Why do people listen to music? Over the past several decades, scholars have proposed numerous functions that listening to music might fulfill. However, different theoretical approaches, different methods, and different samples have left a heterogeneous picture regarding the number and nature of musical functions. Moreover, there remains no agreement about the underlying dimensions of these functions. Part one of the paper reviews the research contributions that have explicitly referred to musical functions. It is concluded that a comprehensive investigation addressing the basic dimensions underlying the plethora of functions of music listening is warranted. Part two of the paper presents an empirical investigation of hundreds of functions that could be extracted from the reviewed contributions. These functions were distilled to 129 non-redundant functions that were then rated by 834 respondents. Principal component analysis suggested three distinct underlying dimensions: People listen to music to regulate arousal and mood, to achieve self-awareness, and as an expression of social relatedness. The first and second dimensions were judged to be much more important than the third – a result that contrasts with the idea that music has evolved primarily as a means for social cohesion and communication. The implications of these results are discussed in light of theories on the origin and the functionality of music listening and also for the application of musical stimuli in all areas of psychology and for research in music cognition.

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The psychological functions of music listening

In Understanding Celebrity, I coined the term ‘the demotic turn’ as a means of characterizing the increasing production of ‘ordinary’ celebrities through reality TV and DIY celebrity websites. Refu...

The mass production of celebrity ‘Celetoids’, reality TV and the ‘demotic turn’

“Nation branding” as a concept and practice has captured the political, cultural and economic resources of countries with established capitalist economies and emerging market economies alike. Drawing on in-depth interviews with nation branding consultants in London (UK), this essay examines the strategies employed in the creation and communication of a national brand identity. In its ability to assemble diverse motifs of heritage and modernization, domestic and foreign concerns, and economic and moral ideologies in the projection of national identity, nation branding appears to some as a “benign” way to communicate national interests, one that lacks the chauvinistic and antagonistic elements of more reactionary nationalisms. Yet the implications of the practice are far from benign. 
The essay advances a twofold proposition. First, by enlisting the symbolic resources and resonance of nationalist discourse which perpetuate the nation-state as a necessary frame of identity, allegiance, and affiliation, nation branding maintains and extends the nation as a legitimate entity in the context of globalized modernity. Yet the practice alters the cultural context in which national identity is articulated and understood. By transposing authority from elected government officials to advertising and branding professionals, by replacing accountability with facilitation, and by fitting discussions of the nation into categories that privilege a particular kind of collective representation over diverse expression, nation branding affects the moral basis of national citizenship.

/pdf/living-the-brand-nationality-globality-and-the-identity-528if01msq.pdf

'Living the Brand': Nationality, Globality, and the Identity Strategies of Nation Branding Consultants

In a context of wide media attention to public debates about the social, political and epistemic entitlements of different groups within Australian society, an understanding of the rhetorical resou...

Genocide or a Failure to Gel? Racism, History and Nationalism in Australian Talk

Addressing the wide range of programmes and formats from news, to documentary, to popular factual genres, Annette Hill’s new book examines the ways viewers navigate their way through a busy, noisy and constantly changing factual television environment.
Restyling Factual TV addresses the wide range of programmes that fall within the category of 'factuality', from politics, to natural history, to reality entertainment.
Based on research with audiences of factual TV, primarily in Sweden and the UK, but with reference to other countries such as the US, this book tackles issues such as legitimacy, ethics and value in contemporary news and current affairs, documentary and reality programming.
Drawing on the ethics of truth-telling and notions of quality, this wide-ranging, authoritative book expands the debate on popular factual entertainment and will be a welcome addition to the current literature.

Restyling Factual TV : Audiences and News, Documentary and Reality Genres

Introduction: Mock-documentary and the subversion of factuality 1. Factual discourse and the cultural placing of documentary 2. Recent transformations of the documentary genre 3. A cousin for the drama-documentary: Situating the mock-documentary 4. Building a mock-documentary schema 5. A suggested genealogy 6. Degree one: parody 7. Degree two: critique and hoax 8. Degree three: deconstruction Conclusion Filmography Bibliography Index

Faking it : mock-documentary and the subversion of factuality

This paper addresses recent debates concerning the conceptualization of the television audience and the viewing context. It re-examines concepts that have acquired `commonsense' status within media studies, for example, `active', `social', `context' and `critical'. These concepts are discussed in relation to illustrative extracts from audience discussions of the drama-documentary, Who Bombed Birmingham? Twelve group discussions were carried out following presentation of the drama-documentary with the groups categorized as `interest' and `non-interest'. Attention is given first, to whether viewers actively negotiate meanings and how their readings are informed by their social group memberships and second, to the way in which viewers draw upon knowledge sources external to the text. Finally, consideration is given to the extent to which it can be said that viewers' reflexivity constitutes `critical' readings.

The Television Audience: A Reconsideration of the Taken-for-Granted Terms `Active', `Social' and `Critical'

Big Brother is a hybrid format that is both innovative and engaging and, as such, warrants critical attention. In an attempt to move the debate beyond discussions of ‘tabloidization’ and narratives of decline, this paper examines Big Brother in terms of the production strategies, textual innovations and the various ways in which audiences are able to interact with this media event. It is argued here that Big Brother is an important precursor to fully interactive TV, and a significant prototype for future media events.

Big Brother Australia: Performing the ‘real’ twenty-four-seven

Popular factual entertainment has changed the face of broadcasting in Australia. Where once dramas, long-running serials and current affairs programs filled prime-time schedules, we now have docu-soaps such as Popstars and reality gameshows like Big Brother. While some have expressed concern about this shift to light entertainment in factual programming, it can be argued that such programs have brought a new audience to non-fiction and revitalised debates concerning the real. This paper examines sonic of the current trends in popular factual entertainment programming, considers their innovations and explores why they are so compelling.

Real Entertainment: New Factual Hybrid Television:

Documentary in New Zealand: An immigrant nation

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