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May 24, 2017 · A sociology of music tradition can be traced back to the birth of the discipline, although single works providing a comprehensive overview of this tradition are relatively few. The field exists because methodological sociology offers a distinct perspective on how music is created, received, and used in everyday life.
- Siobhan McAndrew
She has employed digital sociology methods, digitisation and...
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- Siobhan McAndrew
This article examines how scholarship in the sociology of music has been dominated by an economic framework known as the production/consumption paradigm. It first traces the history of the production/consumption paradigm through its appearance in key texts, showing how it changes as it passes from Theodor W. Adorno and Pierre Bourdieu to the ...
Jun 19, 2017 · This paper draws the ethnomusicological perspective on the entire development of music, instruments, and performance, from the times of H. neanderthalensis and H. sapiens into those of modern musical history, and it is written with the deliberate intention of informing readers who are without special education in music, and providing necessary ...
Jul 26, 2022 · This article examines the relationship between music and sociological thinking. Antoine Hennion has shown that learning to play music involves an immersion within a culture that has rules, languages and rituals and as a result ‘music is a form of sociology’ (Hennion 2020, 292).
Engaged with diverse contexts and disciplinary perspectives that informed a frequently technical yet cosmopolitan account of Western music and its signal developments, Weber’s music study explored how a sociology of music could be productively founded and what it might aspire to become.
How do individuals and groups use music? How is the collective production of music made possible? How does music relate to broader social distinctions, especially class, race, and gender?
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Jan 1, 2013 · Starting from Alfred Schutz’s definition of music as a meaningful context, the paper discusses the social formation of musical meaning by implementing an ideal typification of composer, musician, and listener.
