مقدمه ای بر جامعه شناسی موسیقی

by Theodor W. Adorno, حسن خیاطی (Translator)

چنان­که علاقه­‌مندان به آثار آدورنو به خوبی می­‌دانند، درکی که آدورنو در فلسفۀ خویش به خواننده ارائه می­‌کند تحت تأثیر تأملات وی در خصوص منطق موسیقایی شکل گرفته است، و به کمک همین واقعیت می­‌توان بسیاری ازمؤلفه­‌های اصیل نظریۀ او را بهتر فهمید.
«مقدمه­‌ای بر جامعه‌­شناسی موسیقی» از این بابت از اهمیت شایانی برخورداراست که سنگ‌­بنای رویکرد کلی آدورنو نسبت به موسیقی و فلسفه را می‌­توان در آن مشاهده کرد.
کتاب از دوازده فصل و یک پس­گفتار در خصوص جامعه‌­شناسی موسیقی تشکیل شده است: انواع شنونده‌های موسیقی، موسیقی سبک (یا مردم‌­پسند)، کارکردهای موسیقی در جامعۀ بورژوایی، طبقات و قشربندی‌­ها، اپرا، مؤلفه­‌های ملی در موسیقی، نقش موسیقی مدرن (یا آوانگارد)، و بحث میانجی‌گری همگی از جمله محورهایی هستند که آدورنو به کمک آن­‌ها تلاش کرده است پرسش‌های ثمربخشی پیش روی جامعه‌­شناسی موسیقی بگذارد تا راهنمای کار پژوهش­گران در این حوزه باشند.

Genres: Music, Sociology, Philosophy, Nonfiction, Art, Social

375 pages, Paperback

First published January 1, 1962

About the author

Theodor Wiesengrund Adorno was one of the most important philosophers and social critics in Germany after World War II. Although less well known among anglophone philosophers than his contemporary Hans-Georg Gadamer, Adorno had even greater influence on scholars and intellectuals in postwar Germany. In the 1960s he was the most prominent challenger to both Sir Karl Popper's philosophy of science and Martin Heidegger's philosophy of existence. Jürgen Habermas, Germany's foremost social philosopher after 1970, was Adorno's student and assistant. The scope of Adorno's influence stems from the interdisciplinary character of his research and of the Frankfurt School to which he belonged. It also stems from the thoroughness with which he examined Western philosophical traditions, especially from Kant onward, and the radicalness to his critique of contemporary Western society. He was a seminal social philosopher and a leading member of the first generation of Critical Theory.

Unreliable translations hampered the initial reception of Adorno's published work in English speaking countries. Since the 1990s, however, better translations have appeared, along with newly translated lectures and other posthumous works that are still being published. These materials not only facilitate an emerging assessment of his work in epistemology and ethics but also strengthen an already advanced reception of his work in aesthetics and cultural theory.

Reviews

[sologdin]

i love adorno, but he had some ideas about music that are kinda annoying.

[Luquitas]

En vrd me lo he leído en diagonal para el TFG pero he cogido la general vibe

[Robinsky_]

hab letztendlich nur ein paar kapitel gelesen (die die mich interessieren) ich fands interessant hab tbh das meiste nicht verstanden und finds für heutige musikverhältnisse iwie zu alt um was sinnvolles draus zu schöpfen. ich brauch moderne musiksoziologie die sich mit pop und experimentellen richtungen auseinandersetzt man

[Leonidas Vergos]

Το μουσικοκριτικό έργο του Αντόρνο, σήμερα, έχει αξία στον βαθμό που μπορεί κανείς να το δει υπό το πρίσμα μιας σύγχρονης μαρξιστικής πολιτισμικής κριτικής.
Στον βαθμό που όσα προτείνει ο Αντόρνο για τον μοντερνισμό στη μουσική, αλλά και η διάκριση μεταξύ μοντέρνας και "μαζικής" μουσικής, μπορούν να κριθούν εκ νέου, υπό το πρίσμα της εποχής του μεταμοντερνισμού. Σε αυτή την κατεύθυνση, φυσικά, έχει να προσφέρει τα μέγιστα το έργο του Φρέντρικ Τζέιμσον.

[Telo Hoy]

An essential and individual book for those wishing to dissect the many complexities of music’s relation to social life. It is slightly less challenging reading than some of Adorno’s other works, and it is immensely rewarding. I hope the book gets reprinted, as it is quite rare to find, and its contents are very applicable to all kinds of musical, social, and societal dynamics happening today.

[Francesco Ranieri]

L’assunto che Adorno sia uno dei più grandi filosofi della modernità e del pensiero dittatoriale, non deve distogliere il lettore da una sana critica su di un testo, questo, ritenuto uno dei più elevati sulla musica. Questo testo non ha nulla di scientifico, anche i riferimenti all’estetica musicale tanto cari alla filosofia, si riducono ad una sterile e francamente dozzinale critica sui generi musicali. Dagli standard ritenuti da lui “musichette” alla musica jazz da lui considerata senza significato, risulta un testo vecchio, stanco, bigotto e talvolta persino irritante per un musicista come me. Libro terrificante.

[Rob Bridge]

I've read and re-read the first chapter a bunch of times. Finally had the time to slog through the whole thing. Really interesting.

[Raffaella]

Adorno è difficilissimo da leggere... Ho abbandonato questo libro, ma spero di riuscire a riprenderlo presto, con più consapevolezza e un po' più di cultura.

[Max Boris]

Amszing

[Ece]

Suprisingly good, I was expeecting to dislike this as I previously thought Adorno to be a bit elitist, but this actually kinda changed my mind about him.

[Nestor]

interessant, aber nicht mehr sonderlich aktuell...

[Lorecynic]

Con qualche aggiornamento sarebbe praticamente perfetto

[R Arnaud]

We are never too certain, but this book walks a very slippery ground in attempting to define how our interactions with music depends on the music being classified as 'popular' or 'serious'. Some ideas are thought provoking, but the book is a heavy piece with aristocratic chauvinism undertones.

[Marco]

Leggere delle concezioni musicali di Adorno, oggi, senza sei-sette metri di distacco ��, a seconda dei casi, masochistico o dannoso. L'inadeguatezza dei suoi tipi di ascoltatore gerarchicamente ordinati (da chi capisce tutto di tutto a chi non capisce nulla di nulla) alla societ�� di oggi �� plateale.
Eppure, la sua sociologia musicale �� rivelatrice. E di un modo di pensare che sar�� pure nato vecchio ma un suo senso d'essere l'aveva, e della possibilit�� di un'analisi musicale che vada oltre al biografismo spicciolo, alla vivisezione del pentagramma, al labirinto degli "�� cos��" e dei "mi piace". Un'analisi che sappia indagare le logiche storiche, economiche e sociali della musica come fenomeno culturale: le cose sono come stanno, ma quali sono i motivi?

[Carlo Mayer]

Finiti

[Frances Wilde]

Some of the best writing on film music