Download After Adorno: Rethinking Music Sociology by Tia DeNora PDF

By Tia DeNora

Theodor W. Adorno broached key questions about the function of song in modern society and argued that it affected attention and was once a way of social administration and keep an eye on. announcing that track sociology could be tremendously enriched by way of returning to Adorno's concentrate on song as a dynamic medium of social lifestyles, this ebook considers cognition, the sentiments and tune as a administration device.


If Adorno prepared the ground for the disciplines of sociology and musicology to come back jointly, DeNora has introduced this interdisciplinary scholarship to a brand new point of class, displaying that the discussion among musicology and sociology continues to be a two-way street." - William G. Roy

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Extra info for After Adorno: Rethinking Music Sociology

Sample text

Adorno’s work, it should be clear at this stage, is far too important to be set aside by music sociologists. At the same time it would benefit greatly from further specification, in particular from a better connection to more recent methodological developments within the human sciences. In the remainder of this chapter I deal with three key themes in Adorno’s work and describe how they may be criticised and redeployed at an empirical level of enquiry. The first of these themes centres on the idea that music is, at least potentially, a means for knowledge formation (a mode of attending to material reality, a mode of posing the relationship between concepts and material detail).

Yet, despite Adorno’s obvious concern with music’s ‘effects’ upon listeners – effects such as the regression in hearing prompted by false music or the capacity for complex awareness promoted by Schoenberg – the ‘audience’ is never encountered with any specificity in Adorno’s work but is rather deduced from musical structures. Adorno remained fundamentally uninterested in, as Middleton has observed (1990:60), real moments of consumption practice. By contrast, Adorno treats music’s listener as he treated both music history and the social significance of musical works – he hypostatises listeners and listening.

In this way he was able to embark upon projects that enabled him to garner increasing cultural weight within the changing cultural terrain. Beethoven was not, in other words, considered the ‘best match’ to an already existing set of musical evaluative criteria. It is not reasonable to suggest that his work took the ‘only’ or the ‘best’ musico-logical direction available at the time. On the contrary, his career and work helped to shape the apparently ‘logical’ direction of music and, simultaneously, the criteria applied to his work.

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