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It frames music as a distinct channel of communication and a social context for collaboration, emphasizing accessibility across ages and circumstances. The text argues that musical meanings are uniquely constructed by listeners, making all music making, listening, talking, and “musicking” an identity project tied to selfhood and belonging.",{"@graph":63,"@context":118},[64,80,101],{"@type":65,"itemListElement":66},"BreadcrumbList",[67,71,74,77],{"item":68,"name":69,"@type":70,"position":9},"https://docshare.wps.com","Home","ListItem",{"item":72,"name":10,"@type":70,"position":73},"https://docshare.wps.com/template/",2,{"item":75,"name":51,"@type":70,"position":76},"https://docshare.wps.com/template/general/",3,{"item":78,"name":59,"@type":70,"position":79},"https://docshare.wps.com/template/handbook-of-musical-identities/563174/",4,{"url":78,"name":59,"@type":81,"image":82,"author":87,"headline":59,"publisher":90,"fileFormat":93,"inLanguage":57,"description":61,"dateModified":94,"datePublished":95,"encodingFormat":93,"isAccessibleForFree":96,"interactionStatistic":97},"DigitalDocument",{"url":83,"@type":84,"width":85,"height":86},"https://docshare.wps.com/thumbnails/handbook-of-musical-identities/563174.png","ImageObject",442,249,{"name":88,"@type":89},"นรินทร์","Person",{"url":68,"name":91,"@type":92},"DocShare","Organization","application/pdf","2026-10-27","2026-10-12",true,{"@type":98,"interactionType":99,"userInteractionCount":47},"InteractionCounter",{"@type":100},"ViewAction",{"@type":102,"mainEntity":103},"FAQPage",[104,110,114],{"name":105,"@type":106,"acceptedAnswer":107},"How does the book connect music to identity in the film Inside Out?","Question",{"text":108,"@type":109},"The preface argues that music in Inside Out works as a thematic device shaping conceptions of personality, using recurring scenes such as Riley’s rocket daydream and the “earworm” motif.","Answer",{"name":111,"@type":106,"acceptedAnswer":112},"What is an “earworm” according to the preface?",{"text":113,"@type":109},"An “earworm” is described as a continually repeating, involuntary musical memory, illustrated through a song from a TV advert that returns at inconvenient times.",{"name":115,"@type":106,"acceptedAnswer":116},"Why does the preface describe all music activities as an “identity project”?",{"text":117,"@type":109},"Because music provides a forum for constructing and negotiating a constantly evolving sense of who people are and where they fit in the world, and listeners generate unique meanings that are never wrong.","https://schema.org",{"og:url":78,"og:type":120,"og:title":59,"og:site_name":91,"og:description":61},"article",{"robots":122,"canonical":78},"index,follow",{"doc_id":124,"site_id":56},563174,1792531706,{"code":4,"msg":5,"data":127},{"doc_id":124,"user_id":128,"nickname":88,"user_avatar":129,"doc_module":9,"category_id":50,"category_name":51,"doc_title":59,"doc_description":61,"doc_content":130,"file_id":131,"file_url":132,"file_type":133,"file_size":134,"view_count":47,"is_deleted":4,"is_public":9,"is_downloadable":9,"audit_status":9,"page_count":12,"language":135,"language_code":57,"site_id":56,"html_lang":57,"table_of_contents":136,"faqs":137,"seo_title":138,"seo_description":61,"update_tm":139,"read_time":140},2336475104957,"https://ap-avatar.wpscdn.com/avatar/22000c4c6bd8a5076e1?x-image-process=image/resize,m_fixed,w_180,h_180&k=1787554080175789136","Handbook of  \nMUSICAL IDENTITIES  \nMUSICAL IDENTITIES  \nEdited by RAYMOND MACDONALD  \nDAVID J. HARGREAVES  \nand DOROTHY MIELL  \n1  \n3  \nGreat Clarendon Street, Oxford, ox2 6dp,  \nUnited Kingdom  \nOxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries  \n© Oxford University Press 2017  \nThe moral rights of the authors have been asserted First Edition published 2017  \nImpression: 1  \nAll rights reserved. No part of this publication maybe reproduced, stored ina retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted bylaw, by licence or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above  \nYou must not circulate this work in any other form and you must impose this same condition on any acquirer Published in the United States of America by Oxford University Press  \n198 Madison Avenue, New York, NY 10016, United States of America British Library Cataloguing in Publication Data Data available  \nLibrary of Congress Control Number: 2016931926 ISBN 978–0–19–967948–5  \nPrinted and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY Links to third party websites are provided by Oxford in good faith and for information only. Oxford disclaims any responsibility for the materials contained in any third party website referenced in this work.  \nPreface  \nThe Disney Pixar film Inside Out, a huge global success in 2015, has issues of identity at its core. Alongside the psychodynamic concepts and trait theories of personality, which manifest as central characters, plot lines, and exotic surreal locations, music has an important part to play. The function of music is not just in the soundtrack but music is a thematic device that helps to convey the film’s conceptions of personality. In an important repeating theme the main character, Riley, has a recurring daydream where an imaginary space rocket is fuelled by songs. The more passionate the singing, the more fuel is there for the rocket. Here the metaphor is clear and unambiguous; the power of music is such that it can propel rockets into space. Ultimately, it is the power of music that fuels the rocket to make its most important journey, leaving Riley’s imaginary friend Bing Bong behind in the “memory dump” and propelling Joy (one of Riley’straits) back to “Headquarters”.  \nA memory that involuntarily returns consistently in Riley’s life, sometimes at inopportune moments, is a song from a TV advert. This type of continually repeating and involuntary occurring musical memory is commonly called an “earworm”. The film pairs the earworm with a chewing gum advert and everytime the catchy tune is heard, we see a short clip of the chewing gum advert. It’s probably no coincidence that some research suggests that chewing gum may be a “cure” for earworms. In another repeating scene, Bing Bong is vividly portrayed as being part of Riley’s imaginary pop band. The message here is also clear; being in a pop band with your imaginary friend who plays tunes on his nose while you play pots and pans is the epitome of good fun. The overarching point is that in a blockbuster family film, produced for a mass global audience, whose main focus is upon the fundamental aspects of people’s identities, music plays an important role in the delineation of some central ideas about the nature of human personality.  \nThe use of music as a plot device in a globally marketed film serves to highlight several of its key features. Music is a separate and distinct channel of communication; music provides a unique and social context for coll","cbCaimuMDNkbDMxQ","https://ap.wps.com/l/cbCaimuMDNkbDMxQ","pdf",2203231,"English","# Preface\n## Music as a thematic device for identity\n## The earworm and involuntary musical memory\n## Music-making, listening, talking, and “musicking” as identity work\n## Musical tastes and musicality as defining features of the self","[{\"question\":\"How does the book connect music to identity in the film Inside Out?\",\"answer\":\"The preface argues that music in Inside Out works as a thematic device shaping conceptions of personality, using recurring scenes such as Riley’s rocket daydream and the “earworm” motif.\"},{\"question\":\"What is an “earworm” according to the preface?\",\"answer\":\"An “earworm” is described as a continually repeating, involuntary musical memory, illustrated through a song from a TV advert that returns at inconvenient times.\"},{\"question\":\"Why does the preface describe all music activities as an “identity project”?\",\"answer\":\"Because music provides a forum for constructing and negotiating a constantly evolving sense of who people are and where they fit in the world, and listeners generate unique meanings that are never wrong.\"}]","Handbook of Musical Identities | PDF",1791819329,31]