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May 24, 2017 · Music is central to cultural life and therefore also often perceived as central to social life. The study of music in society has been of interest to canonic social thinkers, including Weber, Simmel, and Adorno, since the establishment of sociology. The study of music has also concerned scholars in adjacent disciplines, particularly musicology ...
- Siobhan McAndrew
She has employed digital sociology methods, digitisation and...
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- Siobhan McAndrew
Oct 24, 2023 · Music is the thing: playing, insights and limits. I want to start with Paul Gilroy, the world-renowned cultural critic who has taught sociology at the University of Essex, Goldsmiths and the London School of Economics, English literature at King’s College, London and who is now Professor of the Humanities at University College London, and Founding Director, Sarah Parker Remond Centre for the ...
Aug 1, 2010 · 3. Abstract. The sociology of music has become a vibrant field of study in recent decades. While its. proponents are well aware of this field‟s contributions and relevance, we focus here on ...
Mar 3, 2023 · Clarke et al. (2015) also state that “in musicology, the psychology of music, the sociology of music, and ethnomusicology, empathy has been seen as a way to conceptualize a whole range of affiliative, social bonding, identity-forming, and ‘self-fashioning’ capacities in relation to music” (Clarke et al., 2015, p. 63).
May 25, 2022 · Music Sociology critically evaluates current approaches to the study of music in sociology and presents a broad overview of how music is positioned and represented in existing sociological scholarship. It then goes on to offer a new framework for approaching the sociology of music, taking music itself as a starting point, and considering what music sociology can learn from related disciplines ...
- 1st Edition
Music sociology has addressed the history of the musical canon, taste and social exclusion. It has also addressed issues of musical value and the perceptual politics of musical reputation. More recently, it has developed perspectives that highlight music's ‘active’ properties in relation to social action, emotion and cognition.
The article argues that the growing interest in performance presents an opportunity not only to advance the study of music, but also to engage with the core theoretical issues in sociology. Keywords: sociology of music, production/consumption paradigm, Theodor W. Adorno, Pierre Bourdieu, Music, Performance, sociology. Subject.
