Tia DeNora's After Adorno: Rethinking Music Sociology PDF

By Tia DeNora

Theodor W. Adorno broached key questions on the position of tune in modern society and argued that it affected awareness and was once a method of social administration and regulate. announcing that track sociology may be vastly enriched via returning to Adorno's concentrate on track as a dynamic medium of social existence, this e-book considers cognition, the sentiments and track as a administration device.

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If Adorno cleared the path 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 continues to be a two-way street." - William G. Roy

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It includes a process seventeen lectures given by means of Theodor W. Adorno in May-July 1968, the final lecture sequence prior to his dying in 1969. Captured by way of tape recorder (which Adorno known as “the fingerprint of the residing mind”), those lectures current a a little varied, and extra obtainable, Adorno from the person who composed the faultlessly articulated and virtually forbiddingly excellent prose of the works released in his lifetime. right here we will persist with Adorno’s inspiration within the strategy of formation (he spoke from short notes), endowed with the spontaneity and effort of the spoken notice. The lectures shape a fantastic advent to Adorno’s paintings, acclimatizing the reader to the larger density of proposal and language of his vintage texts.

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Tracing the historical past of the self-discipline and insisting that the historic context is constitutive of sociology itself, Adorno addresses a variety of subject matters, together with: the aim of learning sociology; the relation of sociology and politics; the impact of Saint-Simon, Comte, Durkheim, Weber, Marx, and Freud; the contributions of ethnology and anthropology; the connection of technique to subject material; the issues of quantitative research; the fetishization of technology; and the separation of sociology and social philosophy.

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Extra resources for After Adorno: Rethinking Music Sociology

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In Adorno, the culture industry is too quickly written off as a monolithic force, its products dismissed a priori as undifferentiated, equally worthless (on this point, see Witkin 2002). 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.

Never behaved ‘expressionistically’, superimposing subjective intentions upon heterogenous material in an authoritarian and inconsiderate manner. ) Moreover, in his refusal to meld material to pre-determined form, Schoenberg deprived the listener of music’s ‘crutches’, as Adorno calls them, of listening – the conventions and clich´es that were the stock-intrade of popular music (the composer Pierre Boulez later (and polemically) termed this task – in reference to his own project – an attempt to ‘strip the accumulated dirt’ from music).

As Middleton has suggested: Adorno, ‘defended against his devotees’? 27 with Beethoven the potential of music is so raised that older assumptions are shattered. But this could be seen as simply a more than usually coherent version of a familiar Austro-German interpretation of nineteenth-century music history, which sets an over-privileged Viennese tradition at its normative centre. Adorno’s preference for ‘immanent method’-analysing and evaluating works in terms of the implications, the immanent tendencies, of their mode of existence rather than approaching them comparatively – means that, having set his criteria for ‘autonomous bourgeois music’ from his interpretation of Beethoven, he exports those criteria to all music of the period and finds the rest of it wanting.

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After Adorno: Rethinking Music Sociology by Tia DeNora


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