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| adorno introduction to the sociology of music: Introduction to the Sociology of Music Theodor W. Adorno, 1976 This work by the foremost philosopher of music in the twentieth century aims to define a sociology of music which encompasses more than an awareness of societal structures in their relation to musical phenomena. Adorno does not work from a simple contrast between music production and musical reception. He traces social elements in the musical forms themselves, then relates them once more to general social phenomena on the one hand and to musical life on the other. Adorno seeks to develop a full understanding of music itself in all its implications. He begins by loosely defining a sociology of music as knowledge of the relation between music and the socially organized individuals who listen to it. To this end, he delves into typical modes of conduct in listening to music under conditions in present-day society, and defines an intricate listener typology. Expanding on this theme, he explores the phenomena of popular music, the function of music as both high art and entertainment for the masses, music as perceived by different social classes, the state of opera and chamber music today, the relationship between the conductor and the orchestra as a kind of analogous social microcosm, the question of music's relation to public opinion and the international character of music. These ground-breaking lectures, delivered at Frankfurt University and broadcast over North German Radio, present a complete introduction to the sociology of music in contemporary society, showing its effect on people's lives and on their consciousness and unconscious. Adorno states unequivocally that no music has the slightest esthetic worth if it is not socially true, and in this significant work he opens the way for the reader and how social elements are woven into the texture of all music. --Dust jacket. |
| adorno introduction to the sociology of music: Introduction to the Sociology of Music Theodor W. Adorno, 1976-06-01 An eminent philosopher of music defines the sociology of music, explores modes of musical conduct, and deals with popular and chamber music, opera, and the relation of music to public opinion |
| adorno introduction to the sociology of music: Introduction to Sociology Theodor W. Adorno, 2002-05-01 Introduction to Sociology distills decades of distinguished work in sociology by one of this centurys most influential thinkers in the areas of social theory, philosophy, aesthetics, and music. It consists of a course of seventeen lectures given by Theodor W. Adorno in May-July 1968, the last lecture series before his death in 1969. Captured by tape recorder (which Adorno called the fingerprint of the living mind), these lectures present a somewhat different, and more accessible, Adorno from the one who composed the faultlessly articulated and almost forbiddingly perfect prose of the works published in his lifetime. Here we can follow Adornos thought in the process of formation (he spoke from brief notes), endowed with the spontaneity and energy of the spoken word. The lectures form an ideal introduction to Adornos work, acclimatizing the reader to the greater density of thought and language of his classic texts. Delivered at the time of the positivist dispute in sociology, Adorno defends the position of the Frankfurt School against criticism from mainstream positivist sociologists. He sets out a conception of sociology as a discipline going beyond the compilation and interpretation of empirical facts, its truth being inseparable from the essential structure of society itself. Adorno sees sociology not as one academic discipline among others, but as an over-arching discipline that impinges on all aspects of social life. Tracing the history of the discipline and insisting that the historical context is constitutive of sociology itself, Adorno addresses a wide range of topics, including: the purpose of studying sociology; the relation of sociology and politics; the influence of Saint-Simon, Comte, Durkheim, Weber, Marx, and Freud; the contributions of ethnology and anthropology; the relationship of method to subject matter; the problems of quantitative analysis; the fetishization of science; and the separation of sociology and social philosophy. |
| adorno introduction to the sociology of music: Beethoven Theodor W. Adorno, 2015-10-02 Beethoven is a classic study of the composer's music, written by one of the most important thinkers of our time. Throughout his life, Adorno wrote extensive notes, essay fragments and aides-memoires on the subject of Beethoven's music. This book brings together all of Beethoven's music in relation to the society in which he lived. Adorno identifies three periods in Beethoven's work, arguing that the thematic unity of the first and second periods begins to break down in the third. Adorno follows this progressive disintegration of organic unity in the classical music of Beethoven and his contemporaries, linking it with the rationality and monopolistic nature of modern society. Beethoven will be welcomed by students and researchers in a wide range of disciplines - philosophy, sociology, music and history - and by anyone interested in the life of the composer. |
| adorno introduction to the sociology of music: After Adorno Tia DeNora, 2003-11-06 Theodor W. Adorno placed music at the centre of his critique of modernity and broached some of the most important questions about the role of music in contemporary society. One of his central arguments was that music, through the manner of its composition, affected consciousness and was a means of social management and control. His work was primarily theoretical however, and because these issues were never explored empirically his work has become sidelined in current music sociology. This book argues that music sociology can be greatly enriched by a return to Adorno's concerns, in particular his focus on music as a dynamic medium of social life. Intended as a guide to 'how to do music sociology' this book deals with critical topics too often sidelined such as aesthetic ordering, cognition, the emotions and music as a management device and reworks Adorno's focus through a series of grounded examples. |
| adorno introduction to the sociology of music: Sound Figures Theodor W. Adorno, 1999 Theodor Adorno is one of the 20th century's most influential thinkers in the areas of social theory, philosophy, aesthetics and music. This volume of essays contains Adorno's thoughts on music and its wider social implications. |
| adorno introduction to the sociology of music: The Routledge Reader on the Sociology of Music John Shepherd, Kyle Devine, 2015-03-24 The Routledge Reader on the Sociology of Music offers the first collection of source readings and new essays on the latest thinking in the sociology of music. Interest in music sociology has increased dramatically over the past decade, yet there is no anthology of essential and introductory readings. The volume includes a comprehensive survey of the field’s history, current state and future research directions. It offers six source readings, thirteen popular contemporary essays, and sixteen fresh, new contributions, along with an extended Introduction by the editors. The Routledge Reader on the Sociology of Music represents a broad reference work that will be a resource for the current generation of sociologically inclined musicologists and musically inclined sociologists, whether researchers, teachers or students. |
| adorno introduction to the sociology of music: Essays on Music Theodor Adorno, 2002-08-08 A book of landmark importance. It is unprecedented in its design: a brilliantly selected group of essays on music coupled with lucid, deeply incisive, and in every way masterly analysis of Adorno's thinking about music. No one who studies Adorno and music will be able to dispense with it; and if they can afford only one book on Adorno and music, this will be the one. For in miniature, it contains everything one needs: a collection of exceptionally important writings on all the principal aspects of music and musical life with which Adorno dealt; totally reliable scholarship; and powerfully illuminating commentary that will help readers at all levels read and re-read the essays in question.—Rose Rosengard Subotnik, author of Deconstructive Variations: Music and Reason in Western Society An invaluable contribution to Adorno scholarship, with well chosen essays on composers, works, the culture industry, popular music, kitsch, and technology. Leppert's introduction and commentaries are consistently useful; his attention to secondary literature remarkable; his interpretation responsible. The new translations by Susan Gillespie (and others) are outstanding not only for their care and readability, but also for their sensitivity to Adorno's forms and styles.—Lydia Goehr, author of The Quest for Voice: Music, Politics and the Limits of Philosophy With its careful, full edition of Adorno's important musical texts and its exhaustive yet eminently readable commentaries, Richard Leppert's magisterial book represents a brilliant solution to the age-old dilemma of bringing together primary text and interpretation in one volume.—James Deaville, Director, School of the Arts, McMaster University The developing variations of Adorno's life-long involvement with musical themes are fully audible in this remarkable collection. What might be called his 'literature on notes' brilliantly complements the 'notes to literature' he devoted to the written word. Richard Leppert's superb commentaries constitute a book-length contribution in their own right, which will enlighten and challenge even the most learned of Adorno scholars.—Martin Jay, author of The Dialectical Imagination: A History of The Frankfurt School and the Institute of Social Research There is afoot in Anglo-American musicology today the first wholesale reconsideration of Adorno's thought since the pioneering work of Rose Rosengard Subotnik around 1980. Essays on Music will play a central role in this effort. It will do so because Richard Leppert has culled Adorno's writings so as to make clear to musicologists the place of music in the broad critique of modernity that was Adorno's overarching project; and it will do so because Leppert has explained these writings, in commentaries that amount to a book-length study, so as to reveal to non-musicologists the essentially musical foundation of this project. No one interested in Adorno from any perspective—or, for that matter, in modernity and music all told—can afford to ignore Essays on Music.—Gary Tomlinson, author of Metaphysical Song: An Essay on Opera This book is both a major achievement by its author-editor and a remarkable act of scholarly generosity for the rest of us. Until now, English translations of Adorno's major essays on music have been scattered and often unreliable. Until now, there has been no comprehensive scholarly treatment of Adorno's musical thinking. This volume remedies both problems at a single stroke. It will be read equally—and eagerly—for Adorno's texts and for Richard Leppert's commentary on them, both of which will continue to be essential resources as musical scholarship seeks increasingly to come to grips with the social contexts and effects of music. No one knows Adorno better than Leppert, and no one is better equipped to clarify the complex interweaving of sociology, philosophy, and musical aesthetics that is central to Adorno's work. From now on, everyone who reads Adorno on music, whether a beginner or an expert, is in Richard Leppert's debt for devoting his exceptional gifts of learning and lucidity to this project.—Lawrence Kramer, author of Musical Meaning: Toward a Critical History |
| adorno introduction to the sociology of music: Theodor W. Adorno Gerhard Schweppenhäuser, 2009-04-06 A translation of a succinct introduction to the challenging and far-reaching thought of Theodor W. Adorno (1903&–1969), one of the twentieth centurys most important thinkers. |
| adorno introduction to the sociology of music: The Sociology of Theodor Adorno Matthias Benzer, 2011-03-10 Theodor Adorno is a widely-studied figure, but most often with regard to his work on cultural theory, philosophy and aesthetics. The Sociology of Theodor Adorno provides the first thorough English-language account of Adorno's sociological thinking. Matthias Benzer reads Adorno's sociology through six major themes: the problem of conceptualising capitalist society; empirical research; theoretical analysis; social critique; the sociological text; and the question of the non-social. Benzer explains the methodological and theoretical ideas informing Adorno's reflections on sociology and illustrates Adorno's approach to examining social life, including astrology, sexual taboos and racial prejudice. Benzer clarifies Adorno's sociology in relation to his work in other disciplines and the inspiration his sociology took from social thinkers such as Marx, Weber, Durkheim, Kracauer and Benjamin. The book raises critical questions about the viability of Adorno's sociological mode of procedure and its potential contributions and challenges to current debates in social science. |
| adorno introduction to the sociology of music: Constructing a Sociology of the Arts Vera L. Zolberg, 1990-02-23 At a time when a pile of bricks is displayed in a museum, when music is composed for performance underwater, and the boundaries between popular and fine art are fluid, conventional understandings of art are strained in describing what art is, what it includes or excludes, whether and how it should be evaluated, and what importance should be assigned the arts in society. In this book, Vera Zolberg examines diverse theoretical approaches to the study of the arts. Ranging over humanistic and social scientific views representing a variety of scholarly traditions, American and European, she then develops a sociological approach that evaluates the institutional, economic, and political influences on the creation of art, while also affirming the importance of the question of artistic quality. The author examines the arts in the social contexts in which they are created and appreciated, focusing on the ways in which people become artists, the institutions in which their careers develop, the supports and pressures they face, the publics they need to please, and the political forces with which they must contend. Particular subjects covered include the process by which works are created and re-created at different times, with changed meanings, and for new social uses; the role of the audience in the realization of artistic experiences; the social consequences of taste preferences; the reasons for change in artistic styles and for the coexistence of many art forms and styles. |
| adorno introduction to the sociology of music: Adorno's Aesthetics of Music Max Paddison, 1993 This introduction to the aesthetics and sociology of music of the German philosopher and music theorist T. W. Adorno is the only book to deal comprehensively with this topic and it has quickly established itself as a classic text. |
| adorno introduction to the sociology of music: Sounds and Society Peter J. Martin, 1995 In this pioneering new book, Dr Martin presents a lively and accessible introduction to the social analysis of music. Dr Martin argues that musical meaning must be understood as socially constructed, rather than inherent, and that the notion of a correspondence between social and musical structures is highly problematic. An alternative approach, based on the ‘social action’ pespective is outlined, and the book concludes with a discussion of the social situation of music in advanced capitalist society. Along the way, leading thinkers are introduced: Adorno, Weber and Schntz as well as, more recently, John Shepherd and the feminist musicologists. The book draws on studies spanning the whole spectrum of Western music - rock bands to symphony orchestras, medieval plainchant to avant-garde jazz and concludes with a discussion of the social situation of music in advanced capitalist society. |
| adorno introduction to the sociology of music: Adorno Stefan Müller-Doohm, 2015-10-09 'Even the biographical individual is a social category', wrote Adorno. ‘It can only be defined in a living context together with others.’ In this major new biography, Stefan Müller-Doohm turns this maxim back on Adorno himself and provides a rich and comprehensive account of the life and work of one of the most brilliant minds of the twentieth century. This authoritative biography ranges across the whole of Adorno's life and career, from his childhood and student years to his years in emigration in the United States and his return to postwar Germany. At the same time, Muller-Doohm examines the full range of Adorno's writings on philosophy, sociology, literary theory, music theory and cultural criticism. Drawing on an array of sources from Adorno's personal correspondence with Horkheimer, Benjamin, Berg, Marcuse, Kracauer and Mann to interviews, notes and both published and unpublished writings, Muller-Doohm situates Adorno's contributions in the context of his times and provides a rich and balanced appraisal of his significance in the 20th Century as a whole. Müller-Doohm's clear prose succeeds in making accessible some of the most complex areas of Adorno's thought. This outstanding biography will be the standard work on Adorno for years to come. |
| adorno introduction to the sociology of music: The Melancholy Science Gillian Rose, 2014-01-28 The Melancholy Science is the first and foundational work from the celebrated philosopher Gillian Rose and a classic critique of critical theory. |
| adorno introduction to the sociology of music: Sociology for Music Teachers Richard Colwell, Hildegard Froehlich, 2015-07-02 For upper level undergraduate and introductory graduate and doctoral courses in music education. Outlining the basic aspects, constructs and concepts relevant to understanding music teaching and learning from a sociological perspective, this volume introduces students to the discipline as a tool in understanding their own work. The text shows how certain academics in music, sociology and education have thought about the relationship of music to education, schooling and society and examines the consequences of such thinking for making instructional choices in teaching methods and repertoire selection. School music teaching is imbedded in two major societal traditions: (1) the tradition of music making, listening, and responding; and (2) the tradition of education as a societal mandate. The first tradition holds firmly to music artistry and musicological scholarship, the latter of which includes music sociology. The second tradition, that of education as a field of study, relies mostly on pedagogical principles rooted equally in psychology and sociology. Hildegard Froehlich bases the book upon the premise that a music teacher's work is equally shaped by both traditions. The more music teachers become aware of how societal structures shape their own lives as well as the lives of their students, colleagues, and superiors; the more reality-based their teaching will become. Society is a composite of communities in which different social classes, groups, and reference groups co-exist-to varying degrees of compatibility due to real or perceived differences in norms and values as well as hierarchies of power. Informed or intuitive choices made by an individual indicate allegiances to particular groups, how those groups are structured hierarchically; and where and how each individual fits into those hierarchies. This is true for the music world as it is true for the world of education. |
| adorno introduction to the sociology of music: Popular Music and Society Brian Longhurst, 2007-05-07 This new edition of Popular Music and Society, fully revised and updated, continues to pioneer an approach to the study of popular music that is informed by wider debates in sociology and media and cultural studies. Astute and accessible, it continues to set the agenda for research and teaching in this area. The textbook begins by examining the ways in which popular music is produced, before moving on to explore its structure as text and the ways in which audiences understand and use music. Packed with examples and data on the contemporary production and consumption of popular music, the book also includes overviews and critiques of theoretical approaches to this exciting area of study and outlines the most important empirical studies which have shaped the discipline. Topics covered include: • The contemporary organisation of the music industry; • The effects of technological change on production; • The history and politics of popular music; • Gender, sexuality and ethnicity; • Subcultures; • Fans and music celebrities. For this new edition, two whole new chapters have been added: on performance and the body, and on the very latest ways of thinking about audiences and the spaces and places of music consumption. This second edition of Popular Music and Society will continue to be required reading for students of the sociology of culture, media and communication studies, and popular culture. |
| adorno introduction to the sociology of music: A Companion to Adorno Peter E. Gordon, Espen Hammer, Max Pensky, 2020-02-25 A definitive contribution to scholarship on Adorno, bringing together the foremost experts in the field As one of the leading continental philosophers of the last century, and one of the pioneering members of the Frankfurt School, Theodor W. Adorno is the author of numerous influential—and at times quite radical—works on diverse topics in aesthetics, social theory, moral philosophy, and the history of modern philosophy, all of which concern the contradictions of modern society and its relation to human suffering and the human condition. Having authored substantial contributions to critical theory which contain searching critiques of the ‘culture industry’ and the ‘identity thinking’ of modern Western society, Adorno helped establish an interdisciplinary but philosophically rigorous study of culture and provided some of the most startling and revolutionary critiques of Western society to date. The Blackwell Companion to Adorno is the largest collection of essays by Adorno specialists ever gathered in a single volume. Part of the acclaimed Blackwell Companions to Philosophy series, this important contribution to the field explores Adorno’s lasting impact on many sub-fields of philosophy. Seven sections, encompassing a diverse range of topics and perspectives, explore Adorno’s intellectual foundations, his critiques of culture, his views on ethics and politics, and his analyses of history and domination. Provides new research and fresh perspectives on Adorno’s views and writings Offers an authoritative, single-volume resource for Adorno scholarship Addresses renewed interest in Adorno’s significance to contemporary questions in philosophy Presents over 40 essays written by international-recognized experts in the field A singular advancement in Adorno scholarship, the Companion to Adorno is an indispensable resource for Adorno specialists and anyone working in modern European philosophy, contemporary cultural criticism, social theory, German history, and aesthetics. |
| adorno introduction to the sociology of music: Mahler Theodor W. Adorno, 1992-10-15 Theodor W. Adorno goes beyond conventional thematic analysis to gain a more complete understanding of Mahler's music through his character, his social and philosophical background, and his moment in musical history. Adorno examines the composer's works as a continuous and unified development that began with his childhood response to the marches and folk tunes of his native Bohemia. Since its appearance in 1960 in German, Mahler has established itself as a classic of musical interpretation. Now available in English, the work is presented here in a translation that captures the stylistic brilliance of the original. Theodor W. Adorno (1903-69), one of the foremost members of the Frankfurt school of critical theory, studied with Alban Berg in Vienna during the late twenties, and was later the director of the Institute of Social Research at the University of Frankfurt from 1956 until his death. His works include Aesthectic Theory, Introduction to the Sociology of Music, The Jargon of Authenticity, Prism, and Philosophy of Modern Music. |
| adorno introduction to the sociology of music: Music in Everyday Life Tia DeNora, 2000-06-08 The power of music to influence mood, create scenes, routines and occasions is widely recognised and this is reflected in a strand of social theory from Plato to Adorno that portrays music as an influence on character, social structure and action. There have, however, been few attempts to specify this power empirically and to provide theoretically grounded accounts of music's structuring properties in everyday experience. Music in Everyday Life uses a series of ethnographic studies - an aerobics class, karaoke evenings, music therapy sessions and the use of background music in the retail sector - as well as in-depth interviews to show how music is a constitutive feature of human agency. Drawing together concepts from psychology, sociology and socio-linguistics it develops a theory of music's active role in the construction of personal and social life and highlights the aesthetic dimension of social order and organisation in late modern societies. |
| adorno introduction to the sociology of music: Sound Objects James A. Steintrager, Rey Chow, 2018-12-06 Is a sound an object, an experience, an event, or a relation? What exactly does the emerging discipline of sound studies study? Sound Objects pursues these questions while exploring how history, culture, and mediation entwine with sound’s elusive objectivity. Examining the genealogy and evolution of the concept of the sound object, the commodification of sound, acousmatic listening, nonhuman sounds, and sound and memory, the contributors not only probe conceptual issues that lie in the forefront of contemporary sonic discussions but also underscore auditory experience as fundamental to sound as a critical enterprise. In so doing, they offer exciting considerations of sound within and beyond its role in meaning, communication, and information and an illuminatingly original theoretical overview of the field of sound studies itself. Contributors. Georgina Born, Michael Bull, Michel Chion, Rey Chow, John Dack, Veit Erlmann, Brian Kane, Jairo Moreno, John Mowitt, Pooja Rangan, Gavin Steingo, James A. Steintrager, Jonathan Sterne, David Toop |
| adorno introduction to the sociology of music: The Sociology of Music Alphons Silbermann, 1963 |
| adorno introduction to the sociology of music: #On Popular Music Theodor W. Adorno, 1942* |
| adorno introduction to the sociology of music: Philosophy and Sociology: 1960 Theodor W. Adorno, 2022-02-14 In summer 1960, Adorno gave the first of a series of lectures devoted to the relation between sociology and philosophy. One of his central concerns was to dispel the notion, erroneous in his view, that these were two incompatible disciplines, radically opposed in their methods and aims, a notion that was shared by many. While some sociologists were inclined to dismiss philosophy as obsolete and incapable of dealing with the pressing social problems of our time, many philosophers, influenced by Kant, believed that philosophical reflection must remain ‘pure’, investigating the constitution of knowledge and experience without reference to any real or material factors. By focusing on the problem of truth, Adorno seeks to show that philosophy and sociology share much more in common than many of their practitioners are inclined to assume. Drawing on intellectual history, Adorno demonstrates the connection between truth and social context, arguing that there is no truth that cannot be manipulated by ideology and no theorem that can be wholly detached from social and historical considerations. This systematic account on the interconnectedness of philosophy and sociology makes these lectures a timeless reflection on the nature of these disciplines and an excellent introduction to critical theory, the sociological content of which is here outlined in detail by Adorno for the first time. |
| adorno introduction to the sociology of music: Understanding Adorno, Understanding Modernism Robin Truth Goodman, 2020-11-12 Having studied philosophy at a time when its traditions were being seriously uprooted by the atrocities of World War II, Theodor Adorno had an enormous impact on thinking about aesthetics at a transitional historical moment when the philosophy of science and leftist politics were looking for new ground. Moreover, with his focus on the rise of commercial culture and its effects on identity-construction, Adorno can be said to have reinvigorated modernist concerns by introducing the prevailing terms in our contemporary versions of cultural politics and cultural studies. Understanding Adorno, Understanding Modernism traces Adorno's social and aesthetic ideas as they appear and reappear in his corpus. As per other volumes in the series, this book is divided into three parts. The first, “Adorno's Keywords,” is organized by the aesthetic terms around which Adorno's philosophy circulates. The second section is devoted to “Adorno and Aesthetics.” While Adorno's philosophical viewpoints influenced modernism's evolution into the 21st century, the history of modernist aesthetics also shaped his philosophical approaches. The third and final part, “Adorno's Constellations,” discusses how aesthetic form in Adorno's thinking underlies the terms of his social analysis. |
| adorno introduction to the sociology of music: The Passion for Music: A Sociology of Mediation Dr Antoine Hennion, 2015-07-28 Music is an accumulation of mediators: instruments, languages, sheets, performers, scenes, media and so on. Learning from music - this art of infinite mediations - allows us to confront sociology with a different way of considering objects. For this task, Hennion draws on aesthetics, art history, science, technology and popular music studies. He shows us that music is a collective process, which must always be performed again and again. As part of that project, he presents a wide-ranging series of case studies, restoring attention to the rich and varied intermediaries through which music is brought to life. This is the first English translation of one of the most important works of French scholarship on music and society. |
| adorno introduction to the sociology of music: Theodor W. Adorno Detlev Claussen, 2009-06-30 This book gives us our first clear look at how the man and his moment met to create “critical theory.” An intimate picture of the quintessential twentieth-century transatlantic intellectual, the book is also a window on the cultural ferment of Adorno’s day—and its ongoing importance in our own. |
| adorno introduction to the sociology of music: Marxist Modernism Gillian Rose, 2024-08-06 Marxist Modernism is a comprehensive yet concise and conversational introduction to the Frankfurt School. It is also a new resource from one of the twentieth century's most important philosophers: Gillian Rose. Her 1979 lectures on the Frankfurt School explore the lives and philosophies of a range of the school's members and affiliates, including Adorno, Lukcs, Brecht, Bloch, Benjamin, and Horkheimer, and outline the way each theorist developed Marx's theory of commodity fetishism into a Marxist theory of culture. Edited by Robert Lucas Scott and James Gordon Finlayson |
| adorno introduction to the sociology of music: Ubiquitous Musics Marta García Quiñones, Anahid Kassabian, Elena Boschi, 2016-02-17 Ubiquitous Musics offers a multidisciplinary approach to the pervasive presence of music in everyday life. The essays address a variety of situations in which music is present alongside other activities and does not demand focused attention from (sometimes involuntary) listeners. The contributors present different theoretical perspectives on the increasing ubiquity of music and its implications for the experience of listening. The collection consists of nine essays divided into three sections: Histories, Technologies, and Spaces. The first section addresses the historical origins of functional music and the debates on how reproduced music, including a wide range of styles and genres, spread so quickly across so many environments. The second section focuses on more contemporary sound technologies, including mobile phones in India, the role of visible playback technology in film, and listening to portable digital players. The final section reflects on settings such as malls, stores, gyms, offices and cars in which ubiquitous musics are often present, but rarely thought about. This last section - and ultimately the whole collection - seeks to foster a wider understanding of listening practices by lending a fresh, critical ear. |
| adorno introduction to the sociology of music: Philosophical Considerations on Contemporary Music Giacomo Fronzi, 2017-01-06 The musical universe of the 20th and 21st centuries is a force-field in which styles, instruments, personalities and stories can be found that are ascribable to conceptual frameworks that may differ greatly one from another. Such complexity cannot be traced back to single theories or all-encompassing interpretations, but may be tackled, philosophically, starting from certain characteristics. This book identifies nine such characteristics: namely, Extremes, Noise, Silence, Technology, Audience, Listening, Freedom, Disintegration, and New Media. Each of these permits us to open up unforeseen philosophical-cultural paths and interpret, in its multifarious variety, the developments of contemporary music, profoundly interwoven with the history of thought, culture and society. |
| adorno introduction to the sociology of music: From Handel to Hendrix Michael Chanan, 1999-12-17 This study examines the composer as a public figure. It examines the fate of the composer through successive incarnations and investigates a range of themes such as subjectivity and identity. |
| adorno introduction to the sociology of music: Adorno and the Need in Thinking Colin J. Campbell, Kathy Kiloh, Jonathan Short, 2007-01-01 Few intellectual figures of the twentieth century dealt with such a vast scope of subjects as Theodor Adorno (1903-1969). His insights, therefore, lend themselves to critical overview as many have cross-disciplinary relevance, appealing to scholars from a variety of backgrounds. Adorno and the Need in Thinking examines questions dealt with in the works of Adorno, offering a glimpse at the development of his complex thought. This collection of essays, though dealing with different topics from section to section, is unified by the idea that, at least in the English-speaking world, there are numerous facets of Adorno's work that have been hitherto neglected in terms of critical scholarship. Adorno and the Need in Thinking addresses these forgotten nuances, whether they apply to questions of politics, language, metaphysics, aesthetics, ecology, or several of these at once. Also included for the first time in English is Adorno's important early essay, Theses on the Language of the Philosopher. At a time when Adorno scholarship is on the rise, this collection sheds light on new areas of critical research, adding another dimension to the existing literature on this most important intellectual. |
| adorno introduction to the sociology of music: Variations on the Canon Robert Curry, David Gable, Robert Lewis Marshall, 2008 Masterful essays honoring the great pianist and critic Charles Rosen, on masterpieces from Bach and Beethoven to Chopin, Verdi, and Stockhausen. Charles Rosen, the pianist and man of letters, is perhaps the single most influential writer on music of the past half-century. While Rosen's vast range as a writer and performer is encyclopedic, it has focused particularly on theliving canonical repertory extending from Bach to Boulez. Inspired in its liveliness and variety of critical approaches by Charles Rosen's challenging work, Variations on the Canon offers original essays by some of the world's most eminent musical scholars. Contributors address such issues as style and compositional technique, genre, influence and modeling, and reception history; develop insights afforded by close examination of compositional sketches; and consider what language and metaphors might most meaningfully convey insights into music. However diverse the modes of inquiry, each essay sheds new light on the works of those composers posterity has deemed central to the modern Western musical tradition. Contributors: Pierre Boulez, Scott Burnham, Elliott Carter, Robert Curry, Walter Frisch, David Gable, Philip Gossett, Jeffrey Kallberg, Joseph Kerman, Richard Kramer, William Kinderman, Lewis Lockwood, Sir Charles Mackerras, Robert L. Marshall, Robert P. Morgan, Charles Rosen, Julian Rushton, David Schulenberg, László Somfai, Leo Treitler, James Webster, and Robert Winter. Robert Curry is principalof the Conservatorium High School and honorary senior lecturer in the Centre for Medieval Studies, University of Sydney; David Gable is Assistant Professor of Music at Clark-Atlanta University; Robert L. Marshall is Louis, Frances, and Jeffrey Sachar Professor Emeritus of Music at Brandeis University. |
| adorno introduction to the sociology of music: The Oxford Handbook of Music and the Middlebrow Kate Guthrie, Christopher Chowrimootoo, 2025-03-06 The Oxford Handbook of Music and the Middlebrow takes a fresh look at the history of nineteenth- and twentieth-century music. Offering an alternative to the traditional focus on either highbrow modernism on the one hand or lowbrow popular music on the other, its novel view centers on the wealth of previously overlooked products and practices that bridged the space between these cultural extremes. While seminal attempts to recover middlebrow culture came from literary critics and historians, middlebrow studies is now a burgeoning field within musicology. As the first essay collection on this topic, this handbook has two aims: first, it seeks to explore the middlebrow as a historical phenomenon, excavating the kinds of critical writings, marketing practices, and compositional styles with which it was associated. By reanimating a range of musical practices and products--from symphonic concerts to Broadway musicals, opera criticism to rock journalism, and modern jazz to pop-rock--the contributors investigate how artists, critics, and audiences breached the divide from both above and below. In the process, the handbook chapters push the boundaries of middlebrow studies and demonstrate the category's relevance outside of the mid-twentieth-century Anglophone world by delving into the nineteenth century, interrogating the present day, and looking to Germany, Russia, and beyond. The handbook's second aim is to complicate the disciplinary divisions that have flowed from the entrenched oppositions between high and low genres. Breaking new ground by bringing together scholars of classical and popular music, these chapters trace common middlebrow themes across traditional disciplinary boundaries. Across this broad vista, contributors account for the kinds of syntheses, overlaps, and juxtapositions that made the cultural middle such a richly textured and endlessly contested terrain. |
| adorno introduction to the sociology of music: Schubert's String Quartets Anne Hyland, 2023-04-20 A fresh analytical and musicological exploration of Schubert's incorporation of lyric elements into sonata form by way of his string quartets. |
| adorno introduction to the sociology of music: In the Beginning was the Deed Harry Redner, 1982-01-01 |
| adorno introduction to the sociology of music: The Music of Theology Andrew Hass, Mattias Martinson, Laurens ten Kate, 2024-02-01 This book reconceives theology as a musical endeavour in critical tension with language, space and silence. An Overture first moves us from music to religion, and then from theology back to music – a circularity that, drawing upon history, sociology, phenomenology, and philosophy, disclaims any theology of music and instead pursues the music in theology. The chapters that follow explore the three central themes by way of theory, music and myth: Adorno, Benjamin and Deleuze (language), Derrida, Rosa and Nancy (space), Schelling/Hegel, Homer and Cage (silence). In overdubbing each other, these chapters work towards theology as a sonorous rhythm between loss and freedom. A Coda provides three brief musical examples – Thomas Tallis, György Ligeti, and Evan Parker – as manifestations of this rhythm, to show in summary how music becomes the very pulse of theology, and theology the very intuition of music. The authors offer an interdisciplinary engagement addressing fundamental questions of the self and the other, of humanity and the divine, in a deconstruction of modern culture and of its bias towards the eye over the ear. The book harmonizes three scholarly voices who attempt to find where the resonance of our Western conceptions and practice, musically and theologically, might resound anew as a more expansive music of theology. |
| adorno introduction to the sociology of music: Sociology for Music Teachers Hildegard Froehlich, 2015-07-02 Sociology for Music Teachers: Perspectives for Practice examines the history and development of the social factors that affect students' values, tastes, and attitudes that school music teachers contront as an integral part of their work. It makes the case that knowledge of sociology impacts the selection of materials, methods, and teaching strategies by which teachers effectively communicate new ideas and experiences to the students, and through the students, to the community.--Back cover |
| adorno introduction to the sociology of music: Out of Time Julian Johnson, 2015 Out of Time explores a bold idea: that western art music of the last four hundred years is better understood through the idea of musical modernity than by the usual periodizations of music history. Reading against the grain of linear history, it reconsiders the common concerns of music in terms of time and history, space and technology, language and sound. The result is a rehearing of modernity and a rethinking of modern music. |
| adorno introduction to the sociology of music: From Hegel to Madonna Robert Miklitsch, 1998-02-13 From Hegel to Madonna presents a genealogical survey of the discourses of negation and affirmation associated with the work of Hegel, Adorno, Deleuze, and Guattari; then, rotating from the philosophical to the political-economic axis, turns to the problem of a general economy of commodity-fetishism. Drawing on the work of Marx and Freud, Miklitsch mobilizes a new, renewed understanding of commodity fetishism--what he calls the commodity-body-sign--in order to examine received notions of consumption and commodification. The aim is to envision a dialectical mode of critique, at once critical and affirmative, that can account for the cultural contradictions of late capitalism. The author also analyzes the phenomenon of Madonna Studies, reading the interest in the pop star as a sign of the academic times, a symptomatic figure not only of cultural studies in all its celebratory, cultural-populist excess but of a critical discourse responsive to postmodern culture in all its politically complex mutability. |
Theodor W. Adorno - Wikipedia
Theodor W. Adorno (/ ə ˈ d ɔːr n oʊ / ə-DOR-noh; [9] German: [ˈteːodoːɐ̯ aˈdɔʁno] ⓘ; [10] [11] born Theodor Ludwig Wiesengrund; 11 September 1903 – 6 August 1969) was a German …
Theodor W. Adorno - Stanford Encyclopedia of Philosophy
May 5, 2003 · Theodor W. Adorno (1903–1969) was one of the most important philosophers, cultural, and music critics in Germany after World War II. Although less well known among …
Theodor Wiesengrund Adorno | Frankfurt School, Critical ...
Theodor Wiesengrund Adorno (born Sept. 11, 1903, Frankfurt am Main, Ger.—died Aug. 6, 1969, Visp, Switz.) was a German philosopher who also wrote on sociology, psychology, and …
Adorno, Theodor | Internet Encyclopedia of Philosophy
Theodor Adorno was one of the foremost continental philosophers of the twentieth century. Although he wrote on a wide range of subjects, his fundamental concern was human …
Key Theories of Theodor Adorno - Literary Theory and Criticism
Jun 19, 2017 · Theodor Adorno follows Lukacs (1971) in recognising that Marx’s account of capitalism is inadequate, for it lacks a theory of bureaucracy. This theory is found in the work of …
Who Was Theodor W. Adorno? - TheCollector
Apr 4, 2022 · Theodor W. Adorno was a leading German philosopher, psychologist and critic whose voice became a powerful antidote to the Second World War. Ancient History History
Gone But Not Forgotten: Theodor Adorno - Society Today
Aug 6, 2024 · Theodor W. Adorno, who died on this date (August 6) in 1969, was a towering figure in 20th-century philosophy, sociology, and cultural criticism. A central figure in the Frankfurt …
Top 10 Outstanding Facts about Theodor W. Adorno
Jul 9, 2022 · Theodor Adorno was one of the foremost continental philosophers of the 20 th century. He produced a wide range of subjects, though his fundamental concern was human …
Adorno, Theodor – Postcolonial Studies - Emory University
Jun 1, 2014 · Theodor Adorno was a philosopher, critic, and theorist who generated a vast body of works on many aspects of society and culture. His interests ranged from classical philosophy …
Theodor W. Adorno and the Critical Theory of Knowledge
What many want to make us believe is that Adorno’s theory of knowledge is a theory of ideological manipulation that creates and reproduces false consciousness.
Theodor W. Adorno - Wikipedia
Theodor W. Adorno (/ ə ˈ d ɔːr n oʊ / ə-DOR-noh; [9] German: [ˈteːodoːɐ̯ aˈdɔʁno] ⓘ; [10] [11] born Theodor Ludwig Wiesengrund; 11 September 1903 – 6 August 1969) was a German …
Theodor W. Adorno - Stanford Encyclopedia of Philosophy
May 5, 2003 · Theodor W. Adorno (1903–1969) was one of the most important philosophers, cultural, and music critics in Germany after World War II. Although less well known among …
Theodor Wiesengrund Adorno | Frankfurt School, Critical ...
Theodor Wiesengrund Adorno (born Sept. 11, 1903, Frankfurt am Main, Ger.—died Aug. 6, 1969, Visp, Switz.) was a German philosopher who also wrote on sociology, psychology, and …
Adorno, Theodor | Internet Encyclopedia of Philosophy
Theodor Adorno was one of the foremost continental philosophers of the twentieth century. Although he wrote on a wide range of subjects, his fundamental concern was human …
Key Theories of Theodor Adorno - Literary Theory and Criticism
Jun 19, 2017 · Theodor Adorno follows Lukacs (1971) in recognising that Marx’s account of capitalism is inadequate, for it lacks a theory of bureaucracy. This theory is found in the work …
Who Was Theodor W. Adorno? - TheCollector
Apr 4, 2022 · Theodor W. Adorno was a leading German philosopher, psychologist and critic whose voice became a powerful antidote to the Second World War. Ancient History History
Gone But Not Forgotten: Theodor Adorno - Society Today
Aug 6, 2024 · Theodor W. Adorno, who died on this date (August 6) in 1969, was a towering figure in 20th-century philosophy, sociology, and cultural criticism. A central figure in the Frankfurt …
Top 10 Outstanding Facts about Theodor W. Adorno
Jul 9, 2022 · Theodor Adorno was one of the foremost continental philosophers of the 20 th century. He produced a wide range of subjects, though his fundamental concern was human …
Adorno, Theodor – Postcolonial Studies - Emory University
Jun 1, 2014 · Theodor Adorno was a philosopher, critic, and theorist who generated a vast body of works on many aspects of society and culture. His interests ranged from classical philosophy …
Theodor W. Adorno and the Critical Theory of Knowledge
What many want to make us believe is that Adorno’s theory of knowledge is a theory of ideological manipulation that creates and reproduces false consciousness.
