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Music is an accumulation of mediators: instruments, languages, sheets, performers, scenes, media and so on. There is no musical object 'in itself'; music must always be made again. In this innovative book, Hennion turns the elusiveness of music into a resource for a pragmatic analysis: by which collective process do we make music appear among us? Rather than offering a sociology of music, The Passion for Music listens to the lesson provided by the case of music - this art of infinite mediations. Learning from music allows us to transform the paradigm to be offered by sociology, by confronting it (from Durkheim and Weber to Bourdieu) with a different way of considering objects. For this task, Hennion draws on aesthetics (Adorno) and art history (Haskell, Baxandall), as well as science and technology studies and popular music studies (Latour, Frith, DeNora). As part of that project, The Passion for Music presents a wide-ranging series of case studies, restoring attention to the rich and varied intermediaries through which music is brought to life: from the debate around the reinterpretation of baroque music, to the classroom, the rock scene, the classical music concert, Bach's 'social career' in the nineteenth and twentieth centuries, and the practices of music 'amateurs' today. This is the first English translation of one of the most important works of French scholarship on music and society.
Table des matières
Contents: Preface; Introduction; Lasting things: Durkheim as a founding father of the sociology of culture; Transition: restoring the mediators: one method for two programmes; Before mediation: social readings of arts; Sociology and the art object: belief, illusion, artefacts; The social history of art: reinserting the works into society; The new history of art: the social in the art work; Transition: linear causes or circular causalities?; The Baroque case: musical upheavals; Transition: 'unhappy music' which 'fade[s] away as soon as it is born'...: painting-and-objects versus music-and-society?; 'What can you hear?': an ethnographic study of a solfège lesson; Transition: music as a theory of mediation; 'Bach today'; Intermezzo: a sociologist at the Zénith concert hall...; Music lovers: taste as an activity; Conclusion: the representation of music: in praise of musical artifice; Epilogue: 'Vor deinen Thron'...; Bibliography; Index.
A propos de l'auteur
Antoine Hennion is one of the masters of music sociology. He is well known in the Anglophone world for his many articles published in journals such as Theory, Culture and Society, Poetics and Cultural Sociology and in key edited collections, such as Cultural Musicology (2003) and Derek Scott’s Ashgate Research Companion to Popular Musicology (2009). Hennion has held many important offices in international sociology associations (such as President of the ISA Network on Arts Sociology in the mid-1990s) and is a predominant figure in French Sociology today. He has been a visiting Professor at Princeton and Columbia.
Résumé
Music is an accumulation of mediators: instruments, languages, sheets, performers, scenes, media and so on. Learning from music - this art of infinite mediations - allows us to confront sociology with a different way of considering objects. For this task, Hennion draws on aesthetics, art history, science, technology and popular music studies. He sh
Commentaire
Antoine Hennion, one of the foremost sociologists of music in the world, finally becomes available to English-reading audiences in this excellent and long overdue translation of his comprehensive analysis of the bewildering variety of sociological approaches to music that contemporary students of the subject have to choose from. His lucid explanations and examples are a wonderful introduction to an important and ever-growing field. Howard S. Becker, author of Art Worlds
