By Tia DeNora
Theodor W. Adorno broached key questions on the position of song in modern society and argued that it affected attention and used to be a way of social administration and regulate. announcing that song sociology will be tremendously enriched via returning to Adorno's specialise in track as a dynamic medium of social existence, this booklet considers cognition, the feelings and song 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 remains to be a two-way street." - William G. Roy
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Additional info for After Adorno: Rethinking Music Sociology
After Beethoven, there is only one correct mode of attention to music – silent contemplation. His typology of listening (1976), with its top-down itemisation of listening modes, from the valued, rational, listener who ‘grasps’ music’s structure to the ‘emotional’ listener who orients to music in search of sensation, underlines Adorno’s adherence to music in only one form – cognition. This adherence itself can be traced to Adorno’s value-orientation within the discourse of serious music, itself a product of the nineteenth century.
These changes were, importantly in Adorno’s view, linked to the fundamental shift in consciousness that was the hallmark of modernity, the emergence of the ontological ideology. Musically conceived, this shift was characterised in particular by the listener’s susceptibility to music’s effects on the body and the emotions, and her orientation to music as a source of pleasure, as a token of lifestyle, and as a diversion and a way of coping. Here, then, music loses its status as dialectical praxis and as a resource for the instigation of critical consciousness (the perception of difference).
There is more than a touch of hauteur in Adorno. And while hauteur may be a matter of style, in this case it is adjunct to what in some circles has been called a ‘sociology of error’, by which is meant a mode of analysis predicated upon the assumption that its statements will either deﬁne ‘the world’ correctly or that they will, as it were, be in error. We must not, however, dismiss Adorno simply because we think that on points he erred. What is of value in Adorno transcends all of this. It concerns Adorno’s vision, his way of perceiving the social world and music’s interrelationship with that world.
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