Sociology of Music
A.Y. 2019/2020
Learning objectives
Provide methodological tools to analyze the manifold articulations of the music-society relationship.
Expected learning outcomes
Ability to develop to consciously sociological reflections in the context of musicological researchs.
Lesson period: First semester
Single course
This course cannot be attended as a single course. Please check our list of single courses to find the ones available for enrolment.
Course syllabus and organization
(Erogato presso il Conservatorio)
Course syllabus
- Music and sociology in the 19th century
- Notes on sociological theories of Durkheim, Max Weber and Marx
- Max Weber's sociology of music
- Musicology and Frankfurt's School critical theory
- Adorno: the sociological interpretation of Beethoven's Sonata Form
- Classical musical forms and patriarchy and in "gender studies" persective
- Adorno: the fetish character in music and the cultural industry.
- The "production of culture" perspective and American popular music: "majors" and "independents"
- Bourdieu's notion of cultural legitimacy and musical consumption
- The cultural legitimacy's notion and the social construction musical hierarchies in 19th century USA.
- Bourdieu's theory of cultural fields and its application to Italian popular music
- The applicability of the category of "independence" to popular music in the context of neoliberal capitalism.
- Notes on sociological theories of Durkheim, Max Weber and Marx
- Max Weber's sociology of music
- Musicology and Frankfurt's School critical theory
- Adorno: the sociological interpretation of Beethoven's Sonata Form
- Classical musical forms and patriarchy and in "gender studies" persective
- Adorno: the fetish character in music and the cultural industry.
- The "production of culture" perspective and American popular music: "majors" and "independents"
- Bourdieu's notion of cultural legitimacy and musical consumption
- The cultural legitimacy's notion and the social construction musical hierarchies in 19th century USA.
- Bourdieu's theory of cultural fields and its application to Italian popular music
- The applicability of the category of "independence" to popular music in the context of neoliberal capitalism.
Prerequisites for admission
General features knowledge of Western music's history (in particular since the 19th century to the present).
Teaching methods
Frontal lessons
Teaching Resources
· T. W. Adorno, Introduzione alla sociologia della musica, Torino, Einaudi, 1971 cap. 4, "Classi e strati sociali" , pp. 67-86; cap. 12, "Mediazione", pp 236-261.
· T. W. Adorno, Il carattere di feticcio in musica e il regresso dell'ascolto, in Id., Dissonanze, Milano, Feltrinelli, 1979, pp.9-51.
· T. W. Adorno, Stile tardo di Beethoven, in Id., Beethoven, a cura di R. Tiedemann, Torino, Einaudi, 2001, pp. 175-179
· T.. W. Adorno, Ricapitolazione sull'industria culturale, in Id., Parva aesthetica, Milano, Feltrinelli, 1971, pp. 58-68
· S. McClary, Feminine Endings: Music, Gender and Sexuality, Minneapolis, Minnesota University Press, 1991, cap 1, pp. 3-32.
· R. A. Peterson, D. G. Berger, Cicli di produzione simbolica: il caso della "popular music" in M. Santoro, R. Sassatelli (a cura di), Studiare la cultura. Nuove prospettive sociologiche, Bologna. il Mulino, 2009, pp. 169-194
· P. Bourdieu, La distinzione. Critica sociale del gusto, Bologna, il Mulino, cap. 1, e cap. 7, pp. 11-79, p 377 -397.
· P. Bourdieu, Per una scienza delle opere, in Id., Ragioni pratiche, Bologna, il Mulino, 1995, pp. 51-69.
· P. Bourdieu, La cultura è in pericolo, in Id., Controfuochi 2, Roma, Manifestolibri, 2002, pp.85-104.
· P. DiMaggio, Organizzare la cultura. Imprenditoria, istituzioni e beni culturali, il Mulino, Bologna, 2009,
· D Hesmondhalgh. "Bourdieu, the media and cultural production", Media, Culture & Society, 2006, 28, pp. 211-228.
· M. Santoro, "La leggerezza insostenibile. Genesi del campo della canzone d'autore", Rassegna italiana di sociologia, XLI, n.2, aprile-giugno 2000, pp. 189-222.
· D. Hesmondhalgh, L.- M.- Meier, Popuar music, indipendece and the concept of alternative in contemporary capitalism, in J. Bennet, N. Strange (eds), Media Indipendece: Working with Freedom or Working for Free?, Abdintong and New York , Routlege, 2014, pp. 94-116.
· J. Shepherd, Sociology of Music, in The New Grove Dictionary of Music and Musicians, Vol. 23, London, Macmillan Publisher, 2001, pp. 603-614.
· T. W. Adorno, Il carattere di feticcio in musica e il regresso dell'ascolto, in Id., Dissonanze, Milano, Feltrinelli, 1979, pp.9-51.
· T. W. Adorno, Stile tardo di Beethoven, in Id., Beethoven, a cura di R. Tiedemann, Torino, Einaudi, 2001, pp. 175-179
· T.. W. Adorno, Ricapitolazione sull'industria culturale, in Id., Parva aesthetica, Milano, Feltrinelli, 1971, pp. 58-68
· S. McClary, Feminine Endings: Music, Gender and Sexuality, Minneapolis, Minnesota University Press, 1991, cap 1, pp. 3-32.
· R. A. Peterson, D. G. Berger, Cicli di produzione simbolica: il caso della "popular music" in M. Santoro, R. Sassatelli (a cura di), Studiare la cultura. Nuove prospettive sociologiche, Bologna. il Mulino, 2009, pp. 169-194
· P. Bourdieu, La distinzione. Critica sociale del gusto, Bologna, il Mulino, cap. 1, e cap. 7, pp. 11-79, p 377 -397.
· P. Bourdieu, Per una scienza delle opere, in Id., Ragioni pratiche, Bologna, il Mulino, 1995, pp. 51-69.
· P. Bourdieu, La cultura è in pericolo, in Id., Controfuochi 2, Roma, Manifestolibri, 2002, pp.85-104.
· P. DiMaggio, Organizzare la cultura. Imprenditoria, istituzioni e beni culturali, il Mulino, Bologna, 2009,
· D Hesmondhalgh. "Bourdieu, the media and cultural production", Media, Culture & Society, 2006, 28, pp. 211-228.
· M. Santoro, "La leggerezza insostenibile. Genesi del campo della canzone d'autore", Rassegna italiana di sociologia, XLI, n.2, aprile-giugno 2000, pp. 189-222.
· D. Hesmondhalgh, L.- M.- Meier, Popuar music, indipendece and the concept of alternative in contemporary capitalism, in J. Bennet, N. Strange (eds), Media Indipendece: Working with Freedom or Working for Free?, Abdintong and New York , Routlege, 2014, pp. 94-116.
· J. Shepherd, Sociology of Music, in The New Grove Dictionary of Music and Musicians, Vol. 23, London, Macmillan Publisher, 2001, pp. 603-614.
Assessment methods and Criteria
Oral test aimed at assessing the learning of the course content.
L-ART/07 - MUSICOLOGY AND HISTORY OF MUSIC - University credits: 6
Lessons: 45 hours