Sociology of Music: Theory and Method
Objectives
Available soon
General characterization
Code
711021070
Credits
6.0
Responsible teacher
Paula Cristina Roberto Gomes Ribeiro Brandão
Hours
Weekly - 4
Total - 168
Teaching language
Portuguese
Prerequisites
Available soon
Bibliography
Adorno, T. W. (2009). Introdução à sociologia da música. Universidade Estadual Paulista.
Becker, H. S. (2010). Mundos da arte. Livros Horizonte.
Bennet, A., & Waksman, S. (Eds.). (2015). The SAGE handbook of popular music. SAGE.
DeNora, T. (2000). Music in everyday life. Cambridge University Press.
Frith, S. (1996). Performing rites: Evaluating popular music. Oxford University Press.
Gomes-Ribeiro, P., et al. (Eds.) (2022). Convergências musicais. Gosto, identidade e mundo. Húmus.
McCormick, L. (2022). The cultural sociology of art and music. Palgrave.
Shepherd, J., & Devine, J. (Eds.). (2015). The Routledge reader on the sociology of music. Routledge.
Small, Christopher. 1998. Musicking: The meanings of performing and listening. Middletown, Connecticut: Wesleyan University Press.
Teaching method
The CU uses active methodologies, combining expositive and demonstrative components, realization of collaborative and interactive projects, forums and wikis, case study analysis, oral and written presentations, discussion of audio and video examples.
Evaluation method
The evaluation process includes
1) a written essay on a topic to be defined, its exposition and discussion in class and previous delivery of a work plan (50%);
2) a written assessment (40%);
3) the active participation in individual or group exercises, readings and debates held during classes (10%).
Subject matter
1. Introduction to the field, objects, theories, methodologies, and key concepts of the sociology of music in the context of the social sciences and humanities in general and musicology in particular;
2. Historical mapping of the discipline, from foundations to the present day;
3. Problems, topics and case studies in sociology of music (revised annually according to criteria of social pertinence and scientific up-to-date-ness);
3.1. Music as an instrument of social ordering and technology of identity (DeNora, Small, Frith, Martin, Shepherd & Devine);
3.2 Musical scenes and cultures of taste (DeNora, Peterson & Bennet, Schafer, Frith, Bourdieu, Thornton);
3.3 Technologies, media and music industries (Hesmondhalgh, Frith, Adorno, Cook);
3.4 Music, gender and sexuality (Solie, Citron, McClary, Bourdieu, Maus, Warwick)