By Tia DeNora
Theodor W. Adorno broached key questions about the position of song in modern society and argued that it affected attention and used to be a way of social administration and keep an eye on. saying that song sociology should be drastically enriched by way of returning to Adorno's concentrate on song as a dynamic medium of social lifestyles, this publication considers cognition, the feelings and tune as a administration device.
If Adorno cleared the path 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 continues to be a two-way street." - William G. Roy
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Additional resources for After Adorno: Rethinking Music Sociology
Music is thus a medium with which to ‘do’ things psycho-socially. The third theme concerns the music industry and the ways in which it both reﬂected and instigated a shift in music’s function and the translation of the listener from active subject to passive recipient of music’s effects. It is important to observe that for Adorno, both so-called ‘high’ and popular music were affected by music’s commodity form during the nineteenth and twentieth centuries. For him, in other words, there was little difference, aesthetically and in terms of their psycho-social effects, between the songs of Tin Pan Alley and the music of Tchaikovsky, who, as Adorno so memorably remarked, ‘portrays despondency with hit tunes’.
As Witkin has observed, ‘Adorno’s formal analyses of musical works are preoccupied with meaning in the context of a hearing of the works’ (1998:5). It certainly seems right that Adorno was concerned with music’s structure as it came to affect listeners and his focus on how musical material is handled attests to this – the shock value, for example, of a particular chord within the context of an entire movement. 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.
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).
After Adorno: Rethinking Music Sociology by Tia DeNora
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