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Dan Messersmith

Sergey Rybas

ENG 230

19 April 2021

Musical Bias in New Media and Participatory Culture

Many individuals fall prey to certain biases that hold authority over their opinions and

decisions. These biases can originate from their childhood, life experiences, and exposure -

ultimately impacting their opinions on a topic. The music industry is no exception to bias, as it

produces an inherently subjective and artistic medium of expression. Recorded music and radio

have been popular for approximately one hundred years, appearing in a plethora of formats and

popular genres. This history allows for the understanding that the music has evolved and

impacted culture through the creation of an industry based on creating and distributing.

Throughout this time period, popularity of certain genres and musical techniques have come in

waves - influenced by contemporary technology and society. Advancements in recording

technology, arguments surrounding validity of music, and generational gaps reveal the origins

and the reasoning behind certain biases in the music industry. New media and participatory

cultures contribute to the bias found in the culture of music as individuals are able to curate their

information and align themselves with online groups. It is important to identify different musical

biases and how new media amplifies and reinforces them due to social media algorithms and

echo chambers.
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These musical biases often come in two forms: survivorship bias and confirmation bias.

Survivorship bias refers to the logical fallacy that an individual gets a false representation of

reality when they focus on the things from the past that live to tell their story (Survivorship

Bias). An example of this would be a person listening to a popular Beatles song and making the

assumption that music from the sixties was better compared to today's charts. The problem is that

the person never listened to the unpopular music from

the sixties - this may be a band that opened for the

Beatles during a concert, but never went on to sell any

records. Confirmation bias refers to the tendency to

seek out and interpret information to support one’s

existing beliefs. An example of this would be a person,

whose favorite band is the Beatles, buying a book that

discusses why the band’s music is great rather than

buying a book that criticizes them. This is because the

person already has an opinion on the Beatles, and their

brain sees any challenge to that opinion as a threat

(Eyal, N. & Mani, L.) Confirmation bias is a form of

selection bias as the individual employs a relevant

example to prove an argument. These biases can

contribute to a faulty generalization, where an

individual draws a conclusion based on their

Items that are steeped in bias
knowledge of limited examples. regarding “good music”.
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One of the most prominent areas of bias in music originates from the point in time it was

created. Some common sayings surrounding music culture include “I was born in the wrong

generation”, “Today’s music doesn’t have soul”, or even “Hip-hop isn’t music”. Statements of

this sentiment are often attributed to music consumers who grew up in a previous generation or

were influenced by artists of previous generations. An online data aggregator by The Pudding

examines generational gaps in music by asking participants to identify songs from different time

periods (“Identifying Generational Gaps”). This data reveals that only certain songs are able to

maintain a culturally pervasive stature as time goes on, as individuals are most likely to

recognize music from their generation. Some songs, such as Phil Collins’ “In the Air Tonight”,

drop off in recognizability almost 50% from one generation to the next. It is a faulty

generalization to label music as a binary “good or bad” because of its release date. This is

because listeners are inextricably linked to the music of their generation as it contributes to their

identity. Writer Frank Andrew reveals this generational linkage as he states that studies indicate

that musical taste solidifies in the early 20s, and many listeners stop exploring new music by the

early 30s (Andrew). This fact may be able to explain why individuals would believe older music

is better, as it harkens back to the nostalgia of finding that music or the good times that came

along with it. One might wonder if these older listeners are exposed to modern music regularly,

yet a study finds that millennials are listening to 75% more music than baby boomers on a

regular basis (Resnikoff). There is even evidence to suggest that millennials have a substantial

ability to recognize music from the 1960’s to the 1990’s, as well as modern music they consume

throughout the day (“NYU”).

This is not to feed into a generational war between young and old, but rather to explore

the origins of bias surrounding music as it has become an increasingly significant cultural
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divider. Listeners of different generations will inherently adopt a contemporary means of

consumption. The past gave listeners vinyl records and cassette tapes, while the present has

allowed for digital downloads and streaming. The latter is incredibly cheaper and more

convenient and accessible, allowing for listeners to be more exposed to more music on a singular

platform. This concept may even be a reason for the difference in musical experience between

baby boomers and millennials (Saldana). It begs the question as to what experience older

listeners strive for when reaching to listen to music - memories, sing-alongs, or showing their

kids? Listening to music may serve a different purpose between different generations. The

technological barrier between generations could keep older listeners reaching for the methods

that they are familiar with. Older generations and their general unfamiliarity with digital

technology surely accounts for the lack of older listeners subscribing to streaming services

(“Boomers Haven’t Shown”).

Bias in the music industry does not only affect its listeners, but its instruments and

technology as well. Musicians and listeners

regularly debate the validity of recording

technologies and instruments that are deemed

“musical”. One of the most popular arguments in

music creation is analog versus digital recording.

The argument often appears in online discussion

boards and other participatory spaces such as

YouTube and Reddit. Analog recording is done by

turning sound into an electrical signal (using a

microphone), and then imprinting that signal

Produsage surrounding
analog vs. digital audio.
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directly onto tape. From this original tape, records and cassettes can be made (“Analog Vs

Digital” ). Digital recording starts with a similar process, but then the computer takes a digital

representation of the sound, essentially a series of numbers that recording software can interpret.

Digital recording has progressed incredibly over the 20-30 years it has been popular, and to the

casual listener, is often unrecognizably different from analog recording.

Analog recording is celebrated for its imperfections

that lend some “warmth” to the record, while digital

recording is sometimes considered as too accurate or

“soulless”(Gans). The bias against digital recording may

originate from a reluctance to change with the industry and

adapt to modern technology. Almost all music that is heard

today has gone through a computer at some stage in the

process. The only exception is if a musician were to record

A Facebook Group that
and master their recordings only onto vinyl records. Yet is likely biased towards
analog recording.
even most music sold on vinyl records today has still gone

through the digitization process (Puckett). This is because

digitization is increasingly reliable, convenient, and faster than ever before. The love for analog

recording and listening may reveal a sense of nostalgia and rose-tinted sentiment towards the

past. In fact, a Florida State blind study discovered that listeners often preferred listening to

digital recordings over their high-quality cassette counterparts (Matthews). Individuals may

prefer analog technology due to their experience and mere exposure to it, while forgetting all the

difficulties the format brings upon its user.

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The prominence of new media and

participatory cultures allow for musicians

and listeners to communicate like never

before. It also empowers biased attitudes -

turning musical instruments into weapons

that are pointed at each other. The guitar,

one of the most popular musical

instruments, has been subjected to a toxic

online culture surrounding its mythology. It

is an icon of rock music, and has often

appeared as a status symbol of masculinity

(“Why Has The Guitar”). The instrument

has become a relic of a bygone era of

mainstream music that many people still

Produsage
cling to. Any evolution past this era of rock superiority may be surrounding guitar
culture.
difficult for guitar fans to endure. Articles have claimed that the guitar

is dead, stating that sales have declined by 500,000 in the last decade

(Baker). The reality is that the cultural landscape of the instrument has evolved to become more

than a male-centric guitar hero. “As the idea of marketing guitars solely to straight, masculine

men goes from passé to unprofitable, companies have been scrambling to appeal to the very

people they’ve ignored for decades.”(Baker). Fender’s chief marketing officer reveals that

women now account for up to 50% of guitar purchases. This is the foundation of a new era that is

inclusive, genre-diverse, and boundary-pushing. In the dynamic world of new media, companies
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are able to pay attention to their consumers by analyzing social media analytics and the

conversations found throughout online music culture. Adweek subsidiary Social Media Week

states that Fender have been using social media analytics that give a bird’s-eye view of their

brand image and audience. These analytics have directly influenced certain marketing strategies

by listening to what their fans are talking about.

Despite the advancement of guitar inclusivity, bias still remains strong in the community.

Competitiveness among guitarists remains evident and new media contributes to biases in an

evolving guitar culture. Even when a guitar publication simply posted an article about how to

tune the instrument, comment sections raged on with statements that would discourage many

(Astley-Brown). These statements originate from the gatekeeping attitude surrounding the

instrument, which is inherently biased

against beginner guitar players. The

anonymity that comes with social media

allows for individuals to shame others

online while hiding behind a facade.

Gatekeeping is a dangerous activity in any

Some of the comments
culture, as it makes those on the outside view the culture as on the tuning article.

pretentious and difficult to join. Elitist attitudes are so prominent in

guitar culture that they are often mocked in online communities (“A

Guitar Group Where Everyone Acts Like Boomers”). They are often humorous role-playing

groups that make light of the prominent talking points and identities in the guitar world.

The contemporary method of sharing ideas with one another encourages individuals to be

a part of what they consume. Educator Bonnie Stewart describes social media as a culture that
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allows individuals to share their ideas while others respond to them (Stewart). This can be a

wonderful discussion-breeding tool, but can also be abused by attempting to change other’s

opinions rather than taking an introspective view of oneself. Individuals may post about a topic

from a certain angle, and then refuse to engage with other angles. The Atlantic writer Phillip

Bump shows the dark side of this social media interaction, as it can allow for an echo chamber to

form. Biased propaganda can become the entirety of one’s social media feed when individuals

only interact with those who share the same ideologies (Bump). When any one individual has a

voice on the internet, it can become difficult to listen to another.

Online communities in music have become so prominent that they even have their own

term - music stans. Writer Ann-Derrick Gaillot explains the toxic power of music stans by

examining online Twitter incidents and how they affect the culture of online music discussion

(“The Toxic Power”). She explains the power of the community by stating “when a fandom feels

slighted, they use concerted online harassment to get what they want.” These communities have

a collective power that can be wielded against people who are considered threatening to the icons

that they idolize. Music stans have influenced people being terminated from jobs or effectively

“cancelled” online due to actions that are condemned by the allegiant communities. These

consequential actions may be as simple as criticism towards the musician that the community

adores. Confirmation bias is strong in the music stan community because of the willingness to

verbally attack or avoid any viewpoints outside of their own. This is an example of participatory

culture that, for better or worse, has made a substantial cultural impact. Music stans are a form of

a social media echo chamber, as they curate their feed with a biased and tailored media

experience (“What is a Social Media Echo Chamber”). They represent a group of individuals that

confirm each other’s biases and often use their collective power to disregard or negate ideas that
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are posed as a threat to their identity. What begins as a fandom can suddenly turn into a

fanaticism that idolizes musicians with unquestioning devotion.

Who can be blamed for the increased hostility between different groups in the online

space? While it seems like hostile individuals and radical groups are the obvious culprits, the

platforms they use only escalate the divide further. A Cornell University study analyzed the

decisions that popular social media platforms make in moderating the user experience (“Echo

Chambers”). The sites use algorithms that keep individuals in their lane by hiding content that

promotes an opposite viewpoint. This means that the people who argue over analog versus

digital recording will seemingly never come to a compromise due to the platforms that keep

them away from each other. Upworthy CEO Eli Pariser expands on the topic of echo chambers in

an NPR article stating that “as websites get to know our interests better, they also get better at

serving up the content that reinforces those interests, while also filtering out those things we

generally don't like” (“The Reason Your Feed”). These algorithms are clearly designed to

intentionally keep individuals on the sites as long as possible, rather than serving up a collection

of diverse information that engages an individual’s critical thinking skills.

Overcoming bias regarding the validity of music takes considerable work from any

individual, whether online or in real life. Participants in a study listened to two pieces of music,

one from a “student of piano” and one from a “world-renowned professional”. Researchers found

that when a participant preferred the latter piece, their brain activity suggested that they listened

to the much more closely than the student’s performance (“Overcoming Bias”). This poses the

question - what makes a piece of music “good”? Is it technical skill that allows for its validity, or

is music more than skill-based characteristics? The answer is likely different for any music

listener, but technical elitism is prominent throughout the music industry.

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One could make the argument that musical authenticity is perceived in different ways for

every listener, as it is a subjective artform rather than a March Madness bracket. Writer

Abhilasha Mandal states that “elitists have often defined authenticity in a way that hampers the

existence of creative diversity” (Mandal). These attitudes often perpetuate an apples versus

oranges debate regarding musical legitimacy, and often find their way into any form of online

musical content. It is possible to have personal preferences without disrespecting others, but

some enjoy denouncing others as a way to shame those with different preferences. How can an

individual overcome their bias in the online space? The social media echo chamber encourages

biases to remain prominent, yet it is not impossible to break out of it. One Wired article explains

that individuals can restore balance to their feed by fighting the algorithms (Seneca). “Liking”

posts outside of one’s normal tendency, following publications from different disciplines, and

using multiple social media platforms are some ways to combat the bias.

New media allows for the reinforcement of bias in the music industry and culture. Online

discussion can become turbulent as music is akin to the dichotomy of politics, where traditional

values come against progression. It is easy to conflate personal preference and prejudice when

discussing different genres of music. This is especially true when an individual believes all of the

various types of musical creations should serve one ideal purpose. Other individuals may believe

that music should be able to serve multiple purposes, rather than marveling at technical skill.

Biases appear when listening to music, creating music, and distributing music. These biases can

be confirmed in digital participatory spaces such as social media and online discussion boards.

Certain music communities have become incredibly hostile along with the prominence of social

media, as individuals are able to curate their feed and tune out information that does not serve

their interests. Social media algorithms keep individuals in their content lane by showing them
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content that confirms their biases. It is imperative to understand that new media platforms are not

isolated from their content. The creators of these platforms control their usage by influencing

content feeds. Music culture is no exception to the content algorithms that reinforce bias and

create echo chambers. Music is a subjective artform that will always be argued over, yet online

platforms encourage the divide. Online conflict creates hostility that can result in real-life

consequences. It is important to have point of view, and just as important to understand how that

point of view can be reinforced with the use of new media.

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