After Adorno: Rethinking Music Sociology by Tia DeNora

By Tia DeNora

Theodor W. Adorno broached key questions on the position of track in modern society and argued that it affected attention and was once a way of social administration and keep watch over. saying that track sociology may be significantly 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 song 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, exhibiting 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

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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. ‘The people clamour’, he tells us, ‘for what they are going to get anyhow’ (1976:29, quoted in Middleton 1990:57). He describes listeners as ‘identifying . . with the . . ). After Beethoven, there is only one correct mode of attention to music – silent contemplation.

And if we are to ‘make use’ of Adorno, I suggest it is necessary to specify ways of grounding his ideas, not necessarily in positivist mode as testable and measurable hypotheses, but to specify their meaning by 34 After Adorno: rethinking music sociology trying to consider, at least hypothetically, how we might be able to develop his work at or more closely to the level of action and experience. As it stands, Adorno’s music sociology almost completely by-passes the need for empirical work, in particular for the micro- and middle-range modes of investigation pursued by music sociology over the past two or three decades – in the roughly forty years since the English publication of Adorno’s Introduction to the Sociology of Music.

To be sure, Adorno was complicit in this project. His conception of music history, like his conception of the music industry and its history, is similarly over-theorised. There were, arguably, at the time, good reasons for this over-theoretical approach, as Richard Leppert explains: Adorno’s sociology worked from both the outside and the inside of musical works. ‘Outside’ musical texts, he looked at social practices, but here he upset musicological convention by his relative lack of interest in empirical research, though Adorno knew well the ‘basic facts’ of music history, to be sure.

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