In the meantime, the development of the sociology of music has somewhat widely overlooked the materiality of the music technologies that individuals interact with to consume music. Over the last couple of decades, technological innovations that are usually assembled under the umbrella term ‘digital’ have induced new modalities of musical consumption. Since the advent of recorded music in the late 19th century, technologies have contributed to configuring the ways in which music is written, recorded, produced, marketed, and listened to. Issues of music consumption are entwined with the technological means that play music. The classification suggests that we have passed from a ‘distinction’ argument to a ‘differentiation’ argument. The model results from the cultural field’s historical development into genres and changes in the judgement of taste. It argues for a new model called ‘tablature’ which is a model of genre diversification combined with the social differentiation of tastes. Based on a hierarchical classification of French culturally eclectic individuals in 2008, this article shows that a model of diversification of tastes is required to describe the contemporary diversity of portfolios of tastes and the absence of a dominant eclectic figure. This article discusses the two dimensions of explanations for French cultural eclecticism in the 2000s: value of taste and distinction. Research on eclecticism progressively developed an approach of differentiation with mixed-taste profiles complicating the relationship between types of omnivorousness and social value of cultural genres. It confirms a major transformation in judgments of taste in the musical field.Įclecticism as formulated initially by Richard Peterson includes the two ideas that cultural eclecticism is axiological (a mix of elite and non-elite genres) and represents a ‘standard for good taste’ (a new form of distinction). Six classes of musical taste emerge with a limited share of dislikes and a strong age differentiation. Our analysis tests the “tablatures” of musical likes, dislikes and indifferences hypothesis within the French population through a factor and classification analysis method. In doing this, the article utilises a ‘tablature of tastes’ model which infers the incommensurability of musical genres and taste judgments no longer based on “rejections/dislikes” but rather on “openness/tolerance” or “indifference/ignorance”. In reference to the 2008 statistical survey on French cultural practices and tastes, this article challenges conventional understandings of the taste patterns informing music consumption in contemporary France. Changes in taste judgements in multicultural societies problematise the understanding and representation of the structuration of tastes. Peterson challenged the model showing the eclectism and the mix of classical and popular genres among the tastes of elite.
The distinction model asserts a hierarchical classification of tastes and genre and an aesthetic judgment based on rejection. In France, the social-stratification model based on Bourdieu's Distinction is still one of the main theoretical models used to analyse cultural tastes.
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