By Tia DeNora
Theodor W. Adorno broached key questions about the function of track in modern society and argued that it affected attention and used to be a way of social administration and keep watch over. announcing that track sociology could be significantly enriched via returning to Adorno's specialise in tune as a dynamic medium of social lifestyles, this e-book considers cognition, the feelings and track as a administration device.
If Adorno lead the way for the disciplines of sociology and musicology to come back jointly, DeNora has introduced this interdisciplinary scholarship to a brand new point of class, exhibiting 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
This is because, as Richard Middleton has observed (1990:37), Adorno began with that which he knew well – Germany during the 1930s – and he projected this model of cultural production inappropriately across time and space. That projection blinded Adorno to the heterogeneity present within the various enclaves of what he referred to, perhaps simplistically, as ‘the music industry’ – middle-range sectors, networks, individuals, groups, and rivalries through which production occurred. To take but one example, Adorno’s conceptual apparatus did not permit him to consider how the record industry was multi-textured, composed of a mixture of small, independent companies and larger conglomerates, and how the interaction between these sectors might have implications for the type of work produced.
But – and not intended by Adorno – it also furthers certain of Adorno’s assumptions that were characteristic of the culture in which he was steeped – the belief in musical–aesthetic hierarchy (‘good’ or ‘true’ music and, by implication, its opposite), an adherence to a romantic and post-romantic conception of the artist and artistic autonomy, the idea of the artist’s marginal position in relation to public life. These were the nineteenth-century emblems of bourgeois humanism that Adorno revered.
It is necessary, in other words, to press Adorno on the question of musical stylistic change and, equally importantly, on the question of musical greatness and its origins. On the one hand, Adorno often speaks of how the composer is faced with ‘problems’ posed by music, or the ‘questions directed to him by the material in the form of its own immanent problems’, as in the case of Schoenberg (Adorno 2002:399). Here the implication is that the best composers will ﬁnd ways of responding to music, ways of solving the problems music poses.