The research project Musical gentrification and socio-cultural diversities focuses and examines music’s impact on social change and inclusion/exclusion processes, and hence, also, its tendency to exclude some people and groups when others are included, to hold some people back while it helps others’ social mobility, or to taboo certain forms of music while others are gentrified. Thus, the importance of musical conditions underlying social change will be emphasized in their diachronic and synchronic aspects, regarding several intersecting facets of music that are both culturally diverse and deeply rooted in socio-economic class relations and tensions. To explore these issues, notions of musical gentrification, cultural omnivorousness and diversity will be employed and further developed.
The project is organised in three interconnected sub-studies – i.e. in the fields of music education and research, in relation to a music festival, and among musicians of immigrant origin – which are considered to be ‘intensity cases’ or areas of investigation that are rich in information and clearly exhibit the key questions of the project. The project design allows for both within-case and cross-case analyses.
The expected outcome of the research is to provide relevant knowledge about the aesthetic and cultural premises for the shaping of society and social development, as well as on how educational strategies may improve and ensure integration and inclusion in society. Thus, it will provide relevant knowledge about crucial challenges facing society today, regarding the impact of music in culture, society, education and life project, to policy makers and different user groups such as researchers, teachers, students, and cultural actors that operate within these fields. On this basis, the research results would have implications on the politics of education, culture and aesthetics, as well as for people’s agency in society, education and their personal lives.
Musical gentrification and socio-cultural diversities is jointly funded by The Research Council of Norway’s funding scheme for independent projects ( FRIPRO), Hedmark University of Applied Sciences and the Norwegian Academy of Music, 2013-17.