Sociology of Music: Theory and Method
Code
711021070
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
Ciências Musicais
Credits
6
Teacher in charge
Paula Gomes Ribeiro
Weekly hours
4
Teaching language
Portuguese
Objectives
By the end of this course students should/will be able to demonstrate:
a) Knowledge and understanding of the main concepts, theories and research methods of sociology of music;
b) Knowledge of sociological principles, theoretical frameworks, perspectives, and their application;
c) Awareness of the state of the art developments in specific domains of sociology of music research;
d) Knowledge of how to use tools and principles of sociology of music in a research process;
e) Skills to discuss and compare different conceptual and theoretical positions in the sociology of music field and place them in the context of social and human sciences paradigms.
Prerequisites
None.
Subject matter
1. Introduction to the field, objects, theories, key concepts and paradigms of the domain.
2. Historical overview of the discipline: from Simmel, Schutz, Weber, Adorno, Silbermann, Becker to Carvalho, DeNora, Frith, Hennion ou Martin. Mapping sociological approaches to music.
3. Discussion of topics and case studies in sociology of music:
3.1. music socialization; music as a technology of self (DeNora; Bourdieu)
3.2. music subcultures and neo-tribes: music, lifestyle and identity (Bauman; Frith; Martin)
3.3. mechanisms social stratification, control, and power, local and global scale: gender and class (Solie; Bourdieu; Adorno)
3.4. music industries, consumption theories and branding (Frith; Scott; Lipovetsky)
3.5. music in action: groups, networks, social interaction and sociabilities sociabilidades (DeNora; Simmel; Goffmann)
3.6. music, media, public space and public opinion; audiences, listening behaviors and taste patters, reception theories (Habermas; Marcuse; Hall)
Bibliography
Carvalho, M. V. (1999). Razão e sentimento na comunicação musical. Estudos sobre a Dialéctica do Iluminismo. Lisboa: Relógio dÁgua.
DeNora, T. (2000). Music in Everyday Life. Cambridge: Cambridge University Press.
Ellis, K. (2009). The Sociology of Music. Harper-Scott, J. P. E. (ed.). Introduction to Music Studies. Cambridge: Cambridge University Press, 4358.
Frith, S. (1996). Performing Rites: Evaluating Popular Music. Oxford: Oxford University Press.
Giddens, A. & Sutton, P. (2013). Sociology. London: Polity Press.
Hennion, A. (1993). La Passion Musicale. Une Sociologie de la Médiation. Paris: Métailié.
Martin, P. J. (2007). Music and the Sociological Gaze: Art Worlds and Cultural Production. Manchester: Manchester University Press.
O´Hara, K. & Brown, B. (Eds.) (2006). Consuming Music Together: Social and Collaborative Aspects of Music Consumption Technologies. Dordrecht: Springer.
Teaching method
Classes are both theoretical (60%) and practical (40%). The teaching-learning processes make extensive use of audiovisual media, and are based in the active learning model. They include, among other methods, exposition and demonstration, discussion, collaborative learning, literature review, problem solving, case learning, musical and audiovisual examples interpretation, group and individual presentations, essay writing, among others.
Evaluation method
Evaluation:
1) research project guidelines (20%);
2) a 6.000 word essay and its presentation and discussion in class (50%);
3) two oral presentations, developed from previous readings (15% each).
Critical thinking and class participation will be valued.