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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.
This volume seeks to offer a new approach to the study of music
through the lens of recent works in science and technology studies
(STS), which propose that facts are neither absolute truths, nor
completely relative, but emerge from an intensely collective
process of construction. Applied to the study of music, this
approach enables us to reconcile the human, social, factual, and
technological aspects of the musical world, and opens the prospect
of new areas of inquiry in musicology and sound studies. Rethinking
Music through Science and Technology Studies draws together a wide
range of both leading and emerging scholars to offer a critical
survey of STS applications to music studies, considering topics
ranging from classical music instrument-making to the ethos of DIY
in punk music. The book's four sections focus on key areas of music
study that are impacted by STS: organology, sound studies, music
history, and epistemology. Raising crucial methodological and
epistemological questions about the study of music, this book will
be relevant to scholars studying the interactions between music,
culture, and technology from many disciplinary perspectives.
This volume seeks to offer a new approach to the study of music
through the lens of recent works in science and technology studies
(STS), which propose that facts are neither absolute truths, nor
completely relative, but emerge from an intensely collective
process of construction. Applied to the study of music, this
approach enables us to reconcile the human, social, factual, and
technological aspects of the musical world, and opens the prospect
of new areas of inquiry in musicology and sound studies. Rethinking
Music through Science and Technology Studies draws together a wide
range of both leading and emerging scholars to offer a critical
survey of STS applications to music studies, considering topics
ranging from classical music instrument-making to the ethos of DIY
in punk music. The book's four sections focus on key areas of music
study that are impacted by STS: organology, sound studies, music
history, and epistemology. Raising crucial methodological and
epistemological questions about the study of music, this book will
be relevant to scholars studying the interactions between music,
culture, and technology from many disciplinary perspectives.
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.
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