By Tia DeNora
Theodor W. Adorno broached key questions about the function of tune in modern society and argued that it affected awareness and used to be a way of social administration and keep an eye on. announcing that track sociology may be enormously enriched via returning to Adorno's specialise in song as a dynamic medium of social existence, this ebook considers cognition, the sentiments and tune 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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Extra info for After Adorno: Rethinking Music Sociology
For example, Beethoven’s incorporation of ‘shock’ or surprise, his deconstruciton of form, may, if perceived from the point of view of the contemporary responses to his works (and the level of surprise expressed), have been at its strongest during his early period, when, in terms of the reception history of his work, reactions to Beethoven were most extreme. Beethoven was not, moreover, the only composer to experiment with – and thus attenuate – form; indeed, may of the devices he employed were to some extent shared by others in his world.
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). 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.
One sees here the deeply intriguing aspect of Adorno’s musical work – his concern with composition, with the handling of musical material, as nothing short of moral praxis. This is one of the greatest strengths of Adorno’s position – his concern was not with what music (as a medium or an object) ‘represented’, it was rather with the actual practice of music – its formal arrangement, both as moral praxis and as exemplar, as a model for praxis in other realms. How, then, to account for the process by which musical forms took shape?
After Adorno: Rethinking Music Sociology by Tia DeNora