Sounds and Society: Themes in the Sociology of Music (Music & Society) [Paperback]

Peter J. Martin (Author)

Book Description

Publication Date: March 15, 1997 | ISBN-10: 0719032245 | ISBN-13: 978-0719032240

In this pioneering new book, Dr Martin presents a lively and accessible introduction to the social analysis of music.

Dr Martin argues that musical meaning must be understood as socially constructed, rather than inherent, and that the notion of a correspondence between social and musical structures is highly problematic. An alternative approach, based on the ‘social action’ pespective is outlined, and the book concludes with a discussion of the social situation of music in advanced capitalist society. Along the way, leading thinkers are introduced: Adorno, Weber and Schntz as well as, more recently, John Shepherd and the feminist musicologists. The book draws on studies spanning the whole spectrum of Western music - rock bands to symphony orchestras, medieval plainchant to avant-garde jazz and concludes with a discussion of the social situation of music in advanced capitalist society.

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About the Author

Peter J. Martin is Senior Lecturer and Head of the Department of Sociology, University of Manchester

Product Details

• Paperback: 320 pages
• Publisher: Manchester University Press (March 15, 1997)
• Language: English
• ISBN-10: 0719032245
• ISBN-13: 978-0719032240
• Product Dimensions: 8.4 x 5.4 x 1 inches
• Shipping Weight: 14.4 ounces (View shipping rates and policies)
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #1,056,264 in Books (See Top 100 in Books)

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17 of 17 people found the following review helpful:

5.0 out of 5 stars how does music acquire meaning?, March 17, 2001

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This review is from: Sounds and Society: Themes in the Sociology of Music (Music & Society) (Paperback)

That is the question this book sets out to answer. It is a serious work of sociology, and not light reading, but recommended to anyone who has ever pondered the question. Martin is clear and logical in his exposition -- no postmodern gibberish here! -- but this is an academic work, not breezy journalism. Martin argues against three widespread views: 1) that music contains some essential meaning, (for instance that major chords produce a happy feeling physiologically), 2) the Cartesian view that music is produced by rationality, (and so Western Classical music reflects the pinnacle of rationality), and 3) that music is simply a reflection of the society in which it was produced. This third view is a simplistic sociological view, which Martin effectively challenges, along with the two traditional views.

What he advances, quite effectively, is a social constructionist view of music. The meaning of music is the result of the interactions of its producers and those who hear it, within a given social context. A reasonable view, to be sure, but one made with systematic care, and a thorough critique of various theorists along the way, including Marx, Durkheim and Weber in the introductory section, Cooke, Shepherd, and Adorno, the sole subject of one long chapter. SOUNDS AND SOCIETY is worth reading either for understanding music, or for appreciating the importance of sociology to that understanding, or both. (I am a sociologist by profession, as well as a music lover, so for me it works on both levels!) This is a definitive work -- Martin could have called it "The Sociology of Music," but that title had already been used.