By Tia DeNora
Theodor W. Adorno broached key questions on the function of song in modern society and argued that it affected attention and was once a way of social administration and regulate. announcing that tune sociology might be significantly enriched through returning to Adorno's specialise in song as a dynamic medium of social existence, this publication considers cognition, the sentiments and tune as a administration device.
If Adorno lead the way for the disciplines of sociology and musicology to return 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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Additional resources for After Adorno: Rethinking Music Sociology
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). It is reduced to the status of a commodity, a commodity that subverts critical faculties and substitutes for knowledge a kind of compensatory afﬁrmation.
Above all, Adorno bequeathed a perspective. Thus it seems right to subject this perspective to the test of criticism, to interact with it across time and culture. As Middleton puts it, the problems that we perceive in Adorno today need to be addressed, ‘if we are to understand [Adorno] – and to make use of him, rather than simply dismissing him as an embittered elitist pessimist’ (1990:61) A dismissal is simply too facile a response (it is also not dialectic); there is much, at least at an intuitive level, that ‘rings true’ in Adorno’s work and, indeed, it is for this reason that there has been so much written about him.
Adorno praised Beethoven for refusing to allow the subject (musical material) to capitulate to the object of musical form. In this resistance, Beethoven fulﬁlled the ‘true’ function of art, namely to offer a contrast structure against which ‘false clarity’ could be perceived (1974:15). Formal ‘obscurity’ could, Adorno argued, be ‘held up in opposition to the prevailing neon-light style of the times’. After the utopian moment was lost in the early nineteenth century, afﬁrmation was no longer a valid possibility, the only valid role for art was critique.
After Adorno: Rethinking Music Sociology by Tia DeNora