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Sociomusicology (from Latin: socius, "companion"; from Old French musique; and the suffix -ology, "the study of", from Greek λόγος, lógos, "knowledge" ) refers to both an academic subfield of sociology that is concerned with music (often in combination with other arts), as well as a subfield of musicology that focuses on social aspects of musical behavior and the role of music in society.
The work of scholars in sociomusicology is often similar to ethnomusicology in terms of its exploration of the sociocultural context of music; however, sociomusicology maintains less of an emphasis on ethnic and national identity, and is not limited to ethnographic methods. Rather, sociomusicologists use a wide range of research methods and take a strong interest in observable behavior and musical interactions within the constraints of social structure. Sociomusicologists are more likely than ethnomusicologists to make use of surveys and economic data, for example, and tend to focus on musical practices in contemporary industrialized societies.
Since the field of musicology has tended to emphasize historiographic and analytical/critical rather than sociological approaches to research, sociomusicology is still regarded as somewhat outside the mainstream of musicology. Yet, with the increased popularity of ethnomusicology in recent decades (with which the field shares many similarities), as well as the development and mainstreaming of "New Musicology" (coinciding with the emergence of interdisciplinary Cultural Studies in academia), sociomusicology is increasingly coming into its own as a fully established field.
Among the most notable classical sociologists to examine the social aspects and effects of music were Georg Simmel (1858–1918), Alfred Schutz (1899–1959), Max Weber (1864–1920) and Theodor Adorno (1903–1969). Others have included Alphons Silbermann, Charles Seeger (1886–1979), Howard Saul Becker, Jacques Attali and John Mueller (1895–1965).
See also Edit
- Music psychology
- Cultural studies
- Music education
- Appropriation (music)
- Systematic musicology
- Adler, Guido (1885). Umfang, Methode und Ziel der Musikwissenschaft. Vierteljahresschrift für Musikwissenschaft, 1, 5-20.
- Beaud, Paul, and Alfred Willener (1973). Musique et vie quotidienne, essai de sociologie d'une nouvelle culture: electro-acoustique et musique pop; improvisation, in series, Repères. [S.l.]: Éditions Mame. 272 p. ISBN 2-250-00512-5
- Becker, Howard S. (1963). "The Culture of ... [and] Careers in ... a Deviant Group: the Dance Musician", in his Outsiders: Studies in the Sociology of Deviants (New York: Free Press, 1966, cop. 1963), p. -119. N.B.: The results are of a study undertaken in 1948-1949.
- Honing, Henkjan (2006). "On the growing role of observation, formalization and experimental method in musicology." Empirical Musicology Review, 1/1, 2-5
- Kerman, Joseph (1985). Musicology. London: Fontana. ISBN 0-00-197170-0.
- McClary, Susan, and Robert Walser (1988). "Start Making Sense! Musicology Wrestles with Rock" in On Record ed. by Frith and Goodwin (1990), pp. 277–292. ISBN 0-394-56475-8.
- Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.
- Sorce Keller, Marcello (1996). Musica e sociologia, Milan: Ricordi.
- Pruett, James W., and Thomas P. Slavens (1985). Research guide to musicology. Chicago: American Library Association. ISBN 0-8389-0331-2.
- Popular Music and Society
- International Review of the Aesthetics and Sociology of Music
- Action, Criticism, and Theory for Music Education
- The American Musicological Society (Wikipedia entry)
- Doctoral Dissertations in Musicology Online
- AMS: Web sites of interest to Musicologists
- The Society for American Music
- Graduate Programs in Musicology
- Conference on Interdisciplinary Musicology
- Society for Ethnomusicology
- Wikiquote - quotes about musicology
- American Sociological Association (ASA)
- British Sociological Association (BSA)
- European Sociological Association (ESA)
- International Sociological Association (ISA)
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