A proposed Critical Theory of Music Vilification to explain “problem music”

Links between certain music genres and detrimental behaviors and impacts have often resulted in labeling specific music genres as problematic. The resultant concept of so-called problem music (SCPM) typically focuses on hip hop and rock as well as their related genres. However, researchers have repeatedly found a lack of causal empirical evidence of SCPM and noted that the essential aspect is not the music genre, but rather how the music functions for the individual. This paper proposes the Critical Theory of Music Vilification (CTMV) to explain the vilification of SCPM. First, individuals exist within greater societal systems that oppress and marginalize people. Drawing from theories of social and musical identities, people may embrace SCPM to critique oppressive systems and develop social cohesion through in-group identities. Based on theories of stereotypes in music, societal systems often further ostracize people based on their music preferences and musical identities and people may experience harm. The experienced vilification and harm can reinforce people’s music preferences and corresponding musical identities. Societal systems then may vilify the music that was meant to critique their own systemic and policy failures, resulting in a cycle of music vilification. By including systems of oppression, classism and stereotypes in music, and music preferences and musical identities that critique systems and provide social cohesion, the CTMV provides context to SCPM as a socially constructed idea lacking empirical evidence. Implications, limitations, and suggestions for future research are provided.