数字时代大众阶层的品味建构、惯习变迁和阶层区隔——基于短视频场域的音乐实践

Music Taste,Habitus and Class Distinction of the Working-class in the Digital Age:A Music Practice in Short Video Field

在数字时代,音乐短视频平台的兴起为数字音乐产业发展提供了新动能。皮埃尔·布尔迪厄的场域(field)理论有助于阐述短视频场域对音乐实践带来的改变与社会影响。一方面,在以UGC为主要内容生产模式的短视频场域中,音乐生产者形成了表情积极、肢体互动、追寻热点等视觉化惯习,并将此作为市场竞争策略。同时,身处大众阶层的音乐消费者仍追求通俗易懂、接地气的音乐审美品味。另一方面,尽管短视频这一新文化形式表面上赋予大众群体以文化权力,但优势群体阶层借助自身的资本优势而更容易稳固社会地位,故阶层区隔依然鲜明。短视频场域中呈现出大众化的音乐品味,这不仅受制于平台资本,也源于各类音乐实践者对个体欲望和商业价值的持续追逐。

In the digital age,the rise of music short video platforms has provided new momentum for the development of digital music industry.Pierre Bourdieu’s field theory is helpful to explain changes and social impacts brought by the short video field on music practices.On one hand,in the short video field where user-generated content(UGC)becomes the primary content production model,music producers have formed visual habitus such as positive expressions,physical interaction,and pursuit of hot topics,which are used as market competition strategies.Besides,music consumers from the general public still seek accessible and down-to-earth musical aesthetics.On the other hand,though the short video as a new form of culture seemingly offers the masses cultural power,the dominant class,leveraging their capital advantages,finds it easier to maintain their social status,resulting in clear class distinctions.Ultimately,the short video field demonstrates a music taste for mass-appeal content,which is not only severely influenced by platform capital,but also stems from various music practitioners’pursuit of individual desires and commercial value.