Living Room vs. Concert Hall: Patterns of Music Consumption in Flanders Henk Roose, Ghent University Alexander Vander Stichele, Catholic University Louvain In this article we probe the interplay between public and private music consumption using a large-scale survey of the Flemish population in Belgium. We analyze whether public and private music consumption have different correlates and to what extent there is convergence between the genres that people listen to at home and at concerts. Results show that music consumption is positively related to all indicators of cultural capital-educational attainment, enrolment in arts classes and public participation of the parents. The effects are strongest for high-brow genres such as classical and opera and diminish for middle-brow and low-brow genres such as world/traditional music or pop/rock. Cultural capital is more important for public participation than for private consumption. This suggests that not only information processing capacity is involved when attending concerts, but also social barriers such as familiarity with the rules of decorum and network homophily. Omnivorousness in music consumption is especially situated in the private sphere. Introduction The literature dealing with the relationship between social stratification and cultur- al participation uses different measures for participation (Chan and Goldthorpe 2007a; Peterson 2005). Some researchers rely on measures of preference, tastes in music being by far the most popular, in line with Bourdieu's contention that noth- ing more clearly marks and endorses one's position in the social hierarchy than musical taste (Bourdieu 1979; also see Bryson 1996; Garcia-Álvarez, Katz-Gerro and López-Sintas 2007; Peterson and Simkus 1992). Others focus on behavior to study the dynamics of how arts participation is used as a status marker or as an identity (re-)creating force. They either rely on public receptive cultural practices: attendance to concerts, films, plays, dance performances, museums, etc. (Chan and Goldthorpe 2007a; Vander Stichele and Laermans 2006; Van Eijck and Bargeman 2004) or private cultural practices: reading books, listening to music or watching television (Coulangeon 2005; Van Rees, Vermunt and Verboord 1999; Van Rees and Van Eijck 2003; Lizardo and Skiles 2009). In this article we want to investigate the interplay between both public and private music consumption. In recent years, the potential availability of music at home has become practically limidess. Via radio, television, internet, cd and dvd. We would like to tbank Filip Agneessens, Betbany Bray andjobn Lievensfor tbeir advice and com- ments on earlier drafis of tbis article. We are also very grateful to the editor and reviewers for tbeir inspiring comments. Tbis researcb was funded in part by tbe Researcb Foundation Flanders. Direct correspondence to Henk Roose, Ghent University, Department of Sociology, Researcb Group GuDOS, KorteMeer3-5, 9000 Gent, Belgium. E-mail: benk.roose@ugent.be. " The Universil» of North Carolina Prass Social Forces 8SI11185-208, September 2010