"It was high time that someone tried to explain more fully, and on the basis of the known documents, the course of Beethoven's meteoric rise to fame in Vienna at the end of the eighteenth century. . .
Taking a cue from Erving Goffmana€?s classic work, Asylums, Tia DeNora develops a novel interdisciplinary framework for music, health and wellbeing. Considering health and illness both in medical cont
Taking a cue from Erving Goffmana€?s classic work, Asylums, Tia DeNora develops a novel interdisciplinary framework for music, health and wellbeing. Considering health and illness both in medical cont
The power of music to influence mood, create scenes, routines and occasions is widely recognised and this is reflected in a strand of social theory from Plato to Adorno that portrays music as an influence on character, social structure and action. There have, however, been few attempts to specify this power empirically and to provide theoretically grounded accounts of music's structuring properties in everyday experience. Music in Everyday Life uses a series of ethnographic studies - an aerobics class, karaoke evenings, music therapy sessions and the use of background music in the retail sector - as well as in-depth interviews to show how music is a constitutive feature of human agency. Drawing together concepts from psychology, sociology and socio-linguistics it develops a theory of music's active role in the construction of personal and social life and highlights the aesthetic dimension of social order and organisation in late modern societies.
Theodor W. Adorno placed music at the centre of his critique of modernity and broached some of the most important questions about the role of music in contemporary society. One of his central arguments was that music, through the manner of its composition, affected consciousness and was a means of social management and control. His work was primarily theoretical however, and because these issues were never explored empirically his work has become sidelined in current music sociology. This book argues that music sociology can be greatly enriched by a return to Adorno's concerns, in particular his focus on music as a dynamic medium of social life. Intended as a guide to 'how to do music sociology' this book deals with critical topics too often sidelined such as aesthetic ordering, cognition, the emotions and music as a management device and reworks Adorno's focus through a series of grounded examples.
An accomplished and thought provoking study of everyday 'reality' and how we represent, perceive and experience it. With examples throughout, it offers readers an exciting new way of understanding ide
An accomplished and thought provoking study of everyday 'reality' and how we represent, perceive and experience it. With examples throughout, it offers readers an exciting new way of understanding ide
The power of music to influence mood, create scenes, routines and occasions is widely recognised and this is reflected in a strand of social theory from Plato to Adorno that portrays music as an influence on character, social structure and action. There have, however, been few attempts to specify this power empirically and to provide theoretically grounded accounts of music's structuring properties in everyday experience. Music in Everyday Life uses a series of ethnographic studies - an aerobics class, karaoke evenings, music therapy sessions and the use of background music in the retail sector - as well as in-depth interviews to show how music is a constitutive feature of human agency. Drawing together concepts from psychology, sociology and socio-linguistics it develops a theory of music's active role in the construction of personal and social life and highlights the aesthetic dimension of social order and organisation in late modern societies.
Theodor W. Adorno placed music at the centre of his critique of modernity and broached some of the most important questions about the role of music in contemporary society. One of his central arguments was that music, through the manner of its composition, affected consciousness and was a means of social management and control. His work was primarily theoretical however, and because these issues were never explored empirically his work has become sidelined in current music sociology. This book argues that music sociology can be greatly enriched by a return to Adorno's concerns, in particular his focus on music as a dynamic medium of social life. Intended as a guide to 'how to do music sociology' this book deals with critical topics too often sidelined such as aesthetic ordering, cognition, the emotions and music as a management device and reworks Adorno's focus through a series of grounded examples.
This volume brings together DeNoraa€?s work published between 1986 and 2007. It includes thirteen essays, some of which have had a major impact on the field. The chapters trace the development of her
a€?Music triggered a healing process from within mea€| I started singing for the joy of singing myselfa€|and it helped me carry my recovery beyond the state I was in before I fell ill nine years agoa€
