By Tia DeNora
Theodor W. Adorno broached key questions about the position of song in modern society and argued that it affected cognizance and used to be a way of social administration and keep an eye on. saying that track sociology should be enormously enriched via returning to Adorno's specialize in tune as a dynamic medium of social existence, this booklet considers cognition, the sentiments and track 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 remains to be a two-way street." - William G. Roy
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Additional info for After Adorno: Rethinking Music Sociology
This is most assuredly an area upon which subsequent sociologists have improved. The classic study in this respect is by Peterson and Berger (1990 ), well worth considering because it gives a taste of the empirical issues that Adorno ignored but which could have served to develop his theory. Peterson and Berger suggested that ‘innovation’ (diversity) in pop music arises from competition between large record companies and their smaller rivals, showing that variety of musical forms (and thus epochs of musical innovation and experimentation) is linked to the social structural arrangements of production, in this case, inversely related to market concentration.
2002: 652–3) At the same time as he identiﬁed Beethoven as an agent, Adorno also identiﬁed Beethoven’s agency as ‘coinciding’ with the spirit of an age and, in this respect, Adorno’s conception of the work of composers exhibits the structuralism with which Adorno is often associated: Beethoven’s works mirrrored social forces in this conception but did not mediate these forces or provide resources through which they were elaborated. Whichever of these views one holds (Beethoven as a ‘possessor’ of agency or as the ‘possessed’ by music’s material tendencies (its congealed history)), when the moment of social equilibrium passed, and when the object claimed priority over the subject in the guise of administration (Napoleon crowning 16 After Adorno: rethinking music sociology himself emperor), Beethoven’s composition became increasingly fragmented, characterised increasingly by dissonance and disintegration.
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.