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Informationen zum Autor Peter J. Martin is Senior Lecturer and Head of the Department of Sociology, University of Manchester. Klappentext In this important new book, Peter J. Martin explores the interface between musicological and sociological approaches to the analysis of music, and in doing so reveals the differing foundations of cultural studies and sociological perspectives more generally. Building on the arguments of his earlier book Sounds and society, Dr Martin initially contrasts text-based attempts to develop a 'social' analysis of music with sociological studies of musical activities in real cultural and institutional contexts. It is argued that the difficulties encountered by some of the 'new' musicologists in their efforts to introduce a social dimension to their work are often a result of their unfamiliarity with contemporary sociological discourse.Just as linguistic studies have moved from a concern with the meaning of words to a focus on how they are used, a sociological perspective directs our attention towards the ways in which the production and reception of music inevitably involve the collaborative activities of real people in particular times and places. Zusammenfassung At a time when the ‘social’ analysis of music is receiving unprecedented attention, this important new book demonstrates ways in which sociological ideas can make a distinct contribution to understanding music. In doing so, it also highlights the contrasts between a sociological perspective and those emanating from cultural studies and musicology. -- . Inhaltsverzeichnis 1. IntroductionPART I. Musicology and sociology: the interface2. Music and the sociological gaze3. Over the rainbow: on the quest for 'the social' in musical analysis4. Music and manipulationPART II. The sound of social stratification5. Class, culture and concerts6. Musical life in the first industrial cityPART III. Improvisation and interaction7. Spontaneity and organisation8. Hear me talkin': art worlds, improvisation and the language of jazz9. Text, context, and the cultural objectPART IV. Coda10. Everyday music...
