Description

The sociology of music takes its cue from the distinction between musical texts and musical contexts: whereas the humanistic inquiry into texts highlights the study of musical forms, meanings, and performance, the sociological emphasis on contexts points to the social settings, audiences, and consequences of musical expression. From the commodification and marketing of music, to the collective effervescence and political contestations of music listeners, the sociology of music highlights the role of social forces, capitalist organization, and creative agency across many stages of cultural experience. In this way, the sociological inquiry into music provides an entry into larger debates in the sociology of culture, critical theory, cultural studies, social movements, and media studies. Topics for this semester include urban music scenes; the racialization of music genres and music marketing; dynamic changes in the composition, recording, and distribution of popular music; and new directions in music performance and fandom.

LEARNING OBJECTIVES

1. To explore the sociological approach to music as it is created by musicians and other actors; assigned meanings and value by audiences and industries; transformed by sociotechnical changes in recording and distribution; and embedded in social phenomena like fandom, politics, and social conflict.

2. To understand the radical transformation of popular music as a cultural experience and economic activity in the current era of digital platforms and social media.

3. To develop an analytical language for talking and writing about music, drawing on sociological and musicological perspectives, that enhances or even transcends the language of subjective preferences ("I like this music," etc.).