Music and the sociological gaze
Music and society
Series editors Peter J. Martin and Tia DeNora
Music and Society aims to bridge the gap between music scholarship and the human sciences. A deliberately eclectic series, its authors are nevertheless united by the contention that music is a social product, social resource, and social practice. As such it is not autonomous but is created and performed by real people in particular times and places; in doing so they reveal much about themselves and their societies.
In contrast to the established academic discourse, Music and Society is concerned with all forms of music, and seeks to encourage the scholarly analysis of both popular styles and those which have for too long been marginalised by that discourse folk and ethnic traditions, music by and for women, jazz, rock, rap, reggae, muzak and so on. These sounds are vital ingredients in the contemporary cultural mix, and their neglect by serious scholars itself tells us much about the social and cultural stratification of our society.
The time is right to take a fresh look at music and its effects, as todays music resonates with the consequences of cultural globalisation and the transformations wrought by new electronic media, and as past styles are reinvented in the light of present concerns. There is, too, a tremendous upsurge of interest in cultural analysis. Music and Society does not promote a particular school of thought, but aims to provide a forum for debate; in doing so, the titles in the series bring music back into the heart of socio-cultural analysis.
The land without music: music, culture and society in twentieth-century Britain Andrew Blake
The imagined village: culture, ideology and the English Folk Revival Georgina Boyes
Music on deaf ears: musical meaning, ideology and education Lucy Green
Sounds and society: themes in the sociology of music Peter J. Martin
Popular music on screen: from the Hollywood musical to music video John Mundy
Popular music in England 18401914: a social history 2nd edition Dave Russell
The English musical renaissance, 18401940: constructing a national music 2nd edition Robert Stradling and Meirion Hughes
Peter J. Martin
Music and the sociological gaze
Art worlds and cultural production
Copyright Peter J. Martin 2006
The right of Peter J. Martin to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988.
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British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data applied for
ISBN 0 7190 7216 6 hardback
EAN 978 07190 7216 1
ISBN 0 7190 7217 4 paperback
EAN 978 07190 7217 8
First published 2006
14 13 12 11 10 09 08 07 06 10 9 8 7 6 5 4 3 2 1
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Contents
Acknowledgements
of this book, Music and the sociological gaze, is based on a paper originally presented to the Colloquium on Musicology Beyond 1999 held in August of that year at the University of Gothenburg. I am grateful to Professor Olle Edstrm for inviting me to the Colloquium, and to Professor Anders Carlsson for allowing me to reprint an edited version of the article which appeared in Svensk Tidskrift for Musikforskning (The Swedish Journal of Musicology), Volume 82, 2000.
Over the rainbow? is an edited version of the review article which appeared in the Journal of the Royal Musical Association, Volume 127, 2001. I have to thank Professor David Charlton for the original invitation to write the piece, and Professor Nicholas Cook for permission to reprint it here.
Music and manipulation is based on a paper presented to the International Conference on Music and Manipulation, organised by the Karolinska Institute, and held in Stockholm in September, 1999. I have to thank the organisers for inviting me to speak at the Conference, and to Steven Brown and Ulrik Volgsten for permission to reprint a revised version of the article which has appeared in Music and Manipulation (Berghahn Press, 2006).
Spontaneity and organisation is a revised version of the article which appeared in The Cambridge Companion to Jazz (Cambridge University Press, 2002). I have to thank David Horn and Professor Mervyn Cooke for inviting me to contribute this piece, and Linda Nicol and Vicki Cooper of Cambridge University Press for permission to reprint it here.
Hear me talkin is based on a paper presented at the conference on Musicology and Sociology held at the University of Gothenburg in August, 2002. Once again, I am grateful to Professor Olle Edstrm and his colleagues for inviting me to the conference.
Text, context and the cultural object is based on a paper presented at the ISA/ESA International Conference on the Sociology of the Arts held at the Ecole Nationale des Beaux Arts in Paris during April 2003.
Much of the material for this book has been presented at various conferences and seminars. I am particularly grateful to participants at the ASA Conference on Social Theory and the Arts at Vanderbilt University, Nashville, in October 1999, and those at the ESA Culture and the Arts Network Conference held in Exeter in August, 2000, for their comments and suggestions. My thanks are also due to members of seminar groups in the universities of Southampton, Sheffield, Leeds, Edinburgh, Glasgow, Bolton, Oxford Brookes, at University College Worcester, and the Manchester Ethnography Group.
Many individuals have contributed in all sorts of ways to the production of this book, though I should emphasise that they should not be held responsible for the outcome. I am particularly grateful to Tia DeNora, with whom I have been discussing the musicsociology interface for quite a few years now, and Howard Becker, whose work across a range of fields is exemplary and inspirational, and whose sociological imagination is matched only by his good nature. I thank him for all that (and for an invaluable CDRom). I also appreciate greatly various conversations and discussions with Paul Atkinson, Andy Bennett, Alf Bjrnberg, Allison Cavanagh, Nick Cook, Sarah Daynes, Alex Dennis, Olle Edstrm, Vic Gammon, Will Gibson, Penny Gouk, Antoine Hennion, David Horn, Jina Kim, Tony King, Richard Leppert, Lars Lilliestam, Richard Middleton, Pete Peterson, Dave Russell, Derek Scott, Wes Sharrock, Ola Stockfelt, Rod Watson, Bob Witkin, the Manchester Music in Culture group and all members of the Grafton Seminar. I am greatly in debt to Ted Cuff for his close reading and many helpful suggestions. I also have to record with sadness the death in 2003 of Wilf Allis, whose fascination with the social history of music in Manchester contributed much to the discussion in .
