By Tia DeNora
Theodor W. Adorno broached key questions about the function of track in modern society and argued that it affected cognizance and was once a method of social administration and keep watch over. saying that song sociology may be drastically enriched by way of returning to Adorno's specialise in song as a dynamic medium of social lifestyles, this publication considers cognition, the feelings and track as a administration device.
If Adorno cleared the path 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 continues to be a two-way street." - William G. Roy
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Extra info for After Adorno: Rethinking Music Sociology
For Adorno, Beethoven was heroic because his compositions both exempliﬁed the procedures of reason and served as a foil against which reason’s historical position could be gauged. Beethoven occupied a particular position in history. Beethoven, unlike his contemporaries, according to Adorno, managed to compose in such a way that his work was drawn into exact alignment with his historical situation. Beethoven was able, in other words, to address music’s congealed history and in so doing simultaneously address his historical situation.
An unresolved ending Richard Middleton summarises the ﬂaws in Adorno’s theory as consisting of, ﬁrst, his use of the immanent method (and thus his depopulation of the musical ﬁeld) and, second, his own historical location and its link to his ‘ontologisation of history’. By this he means that Adorno’s focus on individual works allowed him, as I described earlier, certain theoretical luxuries – as a strategy the conﬁnement to what he had to say about composition permitted him to ﬁnd that to which he was already predisposed.
Given these statements, it is hardly surprising that Adorno fails to consider the way in which listening, as interpretive processing, is itself a part of composition and that, therefore, if we are to understand music’s effects we cannot afford the luxury of reading these off from musical works. ‘For Adorno’, Middleton succinctly puts it, ‘the meaning of musical works is Adorno, ‘defended against his devotees’? 33 immanent; our role is to decipher it’ (1970:59). The result of Adorno’s avoidance of speciﬁc acts of listening is an additional theoretical luxury: it enables Adorno to invoke an image of the audience whenever that is expedient as a means for advancing his theory.
After Adorno: Rethinking Music Sociology by Tia DeNora