Review of The Social Control of Mental Illness.

1982 ◽  
Vol 27 (12) ◽  
pp. 1002-1002
Author(s):  
No authorship indicated
Keyword(s):  
Mental Illness ◽  
Social Control ◽  
The Social

The Social Control of Mental Illness.

1983 ◽  
Vol 12 (5) ◽  
pp. 558
Author(s):  
Michael S. Goldstein ◽  
Allan V. Horwitz
Keyword(s):  
Mental Illness ◽  
Social Control ◽  
The Social

The Social Control of Mental Illness.

Social Forces ◽  
1983 ◽  
Vol 61 (3) ◽  
pp. 946
Author(s):  
Peter Conrad ◽  
Allan V. Horwitz
Keyword(s):  
Mental Illness ◽  
Social Control ◽  
The Social

The Social Control of Mental Illness.

1970 ◽  
Vol 35 (1) ◽  
pp. 161
Author(s):  
James E. DeBurger ◽  
Harry Silverstein
Keyword(s):  
Mental Illness ◽  
Social Control ◽  
The Social

The Effect of Sex Role Differences on the Social Control of Mental Illness

1977 ◽  
Vol 18 (2) ◽  
pp. 98 ◽  
Author(s):  
William Tudor ◽  
Jeannette F. Tudor ◽  
Walter R. Gove
Keyword(s):  
Mental Illness ◽  
Social Control ◽  
Sex Role ◽  
The Social

The Social Control of Mental Illness.

Man ◽  
1983 ◽  
Vol 18 (2) ◽  
pp. 432
Author(s):  
Rosine Jozef Perelberg ◽  
Allan V. Horwitz
Keyword(s):  
Mental Illness ◽  
Social Control ◽  
The Social

Music in the British Workplace: From Voice to a Technique of Control?

2020 ◽  
Author(s):  
Marek Korczynski
Keyword(s):  
Twentieth Century ◽  
Social Control ◽  
Social History ◽  
Singing Voice ◽  
Industrial Noise ◽  
The Third ◽  
The Social ◽  
History Of

This chapter examines music in the British workplace. It considers whether it is appropriate to see the history of music in the workplace as involving a journey from the organic singing voice (both literal and metaphorical) of workers to broadcast music appropriated by the powerful to become a technique of social control. The chapter charts four key stages in the social history of music in British workplaces. First, it highlights the existence of widespread cultures of singing at work prior to industrialization, and outlines the important meanings these cultures had for workers. Next, it outlines the silencing of the singing voice within the workplace further to industrialization—either from direct employer bans on singing, or from the roar of the industrial noise. The third key stage involves the carefully controlled employer- and state-led reintroduction of music in the workplace in the mid-twentieth century—through the centralized relaying of specific forms of music via broadcast systems in workplaces. The chapter ends with an examination of contemporary musicking in relation to (often worker-led) radio music played in workplaces.

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