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Chinese, Yue / Cantonese

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Persian, Dari

Persian, Western

Polish

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Sociology

<OpenstaxParagraph>
	Although cultures vary, they also share common elements. <OpenstaxTerm>Cultural universals</OpenstaxTerm> are patterns or traits that are globally common to all societies. One example of a cultural universal is the family unit: every human society recognizes a family structure that regulates sexual reproduction and the care of children. Even so, how that family unit is defined and how it functions vary. In many Asian cultures, for example, family members from all generations commonly live together in one household. In these cultures, young adults continue to live in the extended household family structure until they marry and join their spouse’s household, or they may remain and raise their nuclear family within the extended family’s homestead. In the U.S., by contrast, individuals are expected to leave home and live independently for a period before forming a family unit that consists of parents and their offspring. Other cultural universals include customs like funeral rites, weddings, and celebrations of births. However, each culture may view and conduct the ceremonies quite differently.
</OpenstaxParagraph>
<OpenstaxParagraph>
	Anthropologist George Murdock first investigated the existence of cultural universals while studying systems of kinship around the world. Murdock found that cultural universals often revolve around basic human survival, such as finding food, clothing, and shelter, or around shared human experiences, such as birth and death or illness and healing. Through his research, Murdock identified other universals including language, the concept of personal names, and, interestingly, jokes. Humor seems to be a universal way to release tensions and create a sense of unity among people (Murdock, 1949). Sociologists consider humor necessary to human interaction because it helps individuals navigate otherwise tense situations.
</OpenstaxParagraph>
<OpenstaxNote>
	<OpenstaxNoteTitle> Sociological Research </OpenstaxNoteTitle> <OpenstaxH3> Is Music a Cultural Universal? </OpenstaxH3>
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		Imagine that you are sitting in a theater, watching a film. The movie opens with the protagonist sitting on a park bench with a grim expression on their face. The music starts to come in. The first slow and mournful notes play in a minor key. As the melody continues, the heroine turns her head and sees a man walking toward her. The music gets louder, and the sounds don’t seem to go together – as if the orchestra is intentionally playing the wrong notes. You tense up as you watch, almost hoping to stop. The character is clearly in danger.
	</OpenstaxParagraph>
	<OpenstaxParagraph>
		Now imagine that you are watching the same movie – the exact same footage – but with a different soundtrack. As the scene opens, the music is soft and soothing, with a hint of sadness. You see the protagonist sitting on the park bench with a grim expression. Suddenly, the music swells. The woman looks up and sees a man walking toward her. The notes are high and bright, and the pace is bouncy. You feel your heart rise in your chest. This is a happy moment.
	</OpenstaxParagraph>
	<OpenstaxParagraph>
		Music has the ability to evoke emotional responses. In television shows, movies, commercials, and even the background music in a store, music has a message and seems to easily draw a response from those who hear it – joy, sadness, fear, victory. Are these types of musical cues cultural universals?
	</OpenstaxParagraph>
	<OpenstaxParagraph>
		In 2009, a team of psychologists, led by Thomas Fritz of the Max Planck Institute for Human Cognitive and Brain Sciences in Leipzig, Germany, studied people’s reactions to music that they’d never heard (Fritz et al., 2009). The research team traveled to Cameroon, Africa, and asked Mafa tribal members to listen to Western music. The tribe, isolated from Western culture, had never been exposed to Western culture and had no context or experience within which to interpret its music. Even so, as the tribal members listened to a Western piano piece, they were able to recognize three basic emotions: happiness, sadness, and fear. Music, the study suggested, is a sort of universal language.
	</OpenstaxParagraph>
	<OpenstaxParagraph>
		Researchers also found that music can foster a sense of wholeness within a group. In fact, scientists who study the evolution of language have concluded that originally language (an established component of group identity) and music were one (Darwin, 1871). Additionally, since music is largely nonverbal, the sounds of music can cross societal boundaries more easily than words. Music allows people to make connections, where language might be a more difficult barricade. As Fritz and his team found, music and the emotions it conveys are cultural universals.
	</OpenstaxParagraph>
</OpenstaxNote>

3.1.1 Cultural Universals

1 An Introduction to Sociology

1.1 What Is Sociology?

1.1.1 What Are Society and Culture?

1.1.2 Studying Patterns: How Sociologists View Society

1.1.3 Studying Part and Whole: How Sociologists View Social Structures

1.2 The History of Sociology

1.2.1 Creating a Discipline: European Theorists

1.2.2 Applying the Discipline: American Theorists and Practitioners

1.3 Theoretical Perspectives in Sociology

1.3.1 Functionalism

1.3.2 Conflict Theory

1.3.3 Symbolic Interactionist Theory

1.3.4 Sociological Theory Today

1.4 Why Study Sociology?

1.4.1 Sociology and a Better Society

1.4.2 Sociology in the Workplace

2 Sociological Research

2.1 Approaches to Sociological Research

2.1.1 The Scientific Method

2.1.2 Interpretive Framework

2.1.3 Critical Sociology

2.2 Research Methods

2.2.1 Surveys

2.2.2 Field Research

2.2.3 Experiments

2.2.4 Secondary Data Analysis

2.3 Ethical Concerns

3 Culture

3.1 What Is Culture?

3.1.2 Ethnocentrism and Cultural Relativism

3.2 Elements of Culture

3.2.1 Values and Beliefs

3.2.2 Norms

3.2.3 Symbols and Culture

3.2.4 Language and Symbols

3.2.5 Language and Culture

3.3 High, Low, Pop, Sub, Counter-culture and Cultural Change

3.3.1 High, Low, and Popular Culture

3.3.2 Subculture and Counterculture

3.3.3 Cultural Change

3.4 Theoretical Perspectives on Culture

4 Society and Social Interaction

4.1 Types of Societies

4.1.1 Preindustrial Societies

4.1.2 Industrial Society

4.1.3 Postindustrial Society

4.2 Theoretical Perspectives on Society

4.2.1 Émile Durkheim and Functionalism

4.2.2 Karl Marx and Conflict Theory

4.2.3 Max Weber and Symbolic Interactionism

4.3 Social Constructions of Reality

4.3.1 Roles and Status

4.3.2 Presentation of Self

5 Socialization

5.1 Theories of Self-Development

5.1.1 Psychological Perspectives on Self-Development

5.1.2 Sociological Theories of Self-Development

5.2 Why Socialization Matters

5.2.1 Nature versus Nurture

5.3 Agents of Socialization

5.3.1 Social Group Agents

5.3.2 Institutional Agents

5.4 Socialization Across the Life Course

5.4.1 Resocialization

6 Groups and Organization

6.1 Types of Groups

6.1.1 Defining a Group

6.1.2 Types of Groups

6.1.3 In-Groups and Out-Groups

6.1.4 Reference Groups

6.2 Group Size and Structure

6.2.1 Dyads, Triads, and Large Groups

6.2.2 Group Leadership

6.2.3 Conformity

6.2.4 The Bystander Effect and Diffusion of Responsibility

6.3 Formal Organizations

6.3.1 Types of Formal Organizations

6.3.2 The McDonaldization of Society

7 Deviance, Crime, and Social Control

7.1 Deviance and Control

7.1.1 Deviance, Crime, and Society

7.1.2 Social Control

7.2 Theoretical Perspectives on Deviance and Crime

7.2.1 Functionalism

7.2.2 Conflict Theory

7.2.3 Symbolic Interactionism

7.3 Crime and the Law

7.3.1 Types of Crimes

7.3.2 Crime Statistics

7.3.3 Public Perception of Crime

7.3.4 The U.S. Criminal Justice System

8 Media and Technology

8.1 Technology Today

8.1.1 What Is Technology?

8.2 Media and Technology in Society

8.2.1 Categorizing Technology

8.2.2 Types of Media and Technology

8.2.3 Product Advertising and the Attention Economy

8.2.4 Homogenization and Fragmentation