Paradigms and theoretical approaches in sociology of music
DOI:
https://doi.org/10.3989/ris.2013.03.23Keywords:
Adorno, Micro-Macro, Pluralism, Sociology of Music, Sociological TheoryAbstract
The aim of this paper is to present the state of affairs on the theoretical currents in the sociology of contemporary music. Internationally, the sociology of music has been productive in empirical research, especially in the European tradition. The theoretical scenario found in the sociology of music is based on a pluralistic paradigm which follows general trends in sociology. This shows in a variety of approaches, which we will present here, which differ according to the plane in which they operate: macro, meso and micro. We provide a summary of classic proposals like Weber, Adorno, Bourdieu and DeNora, and include new methodological proposals from social network analysis, ethnography and cultural studies. We consider that in order to consolidate a theoretical framework we must avoid the postmodern trap, which avoids sociological criticism, and recognize the need for doing true social theory.
Downloads
References
Adorno, T. W. 1962. "Moda sin tiempo. Sobre el jazz". Pp.126-141 en Prismas. La crítica de la cultura y la sociedad. Barcelona: Ariel.
Adorno, T. W. 2000. Sobre la música. Barcelona: Paidós.
Adorno, T. W. 2009. "Disonancias. Introducción a la sociología de la música". Obra completa, vol. XIV, editado por Rolf Tiedemann. Madrid: Akal.
Ari o, A. 2006. La participación cultural en España. Madrid: Fundación Autor.
Becker, Howard S. 2008. Los mundos del arte. Sociología del trabajo artístico. Buenos Aires: Universidad Nacional de Quilmes.
Benjamin, W. [1936] 1973. La obra de arte en la época de su reproductibilidad técnica. Madrid: Taurus.
Bennet, A. 2001. Cultures of Popular Music. Chicago: Open University.
Berliner, P. F. 1994. Thinking in Jazz. The Infinite Art of Improvisation. Chicago: Chicago University Press. http://dx.doi.org/10.7208/chicago/9780226044521.001.0001
Blaukopf, K. 1988. Sociología de la música. Madrid : Real Musical.
Born, G. 2010. "The social and the aesthetic: for a post-Bourdeuian theory of cultural production". Cultural Sociology 4: 171-208. http://dx.doi.org/10.1177/1749975510368471
Bourdieu. P. 1979. La distinction. París: Seuil.
Bourdieu, P. 1994. Las reglas del arte. Barcelona: Anagrama.
Buscatto M. 2003. "Chanteuse de jazz n'est point métier d'homme. L'accord imparfait entre voix et instrument en France". Revue française de sociologie 44 (1): 33-60. http://dx.doi.org/10.2307/3323105
Cattani, G. and Simone Ferriani. 2008. "A Core/Periphery Perspective on Individual Creative Performance: Social Networks and Cinematic Achievements in the Hollywood Film Industry". Organization Science 9: 824-844. http://dx.doi.org/10.1287/orsc.1070.0350
DeNora, T. 1995. Beethoven and the Construction of a Genius. Berkeley: University of California Press.
DeNora, T. 2000. Music in Everyday Life. Cambridge: Cambridge University Press. http://dx.doi.org/10.1017/CBO9780511489433
DeNora, T. 2003. After Adorno: Rethinking Music Sociology. Cambridge: Cambridge University Press. http://dx.doi.org/10.1017/CBO9780511489426
Dimaggio, J. 1982. "Cultural entrepreneurship in 19th century Boston". Media, Culture and Society 4: 35-50.
Doane, R. 2006. "The habitus of dancing. Notes on the swing dance revival in NY". Journal of Contemporary Ethnography 35: 84-116. http://dx.doi.org/10.1177/0891241605280585
Dowd, T. et al. 2002. "Organizing the musical canon: the repertoires of major US symphonic orchestras, 1842-1969". Poetics 30: 35-61. http://dx.doi.org/10.1016/S0304-422X(02)00007-4
Eagleton, T. 2000. The Idea of Culture. Oxford: Blackwell.
Elias, N. 2002. Mozart: sociología de un genio. Barcelona: Península.
Eyerman, R. y A. Jameson. 1997. Music and Social Movements. Cambridge: Cambridge University Press.
Faulkner, R. y Becker, H. 2009. Do You Know...? The Jazz Repertoire In Action. Chicago: University of Chicago Press.
Fontcuberta, D. 2003. "La fotografía como discurso pseudodocumental". Curso de posgrado Espejos Rotos. Barcelona: Museu d'Art Contemporani de Barcelona, MACBA.
Frith, S. 1980. Sociología del rock. Madrid: Júcar.
Frith, S. 1981. Sound Effects: Youth, Leisure and the politics of rock. New Cork: Pantheon Books.
Frith, S. 1987. Art into pop. Londres: Methuen young books.
Heckathorn, D. y Jeffri J. 2003. "Social Networks of Jazz Musicians," editado por Douglas D. Heckathorn and Joan Jeffri, pp. 48-61 en Changing the Beat: A Study of the Worklife of Jazz Musicians, Volume III: Respondent-Driven Sampling: Survey Results by the Research Center for Arts and Culture, National Endowment for the Arts Research Division Report #43, Washington DC.
Hedbige, D. 2004. Subcultura. El significado del estilo. Barcelona: Paidós.
Hennion, A. 2001. "Music lover: taste as performance". Theory, Culture & Society 18: 1-22. http://dx.doi.org/10.1177/02632760122051940
Hennion, A. 2002. La pasión musical. Barcelona: Paidós.
Hennion, A. 2007. "Those things that hold us together: taste and sociology". Cultural Sociology 1: 97-114. http://dx.doi.org/10.1177/1749975507073923
Hobsbawm, E. 1999. Gente poco corriente: resistencia, rebelión y jazz. Barcelona: Crítica. Hormigos, J. 2008. Música y sociedad. Análisis sociológico de la cultura musical de la posmodernidad. Madrid: Fundación Autor.
Kadushin, C. 1976. "Networks and circles in the production of culture". Pp. 107-122 en The Production of Culture, editado por R. Peterson. Beverly Hills: Sage.
König, R. 1983. Los artistas y la sociedad. Barcelona: Alfa.
Latour, B. 2005. Rassembling the Social: An Introduction to Acto-network Theory. Oxford: Oxford University Press.
Lena, J. 2004. "Sonic Networks: economic, stylistic and expressive dimensions of rap music". Poetics 32: 297-310. http://dx.doi.org/10.1016/j.poetic.2004.05.006
Lopes, P. 2002. The Rise of a Jazz Art World. Cambridge: Cambridge University Press. http://dx.doi.org/10.1017/CBO9780511489495
Lozares, C. 2007. Interacción, redes sociales y ciencias cognitivas. Granada: Comares.
Luhmann, N. 2005. El arte de la sociedad. Herder: Barcelona.
Malholtra, V. A. 1981. "The social accomplishment of music in a symphony orchestra: a phenomenological analysis". Qualitative Sociology 4: 102-125. http://dx.doi.org/10.1007/BF00987214
McLuhan, M. & Quentin Fiore with J. Angel (coord.). 1967. The Medium is the Massage: An Inventory ofEffects. Nueva York: Random House.
Menger, P. M. 2002. Le paradox du musician. Le compositeur, le mélomane et l"État dans la societé contemporaine. París: Hartmann.
Middleton, R. 1990. Studying Popular Music. Philadelphia: Open University Press.
Müller-Doohm, S. 2003. En Tierra de Nadie. Th. W. Adorno, una biografía Intelectual. Barcelona: Herder.
Muntanyola, D. 2010. Danza y cognición: el proceso de creación coreográfica, Pp. 99-114 en Noya, J., F. Del Val y M. Perez (Ed.) 2010. Musyca: Musica, sociedad y creatividad artística. Madrid: Biblioteca Nueva.
Muntanyola, D. 2014. "Cognitive Account of Expertise: Why Rational Choice Theory is (often) a Fiction." Theory & Psychology. http://dx.doi.org/10.1177/0959354313513510
Muntanyola, D. y Belli, S. 2013. "Bodies, music and emotions: An ethnography of a dance company." Pp. 563-580 en Actas del II Congreso sobre Metodología de la Investigación en Comunicación. Segovia: Universidad de Segovia.
Noya, J., F. Del Val y M. Perez (Ed.) 2010. Musyca: Musica, sociedad y creatividad artística. Madrid: Biblioteca Nueva.
Pelinski, R. 2005. "Corporeidad y experiencia musical". Trans. Revista transcuntural de música 9 (artículo 13). www.sibetrans.com/trans/a177/corporeidad-y-experiencia-musical
Peterson, R. 1996. "Changing hibrow taste: From snob to omnivore". American Sociological Review 61: 900-907. http://dx.doi.org/10.2307/2096460
Peterson, R. 1997. Creating Country Music. Fabricating Authenticity. Chicago: Chicago University Press.
Pinch, T. 1992. Analog Days. The Invention and Impact of Moog Synthetizer. Harvard: Harvard University Press.
Prior, N. 2011. "Critique and renewal in the sociology of music: Bourdieu and beyond". Cultural sociology 5: 121-138.
Ramsey, C. 2004. Race Music. Black Cultures from Bebop to Hip-hop. Berkeley: University of California Press.
Ravet, H. 2010. "Sociologies de la musique". L'année sociologique 2 (60): 271-303. http://dx.doi.org/10.3917/anso.102.0271
Regev, M. 1994. "Producing Artistic Value: The Case of Rock Music". The Sociological Quarterly 35: 85-102. http://dx.doi.org/10.1111/j.1533-8525.1994.tb00400.x
Regev, M. 2002. "The "Pop-Rockization" of Popular Music". Pp. 251-264 en Studies in Popular Music, editado por Dave Hesmondhalgh and Keith Negus. London: Arnold/New York: Oxford University Press.
Regev, M. 2007. "Ethno-National Pop-Rock Music: Aesthetic Cosmopolitanism Made from Within". Cultural Sociology 1: 317-341. http://dx.doi.org/10.1177/1749975507082051
Regev, M. 2011. "Pop-Rock Music as Expressive Isomorphism: Blurring the National, the Exotic, and the Cosmopolitanism in Popular Music". American Behavioral Scientist 20: 1-16.
Rodríguez Morató, A. 1996. Los compositores españoles. Un análisis sociológico. Madrid: CIS/SGAE.
Shepherd, J. 1991. Music as Social Text. Oxford: Polity Press.
Shepherd, J. y P. Wicke. 1997. Music and Cultural Theory. Cambridge: Polity Press.
Schütz, A. 1971. "Making music together. A study in social relationship." Pp. 169-178 en Collected papers. II, Studies in social theory. The Hague: Martinus Nijhoff.
Silbermann, A. 1961. Estructura social de la música. Madríd: Taurus.
Simmel, G. [1882] 2003. Estudios psicológicos y etnológicos sobre música. Buenos Aires: Gorla.
Simmel, G. [1903] 2001. El Individuo y la libertad: ensayos de cri_tica de la cultura. Barcelona: Península.
Small, C. 1999. Música, sociedad, educación. Alianza: Madrid.
Sontag, S. 1973. On Photography. Nueva York: Picador.
Val, F. del; Noya, J. y Pérez-Colman, C. M. 2014. "¿Autonomía, sumisión o hibridación sonora? La construcción del canon estético del pop-rock español". Revista Española de Investigaciones Sociológicas, 145: 147-180.
Vaubel, R. y P. Bernholz. 2004. Political Competition, Innovation, and Growth in the History of Asian Civilizations. Cheltenham, UK-Northampton, MA: Edward Elgar.
Vila, P. 1996. "Identidades narrativas y música. Una primera propuesta para entender sus relaciones". Trans. Revista transcuntural de música 2 (artículo 14).
Weber, M. 1911. "Fundamentos racionales y sociológicos de la música". Pp. 1.118-1.183 en Economía y Sociedad. México-Madrid: FCE.
Weeks, P. 1996. "A Rehearsal of a Beethoven Passage: An Analysis of Correction Talk". Research on Language and Social Interaction 29 (3): 247-290. http://dx.doi.org/10.1207/s15327973rlsi2903_3
Willener, A. 1997. La pyramide symphonique. Exécuter, créer? Une sociologie des instrumentistas d"orchestre. Zurich: Seismo.
Williams, R. 1982. The Sociology of Culture. Nueva York: Schocken.
Willis, P. 1977. Learning to Labour. Londres: Ashgate.
Zolberg, V. 2002. Sociología de las artes. Madrid: SGAE.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2014 Consejo Superior de Investigaciones Científicas (CSIC)
This work is licensed under a Creative Commons Attribution 4.0 International License.
© CSIC. Manuscripts published in both the print and online versions of this journal are the property of the Consejo Superior de Investigaciones Científicas, and quoting this source is a requirement for any partial or full reproduction.
All contents of this electronic edition, except where otherwise noted, are distributed under a Creative Commons Attribution 4.0 International (CC BY 4.0) licence. You may read the basic information and the legal text of the licence. The indication of the CC BY 4.0 licence must be expressly stated in this way when necessary.
Self-archiving in repositories, personal webpages or similar, of any version other than the final version of the work produced by the publisher, is not allowed.
