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 watch over. saying that tune sociology could be vastly enriched through returning to Adorno's concentrate on tune as a dynamic medium of social existence, this publication considers cognition, the feelings and track as a administration device.
If Adorno lead the way 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 remains to be a two-way street." - William G. Roy
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Additional resources for After Adorno: Rethinking Music Sociology
Partaking of the spirit of a movement] is lacking and is imposed by force or ﬁat, the result is merely conformity on the part of the composer . . regularly at the expense of quality, of the music’s stature. (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.
Adorno, ‘defended against his devotees’? 25 In these works, the music industry is explored from the inside out. In Adorno’s work, by contrast, the music industry remains a black box, the contents of which are deduced without need of opening, or an empty screen upon which Adorno projected his assumptions about the music industry. There is a raft of questions that remains unanswered by Adorno. For example, as Middleton has observed, how does stylistic change in popular music come about, and how does it take particular forms (Middleton 1990:38)?
To develop this example, and in a way that highlights compositional praxis, consider the process of learning how to harmonise the melodic line of a Bach chorale. As part of the rudiments of music theory, it is customary to practise this skill by learning how to harmonise a chorale melody. There are various rules that apply – no parallel fourths or ﬁfths, for example. Novice attempts to follow these rules often result in supporting lines (alto, Adorno, ‘defended against his devotees’? , they have no logic of their own but only in relation to the melodic line and the global rules).
After Adorno: Rethinking Music Sociology by Tia DeNora