By Tia DeNora
Theodor W. Adorno broached key questions about the position of song in modern society and argued that it affected realization and used to be a method of social administration and keep an eye on. announcing that song sociology will be significantly enriched by way of returning to Adorno's concentrate on track as a dynamic medium of social lifestyles, this e-book considers cognition, the sentiments and tune as a administration device.
If Adorno lead the way 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 remains to be a two-way street." - William G. Roy
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Additional resources for After Adorno: Rethinking Music Sociology
They have no logic of their own but only in relation to the melodic line and the global rules). The material, in this case the voice lines, is thus made subservient to the need to produce a greater form; the particular is sacriﬁced to the general. A ‘good’ harmonisation, by contrast, would be attentive to the needs of all the voices so that the ‘whole’ could be seen to emerge from a judicious arrangement of the parts. In such a composition, then, one might speak of the music as analogous to a collective ideal.
And in that triumph, according to Adorno, resided the mechanisms of collective stupefaction – the dynamics of the culture industry and their psycho-cultural consequences. For if ‘good’ art could ‘aid enlightenment’ by pointing out darkness, the culture industry and its drive towards standardisation militated against enlightenment through repetition and predictability. According to Adorno, the music industry purveyed an endless parade of popular songs that Adorno, ‘defended against his devotees’?
Because, as Adorno believed, Stravisnky’s music invoked the body directly, it disengaged the mind. Stravinksy’s music did not deal with the part–whole problem of arrangement but was rather oriented – not unlike the popular songs Adorno disdained – towards effect. Moreover, in permitting rhythm to dominate, Stravinsky elevated the collective – the object – over the subject; the potential of his musical materials was made subservient to the music’s pulse. And ﬁnally (and bearing in mind that Le Sacre was a ballet), Stravinsky used music to depict topics and scenes and this, Adorno claimed, led him to use music as a ‘pseudomorphism of painting’ – to reduce music to the role of depictive rendition and thus deny its speciﬁcally musical properties, understood as the processual unfolding of musical material, its ‘becoming’ (1973:162).
After Adorno: Rethinking Music Sociology by Tia DeNora