By Tia DeNora
Theodor W. Adorno broached key questions about the position of tune in modern society and argued that it affected cognizance and used to be a way of social administration and regulate. announcing that song sociology will be vastly enriched via returning to Adorno's specialize in tune as a dynamic medium of social existence, this booklet considers cognition, the feelings and song 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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Extra info for After Adorno: Rethinking Music Sociology
From there, they considered the conditions under which the independent producers were able to establish more secure market positions, as the top four producers lost control of merchandising their products over the radio. They then traced how the record industry and its degree of market concentration expanded and contracted cyclically over time. By tracing conditions of record production and marketing, relating these conditions to new developments in the communications industry, and examining trends in record output and product diversity, Peterson and Berger concluded that changes in concentration lead rather than follow changes in diversity, that they are an effect of how powerful producers are able to be.
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).
That moment, and its elision, could be perceived, according to Adorno, in the compositional praxis of Beethoven and his shift from middle-to late-period style during the early nineteenth century. 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.