter Skelter
Manson
claimed that this song and other songs from the White
lbum
were part o an apocalyptic
prophecy. Paul McCartney has said that the song was written in response to a review o
-
8/9/2019 Funciones Frith-estudio Prctico
15/85
7
the Who s song I an See for M iles and is an attempt to out-do that song in loudness
specifically using tape echo. The Beatles never claimed to write any proph ecies,
apocalyptic or otherwise.
Scholars have ex amined the relat ionship of words and mu sic and the function that
words add to the music in which they are placed. Fornas (2003) examines the relat ionship
of words and music in the realm of popular music in part icular . He examines nonsense
lyrics, grunts, aural poetry, spoken lyrics, and vocalization. He discusses h ow w ords can
take on different functions when they are sung or presented in the context of music. He
also discusses how w ords are part icularly imp ortant to the function of popular music. He
mentions that when people listen to popular music they do not divorce the lyrics from the
music but they hear it as a whole.
Because the present study deals with the functions of popular music in the lives of
adolesce nts, a review of some of the important l i terature that presents research a bout
adolescence was needed. Adolescence has been studied by many anthropologists as
nothing but a transit ional stage between youth and adulthood, saying nothing about the
contributions of adolescence to culture and how adolescence functions in many ways
outside of the framework of adulthood. B ucholtz (200 2) delves into youth culture from an
anthropo logical standpoint . She challenges the approach of treating adolescence as a l i fe
stage only in the context of preparing youth for adulthood. She presents evidence
supporting the idea that adolescence does function as a culture independent in some ways
from the culture of adulthood. She discusses how popular music is one piece of evidence
to support that idea.
the
Who s
song I an See
or
Miles and is an attempt to out-do that song in loudness
specifically using tape echo. The Beatles never claimed to write any prophecies,
apocalyptic or otherwise.
Scholars have examined the relationship
of
words and music and the function that
words add to the music in which they are placed. Fornas 2003) examines the relationship
of
words and music in the realm
of
popular music in particular. He examines nonsense
lyrics, grunts, aural poetry, spoken lyrics, and vocalization. He discusses how words can
take on different functions when they are sung or presented in the context of music. He
also discusses how words are particularly important to the function of popular music. He
mentions that when people listen to popular music they do not divorce the lyrics from the
music but they hear it as a whole.
Because the present study deals with the functions of popular music in the lives of
adolescents, a review
of
some of the important literature that presents research about
adolescence was needed. Adolescence has been studied y many anthropologists as
nothing but a transitional stage between youth and adulthood, saying nothing about the
contributions of adolescence to culture and how adolescence functions in many ways
outside
of
the framework of adulthood. Bucholtz 2002) delves into youth culture from an
anthropological standpoint. She challenges the approach of treating adolescence as a life
stage only in the context of preparing youth for adulthood. She presents evidence
supporting the idea that adolescence does function as a culture independent
in
some ways
from the culture
of
adulthood. She discusses how popular music is one piece
of
evidence
to support that idea.
-
8/9/2019 Funciones Frith-estudio Prctico
16/85
8
There are several studies about musical taste. Johnstone and Katz (1957) examine
musical taste among teenaged girls. The study deals with preference in popular music
within the context of group identity and geographic location in South Side Chicago. The
fieldwork was conducted during the winter and spring of 1954-55 using questionnaires
completed by eight clubs of teenage girls. The questions covered the following: (a)
relative interest in various types of music; (b) preferences in songs in the then-current
'Hit P arad e;' (c) preferences in disk jock eys; (d) preferences in particular kinds of
popular songs; (e) sociometric choices of best friends; and (f) dating. This study is
important, because it outlines the functions of popular music in the lives of adolescent
girls by finding out their preferences through studying their relationships to place and to
other people. Johnstone and Katz's study is similar to the present study, because it
involves using participants ' writing about songs that they prefer, or songs that they
consider to be their favorite songs. The fact that the songs that the participants of
Johnstone and Katz's study chose reflect place and peer group speaks to the validity of
Fri th's functions, particularly the second which is to provide a way of ma naging the
relationship betwe en on e's private and public emotion al lives and the first which is to
create a type of self-definition.
Bradley (2005) prese nts a series of a teenage g irl 's jour nal entries from the year
that Martin Luther King Jr. was shot. She writes about how she would not come to school
if not for her choir class. She discusses the subversive teaching tactics of her choir
teacher who teaches using patriotic Russian hymns and civil rights folk songs. She also
writes about the function of choral music in her teenaged life. She tells about how the
music she learns in class and the discussion about that music help her (a) to create a type
8
There are several studies about musical taste. Johnstone and Katz (1957) examine
musical taste among teenaged girls. The study deals with preference in popular music
within the context of group identity and geographic location in South Side Chicago. The
fieldwork was conducted during the winter and spring of 1954-55 using questionnaires
completed by eight clubs of teenage girls. The questions covered the following: (a)
relative interest in various types of music; (b) preferences in songs in the then-currcnt
Hit
Parade;' (c) preferences in disk jockeys; (d) preferences in particular kinds of
popular songs; (e) sociometric choices of best friends; and I) dating. This study is
important, because it outlines the functions
of
popular music in the lives of adolescent
girls
y
finding out their preferences through studying their relationships
to
place and to
other people. Johnstone and Katz's study is similar to the present study, because it
involves using participants' writing about songs that they prefer, or songs that they
consider
to
be their favorite songs. The fact that the songs that the participants of
Johnstone and Katz's study chose reflect place and peer group speaks to the validity of
Frith's functions, particularly the second which
is
to provide a way
of
managing the
relationship between one s private and public emotional lives and the first which is to
create a type of self-definition.
Bradley (2005) presents a series of a teenage girl's journal entries from the year
that Martin Luther King Jr. was shot. She writes about how she would not come to school
if not for her choir class. She discusses the subversive teaching tactics of her choir
teacher who teaches using patriotic Russian hymns and civil rights folk songs. She also
writes about the function of choral music in her teenaged life. She tells about how the
music she learns in class and the discussion about that music help her (a)
to
create a type
-
8/9/2019 Funciones Frith-estudio Prctico
17/85
9
of self-definit ion; (b) to provide a way of manag ing the relat ionship betwee n on e's
private and public emotional l ives; (c) to shape popular memory, organize one's sense of
t ime, and intensify a given experience; and (d) to provide a sense of musical o wne rship,
which are Fri th 's (1987) functions of popular music. Although she does not write directly
abo ut these functions, she uses langua ge that implies that the mu sic in her life fulfills
these functions.
Cam pbell , Connell , and Beegle (2007) aimed to determine the significance of
music and music education to middle and high school adolescents, including those
enrolled and not enrolled in school music progra ms (p.220). The main method for this
study was analysis of essays, statements, and reflections in response to a national essay
contest . Analysis was undertaken using an inductive approach to analyze content through
the triangulation of interpretations by the investigators. They were able to identify five
principal themes through this process within the expressed meanings of music by
adolescents: (a) identity formation in and through music; (b) emotional benefits; (c)
music's life benefits, including character-building and life skills; (d) social benefits; and
(e) posit ive and negative impressions of school music programs and their teachers. This
study is important because the authors provide an example of content analysis of the
writ ings of adolescents. I t is also important because they write about how music functions
in the lives of adolescents.
Fri th (1983) writes about the sociology of youth and popular music in a primarily
British context. He discusses the way different musics seem to attract different groups.
Teenager and youth culture are two terms that are key to Fri th 's discussion about the
sociolog y of you th and pop ular music . Th ese different terms partly reflect different
9
of
self-definition; (b) to provide a way
of
managing the relationship between one s
private and public emotional lives; (c) to shape popular memory, organize one s sense of
time, and intensify a given experience; and (d) to provide a sense
of
musical ownership,
which are Frith's (1987) functions
of
popular music. Although she does not write directly
about these functions, she uses language that implies that the music in her life fulfills
these functions.
Campbell, Connell, and Beegle (2007) aimed to determine the significance
of
music and music education to middle and high school adolescents, including those
enrolled and not enrolled
in
school music programs (p.220). The main method for this
study was analysis
of
essays, statements, and reflections in response to a national essay
contest. Analysis was undertaken using an inductive approach to analyze content through
the triangulation
of
interpretations by the investigators. They were able to identify five
principal themes through this process within the expressed meanings
of
music by
adolescents: (a) identity formation in and through music; (b) emotional benefits; (c)
music's life benefits, including character-building and life skills; (d) social benefits; and
(e) positive and negative impressions of school music programs and their teachers. This
study is important because the authors provide an example
of
content analysis
of
the
writings of adolescents. t is also important because they write about how music functions
n
the lives
of
adolescents.
Frith (1983) writes about the sociology of youth and popular music in a primarily
British context. He discusses the way different musics seem to attract different groups.
Teenager and youth culture are two terms that are key to Frith 's discussion about the
sociology
of
youth and popular music. These different terms partly reflect different
-
8/9/2019 Funciones Frith-estudio Prctico
18/85
10
historical moments, part ly different concerns, and they often overlap (p .181). Frith
explains that the term teena ger is a 1950s concept , and that you th and youth
culture are terms from the 1960s. The term teenag er refers mostly to the working-class
you ng , the way that Frith uses it, and that the term yo uth sugg ests the insignificance of
class distinctions at this age, but is usually and implicitly applied to the middle-class
young as it is used in his work. Frith examines both of these terms, teenager and youth, in
the context of popular music particularly in the period from 1950 to 1970. Other topics he
discusses are youth and production, youth and music, the use of music, music and class,
the sociology of taste, subcultures, and girls and youth culture. All of these topics are
discussed in a sect ion of Fri th 's book called Rock Co nsum ption. Fri th consistent ly
focuses on the ways in which popular music functions in the lives of youth in this book.
However, he does not outline or identify a set of sociological functions of popular music
in this work.
Frith (1987) identifies four sociological functions of popular music: (a) to create a
type of self-definition; (b) to provide a way of managing the relationship between one's
private and public emotional l ives; (c) to shape popular memory, organize one's sense of
t ime,
and intensify a given experience; and (d) to provide a sense of musical ownership.
Frith (1987) discusses in detail how each of these functions might work in the lives of
real people . He gives exa m ples of what he m ean s in each case . Frith writes about his first
function, or, to create a type of self-definition; Th e plea sure that po p music prod uces is a
pleasure of identification - with the music we like, with the performers of that music,
with the other people who like it
(p .
140). Frith also mentio ns that the produc tion of
identity is also a production of nonidentity - it is a process of inclusion and exclusion
1
historical moments, partly different concerns, and they often overlap (p.181). Frith
explains that the term teenager
is
a 1950s concept, and that youth and youth
culture are terms from the 1960s. The term teenager refers mostly to the working-class
young, the way that Frith uses it, and that the term youth suggests the insignificance o
class distinctions at this age, but
is
usually and implicitly applied to the middle-class
young
as
it is used in his work. Frith examines both o these terms, teenager and youth, in
the context o popular music particularly in the period from 1950 to 1970. Other topics he
discusses are youth and production, youth and music, the use o music, music and class,
the sociology
o
taste, subcultures, and girls and youth culture. All o these topics are
discussed in a section o Frith's book called Rock Consumption. Frith consistently
focuses on the ways in which popular music functions in the lives o youth in this book.
However, he does not outline or identify a set o sociological functions
o
popular music
in this work.
Frith (1987) identifies four sociological functions o popular music: (a)
to
create a
type ofself-dcfinition; (b)
to
provide a way
o
managing the relationship between one's
private and public emotional lives; (c)
to
shape popular memory, organize one's sense o
time, and intensify a given experience; and (d) to provide a sense
o
musical ownership.
Frith (1987) discusses in detail how each o these functions might work in the lives o
real people. He gives examples o what he means in each case. Frith writes about his first
function, or,
to
create a type o self-definition; The pleasure that pop music produces is a
pleasure o identification - with the music we like, with the performers
o
that music,
with the other people who like it (p.140). Frith also mentions that the production o
identity
is
also a production
o
nonidentity - it
is
a process
o
inclusion and exclusion
-
8/9/2019 Funciones Frith-estudio Prctico
19/85
11
(p.140). Frith explains his second function, or, to provide a way of ma nag ing th e
relat ionship between one's private and public emotional l ives.
Love songs are a way of giving emotional intensity to the sorts of intimate
things we say to each other (and to ourselves) in words that are, in
themselves, quite flat. It is a peculiarity of everyday language that our
most fraught and revealing declarations of feeling have to use phrases - T
love/hate you' , 'Help me ' , ' I 'm angry/scared' - which are boring and
banal; and so our culture has a supply of a million pop songs, which say
these things for us in numerous interesting and involving ways. These
songs do not replace our conversations - pop singers do not do our
courting for us - but they make our feelings seem richer and more
convincing than we can make them appear in our own words, even to
ourselves, (p .141)
Frith clarifies his third function.
The third function of popular music is to shape popular memory, to
organize our sense of time. Clearly one of the effects of all music, not just
pop , is to intensify our experience of the present. One measure of good
music, to put it another way, is, precisely, its 'presence', its ability to
' s t o p '
time, to make us feel we are living within the moment, with no
memory or anxiety about what has come before, what will come after,
(p .140)
Frith also explains that this function has much to do with youth and how music does more
than jus t "trigger asso ciated m em orie s, but, rather, that mu sic in itself prov ides our m ost
vivid experience of time pas sing." Fri th gives an explanation of how youth is
experienced. "You th is experienced, that is , as an intense presence, through an im patience
for time to pass and a regret that it is doing so, in a series of speeding, physically insistent
moments that have nostalgia coded into them." (p.140)
Frith explains that he learned of his fourth function through his work as a rock
critic. He describes that through receiving abusive mail from fans of popular musicians of
wh om he has given unfavo rable revie ws, he realized that people did not jus t like the
groups they listened to, they owned them. They did not own them in the sense that they
(p.140). Frith explains his second function, or, to provide a way
of
managing the
relationship between one s private and public emotional lives.
Love songs are a way
of
giving emotional intensity to the sorts
of
intimate
things we say to each other (and to ourselves) in words that are, in
themselves, quite flat.
t
is a peculiarity
of
everyday language that our
most fraught and revealing declarations
of
feeling have to use phrases - I
love/hate you', 'Help me ',
I m
angry/scared' -which are boring and
banal; and so our culture has a supply of a million pop songs, which say
these things for us in numerous interesting and involving ways. These
songs do not replace our conversations - pop singers do not do our
courting for us - but they make our feelings seem richer and more
convincing than we can make them appear in our own words, even to
ourselves. (p.14l)
Frith clarifies his third function.
The third function
of
popular music
is
to shape popular memory, to
organize our sense
of
time. Clearly one
of
the effects
of
all music, not just
pop, is to intensify our experience of the present. One measure of good
music, to put it another way, is, precisely, its 'presence', its ability to
stop time, to make us feel we are living within the moment, with no
memory or anxiety about what has come before, what will come after.
(p.140)
Frith also explains that this function has much to do with youth and how music does more
than just "tr igger associated memories, but, rather, that music in itself provides our most
vivid experience
of
time passing." Frith gives an explanation
of
how youth
is
experienced. "Youth is experienced, that is, as an intense presence, through an impatience
for time to pass and a regret that it is doing so, in a series of speeding, physically insistent
moments that have nostalgia coded into them." (p.140)
Frith explains that he learned of his fourth function through his work as a rock
critic. He describes that through receiving abusive mail from fans
of
popular musicians
of
whom he has given unfavorable reviews, he realized that people did not just like the
groups they listened to, they owned them. They did not own them in the sense that they
-
8/9/2019 Funciones Frith-estudio Prctico
20/85
12
had purc hase d the album but as Frith explains ; it is not jus t the record that peo ple think
they own: we feel that we also possess the song itself the particular performance, and its
performer. In 'possessing' music, we make it part of our own identity and build it into our
sense of ourselves
(p .
142).
The purpose of this study was to examine whether a certain group of adolescents'
favorite songs fulfill Frith's functions of popular music according to those same
adolescents' own writings and a survey on that topic. So many adolescents listen to
popular music. Many scholars such as Fri th (1987) bel ieve that popular music is worthy
of study. Additionally, the Music Educators National Conference declared in 1969 that:
M usic education must encom pass al l mu sic (Housew right , Sarig, Ma cClusk ey, &
Hughes, 1969, p.45). Because of these facts it seems important that educators know about
how popular music functions in the lives of their students.
Although most of the reviewed literature has been instrumental in devising the
method of research in the present s tudy, the work of Abrahamson served exclusively as a
guide for the methodolog y therein. Abra ham son (198 3) states, If we begin with a theory
that we wish to test empirically, we will proceed in a deductive mannerfrom the more
general or abstract to the more specific or concrete (p.l46). He describes the difference
between induction and deduction and gives examples of both. The framework that he lays
out is the basis for the way the meaning is drawn from the data in this study using the
deductive approach. Figure 1 describes the process in which one can ei ther deduce or
induce value from a given set of data.
2
had purchased the album but as Frith explains; it is not
just
the record that people think
they own: we feel that we also possess the song itself, the particular performance, and its
performer. In 'possessing' music, we make
it
part of our own identity and build it into our
sense of ourselves (p.142).
The purpose of this study was to examine whether a certain group of adolescents'
favorite songs fulfill Frith's functions of popular music according to those same
adolescents' own writings and a survey on that topic. So many adolescents listen to
popular music. Many scholars such as Frith (1987) believe that popular music is worthy
of
study. Additionally, the Music Educators National Conference declared in 1969 that:
Music education must encompass all music (Housewright, Sarig, MacCluskcy,
Hughes, 1969,
pAS .
Because
of
these facts it seems important that educators know about
how popular music functions in the lives
of their students.
Although most of the reviewed literature has been instrumental in devising the
method
of
research in the present study, the work of Abrahamson served exclusively as a
guide for the methodology therein. Abrahamson (1983) states,
If
we begin with a theory
that we wish to test empirically, we will proceed in a deductive
manner-from
the more
general or abstract to the more specific or concrete (p.146). He describes the difference
between induction and deduction and gives examples of both. The framework that he lays
out is the basis for the way the meaning is drawn from the data in this study using the
deductive approach. Figure 1 describes the process in which one can either deduce or
induce value from a given set
of
data.
-
8/9/2019 Funciones Frith-estudio Prctico
21/85
13
Propositions from a Theory
i t
Operational Definitions of Concepts
i t
Assignment of Values to Individual Cases
(| Deductive Path, f = Inductive Path)
Abrahamoff (1983)
Figure 1. Chains of Thought
Summary
Research has been done regarding the functions of popular music as well as the
functions of music in general (Frith, 1983; Frith, 1987; North, 1999). Others have
researched how music functions in specific settings (Cam pbell, Con nell, Beegle, 200 7;
Cooper, 1996; Frith, 1983; Lapedis, 1999; Pieslak, 2009; Rose, 2007; Rosenthal, 2001;
Vitouch, 2001). Research has been done regarding the culture of youth (Bucholtz, 2002).
Others have examined popular music as a part of the culture of youth (Campbell, et al.,
2007 ;
Frith, 1983; Johnsto ne Katz, 1957). Tho ugh the relevant literature exam ines both
the sociological functions of popular music (Frith, 1987) and youth culture (Bucholtz,
2002) ,
even how popular music is an element of youth culture (Campbell, et al., 2007;
Frith, 1983; Johnston e Katz, 1957), the present study exam ines Frit h's functions of
popular music in the lives of a specific group of adolescents.
Propositions from a Theory
j t
Operational Definition s of Concepts
j
t
Assignment of Values to Individual Cases
j
Deductive Path,
t
Induct ive Path)
Abrahamoff (1983)
Figure I. Chains
of
Thought
Summary
13
Research has been done regard in g the functions of popular music as well as the
funct ions of music in general (Fri th, 1983; Frith,
\98
; North, 1999). Others have
researched how mllsic functio ns in specific se ttings (Campbell, Connell , Beegle, 2007;
Cooper, 1996; Frith, 1983 ; Lapedis, 1999; ieslak, 2009; Rose, 2007; Rosenthal, 200 1;
VitOllch, 200 1). Research has been done regarding the culture
of
youth (Bucholtz, 2002).
Others
ha
ve examined popular music as a part of the culture
of
youth (Campbell , et a ,
2007; Frith, 1983; Johnstone Katz, 1957). Though
th
e relevant
li
terature examin
es
both
the soc iological functions of popular music (Frith, 1987) and you th cu lture (Bucholtz,
2002), eve n how popular mus ic is an element of youth culture (Campbe ll , et a
, 2007;
Frith, 1983; Johnstone Katz, 1957), the present s tudy examines Frith s functions
of
popular music in
th
e lives
of
a specific group
of
adolescents.
-
8/9/2019 Funciones Frith-estudio Prctico
22/85
CHAPTER II I
M E T H O D
Pilot Studies
Two pilot studies provided important information for the present study. The first
pilot study occurred in the fall of 2007. All students enrolled in a choral class at a high
school in the Salt Lake Valley completed an essay about why their favorite song is their
favori te. Using a quali tat ive analysis process, Abrahamson (1983), I compared the
students ' writ ings and Fri th 's (1987) functions. The quali tat ive analysis consisted of
reading the essays and circl ing and underl ining key words and phrases that matched
Frith 's functions. This approach produced data that did not answer the question of the
study: Do a certain group of adolescents' favorite songs fulfill Frith's functions of popular
mus ic? Because the only data consisted of essays that answered the question, W hy is
your favorite song your favorite son g? This approach produced no concrete evidence as
to how the songs actually functioned in the lives of the participants. The essay part of this
pilot study wo uld ha ve been very useful if it had been cou pled with m ore conc lusive data
that answered the question posed above. An added survey in the second pilot study
provided more conclusive data.
The part icipating teach er for the second pilot study received the following
explanation about the expectat ions for the part icipants: that the students would be writ ing
a one page handwrit ten essay and a survey about their favori te song. (An exact example
CHAPTER
METHOD
Pilot Studies
Two pilot studies provided important information for the present study. The first
pilot study occurred in the fall
o
2007. All students emolled
n
a choral class at a high
school in the Salt Lake Valley completed an essay about why their favorite song s their
favorite. Using a qualitative analysis process, Abrahamson (1983), I compared the
students' writings and Frith's (1987) functions. The qualitative analysis consisted o
reading the essays and circling and underlining key words and phrases that matched
Frith's functions. This approach produced data that did not answer the question
o
the
study: Do a certain group o adolescents' favorite songs fulfill Frith's functions o popular
music? Because the only data consisted
o
essays that answered the question, Why is
your favorite song your favorite song? This approach produced no concrete evidence as
to how the songs actually functioned in the lives
o
the participants. The essay part o this
pilot study would have been very useful i it had been coupled with more conclusive data
that answered the question posed above. An added survey in the second pilot study
provided more conclusive data.
The participating teacher for the second pilot study received the following
explanation about the expectations for the participants: that the students would be writing
a one page handwritten essay and a survey about their favorite song. (An exact example
-
8/9/2019 Funciones Frith-estudio Prctico
23/85
15
of the essay template received by the participants is found in Appendix A. The survey can
be found in Appendix B.) I did not catch a few mistakes before the pilot study went
forward. For exam ple, the second to last sent enc e's first word is misspelled ; ple as
should be please.
After I passed out the essay template contained in Appendix A, I read the
following instructions:
I am a music teacher at Nibley Park K-8 School and a Masters Student in M usic
Education at the University of Utah. I would like to know ab out the music that you
listen to.
Please use this paper to tell me why your favorite song is your favorite
song. List as many reasons as you can think offor why that song is your favorite
more than any other song. You can tell me; when you listen to it w hy you listen to
it how you listen to it with whom you listen to it how it makes you feel when you
listen to it or anything else you want to tell me about it. Make sure to tell me the
title of your favorite song and w ho performs it. You can use the back if you need
to.
You will have 15 minutes to write. I will give you 2 minutes to think about
what your favorite song is and why.
I will tell you when your fifteen minutes starts and when you have five
minutes left. If you have any questions raise your hand and I will come and
answer them. Y our two minutes thinking time begins now .
I observed the students during the 15 minutes of writing time. During the 2
minutes thinking time, I watched the clock and waited for the 2 minutes to end. I casually
observed the students during this time as well. I noted that the majority of the participants
used the thinking time that they had been given. It seemed that way to me, because none
of the participants was talking. I noticed that one student was not writing, but when I
looked at him he started. With approximately 8 minutes left, I gave the students a verbal
direction to keep writing and reiterated the directions. One participant came in to the
room 2 minutes after the study had begun and was given the essay template. Another
participant left during the study, and I found out later that she had completed her template
5
o the essay template received by the participants is found in Appendix
A
The survey can
be found in Appendix B.) I did not catch a few mistakes before the pilot study went
forward. For example, the second to last sentence's first word
is
misspelled; pleas
should be please.
After I passed out the essay template contained in Appendix A, I read the
fo llowing instructions:
1 am a music teacher at Nibley Park K-8 School and a Masters Student
in
Music
Education at the University ofUtah. would like to know about the music that you
listen
to.
Please use this paper to tell me why your favorite song
is
yourfavorite
song. List as many reasons as you can think
of
or why that song
is
yourfavorite
more than any other song. You can tell me; when you listen to it why you listen to
it how you listen to it with whom you listen to it how it makes youfeel when you
listen to it or anything else you want to tell me about it. Make sure to tell me the
title
of
your favorite song and who performs it. You can use the back
i
you need
to.
You will have 15 minutes to write. 1 will give you 2 minutes to think about
what your favorite song is
and
why.
1 will tell
you
when your fifteen minutes starts and when you have five
minutes left.
f
you have any questions raise your hand
and
1 will come
and
answer them. Your two minutes thinking time begins now.
I observed the students during the
5
minutes
o
writing time. During the 2
minutes thinking time, I watched the clock and waited for the 2 minutes to end. I casually
observed the students during this time as well. I noted that the majority o the participants
used the thinking time that they had been given. t seemed that way to me, because none
o the participants was talking. I noticed that one student was not writing, but when I
looked at him he started. With approximately 8 minutes left, I gave the students a verbal
direction to keep writing and reiterated the directions. One participant came in to the
room 2 minutes after the study had begun and was given the essay template. Another
participant left during the study, and I found out later that she had completed her template
-
8/9/2019 Funciones Frith-estudio Prctico
24/85
16
out in the hall . The classroom teacher gave the verbal cue, Tho se of you wh o are truly
done can work on the other assignment that I gave you. But you should really try to drain
yo ur brains on to that pap er. One particip ant asked if she could hear the essays. I said
that she mig ht be able to hear them later. Th e same participant asked wh at numb er four
meant on the survey. An exact example of the survey given to the part icipants can be
seen in Appendix B.
This pilot study alerted me to several things that needed to change for the actual
study. Aside from basic edit ing in the templates, ch anges n eed to be made in the way the
study is administered. For example, the script needed several changes. A copy of the
finalized script can be found in Ap pe nd ix E. I also realized tha t I nee ded to mentio n to
the participating teacher that the essays would not be returned to the class.
Procedure for Actual Study
ontacting the Teacher
After the second pilot study, I took great care to communicate clearly with the
cooperating teacher. In the actual study, the teacher understood that the students '
complete part icipation was needed and that no other assignments should be worked on
during the approximately 20 minutes during the administrat ion of the study. These
talking points helped prevent miscommunication with the part icipating teacher.
1. To pic of s tudy.
2.
Wh at the students were going to need .
a. Penc il or pen .
3.Wh at was going to happen, exactly?
a. The script was read to the teacher.
6
out in the hall. The classroom teacher gave the verbal cue, Those o you who are truly
done can work on the other assignment that I gave you. But you should really try to drain
your brains on to that paper. One participant asked
i
she could hear the essays. I said
that she might be able to hear them later. The same participant asked what number four
meant on the survey. An exact example
o
the survey given to the participants can be
seen in Appendix B
This pilot study alerted me to several things that needed to change for the actual
study. Aside from basic editing in the templates, changes need to be made in the way the
study
is
administered. For example, the script needed several changes. A copy o the
finalized script can be found in Appendix
E
I also realized that I needed to mention to
the participating teacher that the essays would not be returned to the class.
Procedure for Actual Study
ontacting the Teacher
After the second pilot study, I took great care
to
communicate clearly with the
cooperating teacher. In the actual study, the teacher understood that the students'
complete participation was needed and that no other assignments should be worked on
during the approximately 20 minutes during the administration o the study. These
talking points helped prevent miscommunication with the participating teacher.
l Topic o study.
2 What the students were going to need.
a Pencil or pen.
3 What was going to happen, exactly?
a The script was read to the teacher.
-
8/9/2019 Funciones Frith-estudio Prctico
25/85
17
b.
Just so you know exactly what I will be doing with your students, can I
read you a short script of what will go on?
4.
An explanation that during the twenty minutes or so, the students should not be
doing any other work.
5.
An explanation that the students will not get the papers back, so if the participating
teacher wanted the students to get credit for these papers, she would have to make
an accounting of who participated during the study.
6
An expression of thanks.
Participant Writing
All participant writing that is quoted in this document will be italicized and
indented. There are some spelling, and grammatical, errors in the participant samples, but
I have left them intact to demonstrate the unique styles of writing of the individual
participants.
Essay Content Analysis
Ma rk Abraham son (1983) describes a deductive approac h: If we begin with a
theory that we wish to test empirically , we will proceed in a deductiv e manner from the
more general or abstract to the more specific or concrete
(p .146).
In the present study, I
sought to test empirically whether a certain group of adolescents ' favorite songs do in
fact fulfill to some extent these four sociological functions of popular music identified by
Frith (1987) in their lives: (a) To create a type of self-definition; (b) to provide a way of
managing the relationship between one's private and public emotional lives; (c) to shape
popular memory, organize one's sense of time, and intensify a given experience; and (d)
b Just so you know exactly what I will be doing with your students, can I
read you a short script of what will go on?
4
An explanation that during the twenty minutes or so, the students should not be
doing any other work.
17
5
An explanation that the students will not get the papers back, so
if
the participating
teacher wanted the students
to
get credit for these papers, she would have
to
make
an accounting
of
who participated during the study.
6 An expression of thanks.
Participant Writing
All participant writing that
is
quoted in this document will be italicized and
indented. There are some spelling, and grammatical, errors in the participant samples, but
I have left them intact to demonstrate the unique styles
of
writing of the individual
participants.
Essay Content nalysis
Mark Abrahamson (1983) describes a deductive approach:
If
we begin with a
theory that we wish to test empirically, we will proceed in a deductive manner-from the
more general or abstract to the more specific or concrete (p.146). In the present study, I
sought
to
test empirically whether a certain group
of
adolescents' favorite songs
do
in
fact fulfill to some extent these four sociological functions
of
popular music identified by
Frith (1987) in their lives: (a) To create a type
of
self-definition; (b) to provide a way
of
managing the relationship between one's private and public emotional lives; (c) to shape
popular memory, organize one's sense
of
time, and intensify a given experience; and (d)
-
8/9/2019 Funciones Frith-estudio Prctico
26/85
18
to provide a sense of musical ownership. Frith defined these functions in such a way that
they are not specific to any genre of popular music or any particular type of person and
are therefore more general or abstract. Because the purpose of this study is to determine
whether certain adolescents ' favorite songs fulfill the four sociological functions of
popular music, the goal of the content analysis of the essays was to find more specific or
concrete examples of exactly how the participants ' favorite songs function in their lives.
To find these concrete examples, I labeled key words and phrases that implied specific
functions and then matched those concrete and specific examples to the more general and
abstract functions described by Frith. (See Appendix F for an example of an analyzed
essay.) For instan ce, Frith 's first function is to create a type of self-definition. Lan guag e
that might imply that a song creates a type of self-definition could include phrases similar
to the following phrases taken from a participant writing from the study: "7
like this song
because it describes me
or
The lyrics describe him helping others and that's what I try
to do
Function two is to provide a way of managing the relationship between one's
private and public emotional lives. Although this function is complicated, students could
tell a story that implies this function such as is found in Bradley's (2005) article. She
describes an entry from an adolescent's journal describing how learning a Russian
patriotic song helps her manage her feelings about her father and her heritage.
I knew it Charlie told us today that some people were worried becau se we
were singing March Over Meadows in mixed chorus - they were afraid he was
trying to turn us all into communists. We talked a lot in class this morning
instead of singing. We talked about why it might be okay to sing March over
Meadows, and whether or not singing it meant we believed the Bolsheviks
were "ri ght" or if we we re jus t singing about som ething that really happened in
history. I think Charlie was trying to make sure we could explain it to our
parents if they asked us about the song. I don't think my mother or father
8
to provide a sense
of
musical ownership. Frith defined these functions in such a way that
they are not specific to any genre
of
popular music or any particular type
of
person and
are therefore more general or abstract. Because the purpose of this study is to determine
whether certain adolescents' favorite songs fulfill the four sociological functions
of
popular music, the goal
of
the content analysis
of
the essays was to find more specific or
concrete examples
of
exactly how the participants' favorite songs function in their lives.
To find these concrete examples, I labeled key words and phrases that implied specific
functions and then matched those concrete and specific examples to the more general and
abstract functions described by Frith. (See Appendix F for an example
of
an analyzed
essay.) For instance, Frith's first function is to create a type
of
self-definition. Language
that might imply that a song creates a type of self-definition could include phrases similar
to the following phrases taken [rom a participant writing from the study:
/ like this son?,
because t describes me, or The lyrics describe him helping others nd that's what / try
to do.
Function two is to provide a way
of
managing the relationship between
one's
private and public emotional lives. Although this function is complicated, students could
tell a story that implies this function such as is found in Bradley's (2005) article. She
describes an entry from an adolescent's journal describing how learning a Russian
patriotic song helps her manage her feelings about her father and her heritage.
I knew it Charlie told us today that some people were worried because we
were singing March Over Meadows in mixed chorus - they were afraid he was
trying to turn us all into communists. We talked a lot in class this morning
instead
of
singing. We talked about why it might be okay to sing March over
Meadows, and whether or not singing it meant we believed the Bolsheviks
were right or if we were just singing about something that really happened in
history. I think Charlie was trying to make sure we could explain it to our
parents
if
they asked us about the song. I don't think my mother or father
-
8/9/2019 Funciones Frith-estudio Prctico
27/85
would worry about i t too much. My dad came to the United States in 1929
when he was 19 years old, and I can tell from things he has said that he felt
very confused during W orld W ar II . He hated Hit ler and the Naz is, I kno w, but
he sti ll loved Germ any. H e hated that so many places that he remem bered from
his childhood were destroyed by the All ies. He doesn t have very much family
left in Germany - a lot of them died during the war. He still gets angry
watching movies about the war and the way the Germans are always the bad
guys. Somehow, singing March Over Meadows helped me to see how
confusing it must be for people like my dad. I hope we get to do this song on
our next co ncert, b ut I bet we d on t. . . .(p.3)
This story implies that the song helped her to manage the relationship with
her father, or her private life, and the way she feels about the place and time she
was living in. One participant from the second pilot study wrote,
" ...it really re lates to how you feel like you feel broken inside. N o on e
understands, lots of people say, you know, their fine, their holding on and
everything is ok You are still holding on and I know how that feels. "
Another student from the actual study wrote,
"Sometimes when him and I are fighting I will just lay down, turn my ipod
on and listen to the song makes me feel a lot more happy "
Another part icipant wrote, "Whenever I am mad at that someone, I listen to the
song & it just switches my attitude
around
It's weird how a song can do that. "
These are exam ples that show h ow a part icipant might imply this part icular
function.
The third function is to shape popular mem ory, o rganize on e s sense of
time, and intensify a given experience. For instance, a participant from the pilot
study wrote; "My remembrance of this song are mostly with my friends, driving
somewhere, going to the movies, " implying that it organizes his or her sense of
t ime. Another part icipant wrote; "I listen to this song before a soccer game and
would worry about it too much. My dad came to the United States in 1929
when he was
19
years old, and I can tell from things he has said that he felt
very confused during World War II. He hated Hitler and the Nazis, I know, but
he still loved Germany. He hated that
so
many places that he remembered from
his childhood were destroyed by the Allies. He doesn't have very much family
left in Germany - a lot of them died during the war. He still gets angry
watching movies about the war and the way the Germans are always the bad
guys. Somehow, singing March Over Meadows helped me to see how
confusing it must be for people like my dad. I hope we get to do this song on
our next concert, but I bet we don't. p.3)
This story implies that the song helped her to manage the relationship with
her father, or her private life, and the way she feels about the place and time she
was living in. One participant from the second pilot study wrote,
it really relates to how you feel like you feel broken inside. No one
understands, lots ofpeople say, you know, theirfine, their holding on
nd
everything
is
ok You are still holding on nd I know how that feels. "
Another student from the actual study wrote,
"Sometimes when him
nd
I are fighting I will just lay down, turn my ipod
on nd listen to the song makes me
feel
a lot more happy "
Another participant wrote, "Whenever I am
m d
at that someone, I listen to the
song
&
it
just
switches my attitude around. It's weird how a song can
do
that. "
These are examples that show how a participant might imply this particular
function.
The third function is to shape popular memory, organize one s sense of
time, and intensify a given experience. For instance, a participant from the pilot
study wrote;
"My remembrance
of
his song are mostly with my friends, driving
somewhere, going to the movies, implying that it organizes his or her sense
of
time. Another participant wrote;
J listen to this song before a soccer game
nd
19
-
8/9/2019 Funciones Frith-estudio Prctico
28/85
20
some days wh en I get up in the morning. I listen to it because it gets me pumped up
for a game or just for the day, implying that it intensifies a given experience.
Function four is to provide a sense of musical ownership. A part icipant
wrote ; This song is mine and my boyfriend's song. Another part icipant wrote
Something about ha ving everyone know a song kind of bugs me. I feel like it
doesn't really belong to me personally when everyone knows it, thereby implying
that knowing about a song before other people provides a sense of ownership to
the song.
Some part icipants used langu age that implied a function that seem ed to not
fit into any of Frith's functions. The idea of escapism came up numerous times, as
in this essay where a participant wrote,
This song m akes me feel pretty powerful, It's kinda like my escape. B ut I
think pretty much all teens look at any music that way. Music is our escape
it takes us away from our drama-filled lives & gives us a chance to be part
of something amazing.
The Survey
The analysis of the data involved a comparison of each essay with its
corresponding survey, which included direct questions using language from Frith 's
functions, such as the following: This song helps me define
myself,
followed by
five options, strongly agree, mildly agree, not sure, mildly disagree or strongly
agree. Lang uage used in the pilot study did not directly imply F ri th 's functions. To
impro ve the survey for the actual study, I chose lang uage that more closely
resembled the meaning of Fri th 's functions. Each element of Fri th 's functions was
represented by at least one question. Function three has mult iple elements, and so
some days when I
get
up in the morning. I listen to
t
because
t
gets me pumped up
for
a game or just
for
the
day implying that it intensifies a given experience.
Function four s to provide a sense
o
musical ownership. A participant
wrote;
This song
is
mine
and my boyjdend s
song.
Another participant wrote
Something about having everyone know a song kind
of
bugs
me.
I feel like
t
doesn't really belong to me personally when everyone knows it
thereby implying
that knowing about a song before other people provides a sense o ownership to
the song.
Some participants used language that implied a function that seemed to not
fit into any
o
Frith's functions. The idea
o
escapism came up numerous times, as
in this essay where a participant wrote,
This song makes me feel pret ty powerful, It's kinda like
my
escape. But I
think pretty much all teens look at any music that way. Music is our escape
it takes us away from our drama-filled lives
&
gives us a chance
to
be part
of
something amazing.
The
Survey
The analysis o the data involved a comparison o each essay with its
corresponding survey, which included direct questions using language from Frith's
functions, such as the following: This song helps me define myself, followed by
five options, strongly agree, mildly agree, not sure, mildly disagree or strongly
agree. Language used in the pilot study did not directly imply Frith 's functions. To
improve the survey for the actual study, I chose language that more closely
resembled the meaning o Frith's functions. Each element
o
Frith's functions was
represented by at least one question. Function three has multiple elements, and so
20
-
8/9/2019 Funciones Frith-estudio Prctico
29/85
21
each element in that function was represented by its own separate question on the
survey. Through finding key phrases that implied sociological function in
participant writing and comparing those phrases with corresponding surveys that
use language from Fr ith s functions I was able to determ ine wh ether the
parti cipa nts favorite songs fulfilled F rith s fun ctions.
articipants
The participants for this study were sophomores (tenth graders) from a public
high school in Salt Lake County enrolled in three sophomore English classes. The total
number of participants was 75. Some students in the classes were not able to participate
in the study, because they did not return signed parent permission forms.
each element
in
that func tion was represent
ed
by its own separate ques tion on the
survey.
Thr
ough finding key phrases that implied soc iological function
in
participant writing and comparing those phrases with
co
rresponding su rveys that
use language from Frith s functions I was ab le to determine whether the
partic
ip
ants favor
it
e so ngs fulfi
ll
ed Frith s funct
io
ns.
articipants
2
The participants for this study were sophomores (tenth graders) from a public
hi
gh school
in
Sa
lt
Lake County e nro
ll
ed
in
th ree sophomore English classes . The total
number of participants was 75. Some students in the classes were not able to participate
in
the study, because they di d not r
et
urn signed parent permission
fo
rm
s
-
8/9/2019 Funciones Frith-estudio Prctico
30/85
CHAP T E R IV
A N A L Y S I S A N D R E S U L T S
Survey
The purpo se of this study was to exam ine whet her a group of adolescents favorite
songs fulfill Frith s functions of popular m usic accord ing to those same adolesc ents own
writings and a survey on that topic. The survey was an instrument to determine whether
the particip ant s favorite son gs fulfilled Fri th s functions in their writings. The m eans of
all the answers of the individual questions and the standard deviations for each of the
answers to the individual questions are presented in this chapter. The multiple choice
answ ers for questions 1 through 8 are coded as num eric values from 1-5. The means of
all the answers for each question and standard deviations for each question can be found
in Table 1. Table 2 shows the frequency of responses for questions one through eight,
which use a five-point Likert-type scale for the multiple choice answers, (a) Strongly
Agree (b) Mildly Agree (c) Not Sure (d) Mildly Disagree (e) Strongly Disagree. Table 3
shows the frequency of responses for questions 9a through 9f, which are questions that
asked the participants to rate a statement on a scale from one to six, one meaning that the
statement describes very well how they feel about their favorite song and six meaning
that the statement does not describe at all how they feel about their favorite song.
This surv ey s design yielded concrete information a bout how these parti cipan ts favorite
songs function in their lives; it also revealed whether the functions they implied
CHAPTER IV
ANALYSIS AND RESULTS
Survey
The purpose o this study was to examine whether a group o adolescents favorite
songs fulfill Frith s functions o popular music according to those same adolescents own
writings and a survey on that topic. The survey was an instrument to determine whether
the participant s favorite songs fulfilled Frith s functions in their writings. The means o
all the answers o the individual questions and the standard deviations for each o the
answers to the individual questions are presented in this chapter. The multiple choice
answers for questions 1 through 8 are coded as numeric value