By Tia DeNora
Theodor W. Adorno broached key questions on the function of tune in modern society and argued that it affected recognition and was once a method of social administration and regulate. saying that track sociology may be vastly enriched by way of returning to Adorno's specialise in tune as a dynamic medium of social existence, this e-book considers cognition, the sentiments and track as a administration device.
If Adorno lead the way for the disciplines of sociology and musicology to return jointly, DeNora has introduced this interdisciplinary scholarship to a brand new point of class, displaying that the discussion among musicology and sociology remains to be a two-way street." - William G. Roy
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Extra resources for After Adorno: Rethinking Music Sociology
It was also a device of music marketing and occupational advancement and, as such, illustrates Adorno’s point that aspects of ‘high’-culture music shared the mass-culture approach (an argument developed by Judith Blau (1989)). More recently, focus on the distinction between ‘high’ and ‘low’ musical forms has widened to include investigation of how ‘authenticity’ is itself constructed and contested (Peterson 1997). These investigations dismiss the concept of the ‘work itself’ in favour of the idea that ‘works’ are conﬁgured through the ways they are performed and heard (Hennion 1997; see also Clarke and Cook 2003).
Some might counter ‘listen for yourself’, the idea being that, if one has ears that have not been corrupted (and perhaps also honed through care and study), the ‘truth’ of music will be self-evident. But to suggest that ‘just listening’ or ‘training’ is enough is to dismiss the power of music education – the material and linguistic cultures that come to frame musical texts, that help to draw out particular meanings. This is a problem that routinely arises in discussions between musicologists and music sociologists.
Sacre already contains those elements which later undermine any claim to authenticity and revert music – because it aspires to power – to impotence’ (1973:155). Because, as Adorno believed, Stravisnky’s music invoked the body directly, it disengaged the mind. Stravinksy’s music did not deal with the part–whole problem of arrangement but was rather oriented – not unlike the popular songs Adorno disdained – towards effect. Moreover, in permitting rhythm to dominate, Stravinsky elevated the collective – the object – over the subject; the potential of his musical materials was made subservient to the music’s pulse.