Alex Van Venrooij
Biographic Data
| ID | 203407 |
|---|---|
| NAME | Alex Van Venrooij |
| GIVEN NAMES | Alex |
| FAMILY NAME | Van Venrooij |
| SIGNATURE | VAN VENROOIJ A |
| AFFILIATIONS | University of Amsterdam |
| ORCID | 0000-0002-7027-4352 |
| VERIFIED | Yes |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 137 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 7 |
The dance of markets and movements: The emergence and development of dance genres in the US, UK, and the Netherlands, 1985-2005
Race and Genre Ambiguity in the Critical Reception of Popular Music
In this article, we link the sociology of culture with the sociology of race and racism to examine how race shapes perceptions of genre ambiguity in popular music. Notable studies in the sociology of culture have recently shown how intermediaries, such as food or literary critics, subtly devalue categories associated with non-White producers and highlighted the obstacles Black musicians and audiences face in spanning racialized genre boundaries. …
Harmonizing Forms of Legitimacy in the Consecration of Popular Music
Recent sociological research has focused attention on formal instances of retrospective cultural consecration in the United States. In the fields of film, sport, and popular music, this has largely involved comparing the effects of various forms of cultural legitimacy on the odds of retrospective consecration. Such studies have used the three "competing" principles of cultural legitimacy identified by Bourdieu (1983)-specific, bourgeois, and popu…
Signals in the Waves of Surf: Category Development and Signals in Surf Music
The aim of this paper is to investigate to what extent the understanding of market categories changes over time and how this is reflected in the importance of different category signals in periods of category maturation and revival. We test the changing influence of different types of category signals on inclusion rates of surf music compilation albums, which represent the understanding of 'surf music' from a market-based perspective. We find tha…
Intersecting fields: The influence of proximate field dynamics on the development of electronic/dance music in the US and UK
The French Alternative to Bourdieu? Hennion, Actor-Network Theory, and the Sociology of Mediation
Categorical ambiguity in cultural fields: The effects of genre fuzziness in popular music
Classifications in Popular Music
A community ecology of genres
Taste differentiation and hierarchization within popular culture: The case of salsa music
Classifying Popular Music in the United States and the Netherlands
This article focuses on the classification of popular music by newspaper critics in the United States and the Netherlands. By using the "mentions technique" of Rosengren, the author investigates cross-national differences in the use of commercial, aesthetic, and racial logics in the classification of popular music artists, relating them to field-level and macrostructural differences between the United States and the Netherlands. U.S. reviewers ar…
Change and Continuity in Newspaper Coverage of Popular Music since 1955: Evidence from the United States, France, Germany, and the Netherlands
In this article, we describe general features of popular music coverage in elite newspapers in the United States, France, Germany, and the Netherlands from 1955 to 2005. Drawing on data from content analysis of over 4,000 newspaper articles sampled in four reference years (1955, 1975, 1995, and 2005), we document broad changes and continuities in the extent, focus, and form of popular music coverage in mainstream media outlets of each country
The Evaluation of Popular Music in the United States, Germany and the Netherlands: A Comparison of the Use of High Art and Popular Aesthetic Criteria
Popular music has apparently gained much in status and artistic legitimacy. Some have argued that popular music criticism has assimilated the evaluative criteria traditionally associated with high art aesthetics to legitimate pop music as a serious art form, while others have claimed that popular music discourse opposes the evaluative principles of high art worlds in favor of a 'popular aesthetic'. Drawing on the theoretical framework of Lamont, …
The aesthetic discourse space of popular music: 1985-86 And 2004-05
The Evaluation of Popular Music in the United States, Germany and the Netherlands: A Comparison of the Use of High Art and Popular Aesthetic Criteria
Popular music has apparently gained much in status and artistic legitimacy. Some have argued that popular music criticism has assimilated the evaluative criteria traditionally associated with high art aesthetics to legitimate pop music as a serious art form, while others have claimed that popular music discourse opposes the evaluative principles of high art worlds in favor of a 'popular aesthetic'. Drawing on the theoretical framework of Lamont, …
Change and Continuity in Newspaper Coverage of Popular Music since 1955: Evidence from the United States, France, Germany, and the Netherlands
In this article, we describe general features of popular music coverage in elite newspapers in the United States, France, Germany, and the Netherlands from 1955 to 2005. Drawing on data from content analysis of over 4,000 newspaper articles sampled in four reference years (1955, 1975, 1995, and 2005), we document broad changes and continuities in the extent, focus, and form of popular music coverage in mainstream media outlets of each country
Categorical ambiguity in cultural fields: The effects of genre fuzziness in popular music
The aesthetic discourse space of popular music: 1985-86 And 2004-05
A community ecology of genres
Harmonizing Forms of Legitimacy in the Consecration of Popular Music
Recent sociological research has focused attention on formal instances of retrospective cultural consecration in the United States. In the fields of film, sport, and popular music, this has largely involved comparing the effects of various forms of cultural legitimacy on the odds of retrospective consecration. Such studies have used the three "competing" principles of cultural legitimacy identified by Bourdieu (1983)-specific, bourgeois, and popu…
Race and Genre Ambiguity in the Critical Reception of Popular Music
In this article, we link the sociology of culture with the sociology of race and racism to examine how race shapes perceptions of genre ambiguity in popular music. Notable studies in the sociology of culture have recently shown how intermediaries, such as food or literary critics, subtly devalue categories associated with non-White producers and highlighted the obstacles Black musicians and audiences face in spanning racialized genre boundaries. …
Taste differentiation and hierarchization within popular culture: The case of salsa music
Classifying Popular Music in the United States and the Netherlands
This article focuses on the classification of popular music by newspaper critics in the United States and the Netherlands. By using the "mentions technique" of Rosengren, the author investigates cross-national differences in the use of commercial, aesthetic, and racial logics in the classification of popular music artists, relating them to field-level and macrostructural differences between the United States and the Netherlands. U.S. reviewers ar…
Signals in the Waves of Surf: Category Development and Signals in Surf Music
The aim of this paper is to investigate to what extent the understanding of market categories changes over time and how this is reflected in the importance of different category signals in periods of category maturation and revival. We test the changing influence of different types of category signals on inclusion rates of surf music compilation albums, which represent the understanding of 'surf music' from a market-based perspective. We find tha…
Intersecting fields: The influence of proximate field dynamics on the development of electronic/dance music in the US and UK
The aesthetic discourse space of popular music: 1985-86 And 2004-05
Change and Continuity in Newspaper Coverage of Popular Music since 1955: Evidence from the United States, France, Germany, and the Netherlands
In this article, we describe general features of popular music coverage in elite newspapers in the United States, France, Germany, and the Netherlands from 1955 to 2005. Drawing on data from content analysis of over 4,000 newspaper articles sampled in four reference years (1955, 1975, 1995, and 2005), we document broad changes and continuities in the extent, focus, and form of popular music coverage in mainstream media outlets of each country
The Evaluation of Popular Music in the United States, Germany and the Netherlands: A Comparison of the Use of High Art and Popular Aesthetic Criteria
Popular music has apparently gained much in status and artistic legitimacy. Some have argued that popular music criticism has assimilated the evaluative criteria traditionally associated with high art aesthetics to legitimate pop music as a serious art form, while others have claimed that popular music discourse opposes the evaluative principles of high art worlds in favor of a 'popular aesthetic'. Drawing on the theoretical framework of Lamont, …
Classifying Popular Music in the United States and the Netherlands
This article focuses on the classification of popular music by newspaper critics in the United States and the Netherlands. By using the "mentions technique" of Rosengren, the author investigates cross-national differences in the use of commercial, aesthetic, and racial logics in the classification of popular music artists, relating them to field-level and macrostructural differences between the United States and the Netherlands. U.S. reviewers ar…
Taste differentiation and hierarchization within popular culture: The case of salsa music
Classifications in Popular Music
A community ecology of genres
The French Alternative to Bourdieu? Hennion, Actor-Network Theory, and the Sociology of Mediation
Categorical ambiguity in cultural fields: The effects of genre fuzziness in popular music
Intersecting fields: The influence of proximate field dynamics on the development of electronic/dance music in the US and UK
Harmonizing Forms of Legitimacy in the Consecration of Popular Music
Recent sociological research has focused attention on formal instances of retrospective cultural consecration in the United States. In the fields of film, sport, and popular music, this has largely involved comparing the effects of various forms of cultural legitimacy on the odds of retrospective consecration. Such studies have used the three "competing" principles of cultural legitimacy identified by Bourdieu (1983)-specific, bourgeois, and popu…
Signals in the Waves of Surf: Category Development and Signals in Surf Music
The aim of this paper is to investigate to what extent the understanding of market categories changes over time and how this is reflected in the importance of different category signals in periods of category maturation and revival. We test the changing influence of different types of category signals on inclusion rates of surf music compilation albums, which represent the understanding of 'surf music' from a market-based perspective. We find tha…
Race and Genre Ambiguity in the Critical Reception of Popular Music
In this article, we link the sociology of culture with the sociology of race and racism to examine how race shapes perceptions of genre ambiguity in popular music. Notable studies in the sociology of culture have recently shown how intermediaries, such as food or literary critics, subtly devalue categories associated with non-White producers and highlighted the obstacles Black musicians and audiences face in spanning racialized genre boundaries. …
The dance of markets and movements: The emergence and development of dance genres in the US, UK, and the Netherlands, 1985-2005
Sociology (13 works) · Art (12 works) · Music History and Culture (12 works) · Social and Cultural Dynamics (12 works) · Aesthetics (8 works) · Political science (8 works) · Literature (6 works) · Popular music (6 works) · Cultural Industries and Urban Development (5 works) · Law (5 works)