Sociology of music |

French sociology, lit. – the doctrine of society, from lat. societas – society and Greek. logos – word, doctrine

The science of the interaction of music and society and the influence of specific forms of its social existence on musical creativity, performance and the public.

S. m. studies the general patterns of development of muses. cultures and their history. typology, forms of music. life of society, dec. types of music activities (professional and amateur, folklore), features of music. communication in different social conditions, the formation of muses. needs and interests diff. social groups of society, the laws will perform. interpretations of music. production, problems of accessibility and popularity of music. prod. Marxist sociology, the science of art, incl. S. m., is engaged in the study of the mechanisms of formation of arts. tastes to solve above all practical. aesthetic tasks. upbringing in the socialist society.

S. m. was formed at the junction of musicology, sociology, psychology and aesthetics. As one of the sections, it is included in the sociology of art. Theoretical and methodological the basis of Marxist S. m. is historical. and dialectic. materialism. S. m. requires consideration of music as a socially conditioned phenomenon, including the study of how the life of society and the worldview of the composer are reflected in its content and form. Methodological and methodical the principles of such consideration (the so-called sociology, method) in musicology began to take shape even in the pre-Marxist period, but it was Marxism that was truly scientific. S.’s basis of m.

Three directions can be distinguished in S. m. Theoretical S. m. is engaged in the study of the general patterns of interaction between music and society, the typology of muses. cultures. Historical S. m. studies and generalizes the facts of the history of muses. the life of society. Into the realm of empirical (concrete, practical or applied) S. m. includes the study and generalization of facts related to the role of music in modern. society (the study of statistical reports on attendance at concerts, on the sale of gramophone records, on the work of amateur performances, direct observation of musical life, all kinds of polls, questionnaires, interviews, etc.). Thus, S. m. creates scientific. basis for the organization of music. life, managing it.

Separate thoughts about the relationship of music and societies. lives were already contained in the writings of antiquity. philosophers, especially Plato and Aristotle. They considered the social functions of music, it will bring up. role, its relationship with the audience, noted the role of music in the management of the state, in the organization of societies. life and moral development. personality traits. Aristotle put forward the idea of applications in societies. life of music (“Politics”) and along with Plato (“Laws”) raised the issue of the typology of the public. In the works of the Middle Ages. The authors give a classification of the types of music. art-va, proceeding from the social functions and conditions of existence of music (Johannes de Groheo, late 13th – early 14th centuries). In the Renaissance, the sphere of societies. The use of music has expanded markedly, music has become independent. lawsuit. In the 15-16 centuries. in the works of the Dutchman J. Tinktoris, the Italians B. Castiglione, C. Bartoli, E. Botrigari, specific forms of existence of music were considered. Spain. composer and theorist F. Salinas described dec. folk genres. and household music, rhythmic. the features of which were associated by the author with their life purpose. The tradition of descriptions of societies. music life was continued in the 17th century. German theorist M. Pretorius, who noted, in particular, that the signs of decomp. music genres depend on their application. In the 17-18 centuries. with the development of musical societies. life, the opening of public concerts and t-ditch, the social status and conditions of the activity of performers and composers become the subject of observation. Information about this is contained in the works of a number of musicians (I. Kunau, B. Marcello, C. Burney, and others). A special place was given to the public. So, E. Arteaga defined the social types of listeners and viewers. German figures. and French Enlightenment I. Scheibe, D’Alembert, A. Gretry wrote about the social functions of music. Under the influence of the Great French revolution and as a result of the approval of the capitalist. building in the West. Europe in con. 18th-19th centuries the relationship between music and society acquired a new character. On the one hand, there was a democratization of the muses. life: the circle of listeners expanded, on the other hand, the dependence of musicians on entrepreneurs and publishers pursuing purely commercial goals increased sharply, the conflict between the lawsuit and the demands of the bourgeoisie intensified. public. In the articles of E. T. A. Hoffmann, K. M. Weber, R. Schumann, the relationship between the composer and the public was reflected, the disenfranchised, humiliated position of the musician in the bourgeoisie was noted. society. F. Liszt and G. Berlioz paid particular attention to this issue.

In con. 19 – beg. 20th century music life dec. eras and peoples becomes the subject of a systematic. study. Books appear. “Musical Questions of the Epoch” (“Musikalische Zeitfragen”, 1903) by G. Kretschmar, “German Musical Life. The experience of musical and sociological consideration … “(“Das deutsche Musikleben …”, 1916) P. Becker, “Musical problems of our time and their resolution” (“Die musikalischen Probleme der Gegenwart und ihre Lösung”, 1920) K. Blessinger, to-rye B. V. Asafiev called “a kind of propylaea in musical and sociological problems”, as well as the books of X. Moser, J. Combarier. Among the most mean. musicologist. works of the beginning 20th century, who outlined the sociological. approach to music, – the essay “Symphony from Beethoven to Mahler” (“Die Sinfonie von Beethoven bis Mahler”, 1918) by Becker.

By this time, many sociological Observations accumulated and Rus. thought about music. So, A. N. Serov in the work “Music. A review of the current state of musical art in Russia and abroad” (1858) raised questions related to the functions of music in society. everyday life and the impact of living conditions on the content and style of music. creativity, turned to the problem of mutual influence of genre and style of music. prod. V. V. Stasov and P. I. Tchaikovsky in the critical. works left live sketches of muses. life dec. strata of the population. Big place in Russian music criticism was occupied with the perception of music by the public. In con. 19 – beg. 20th century begins the development of some musical-sociological. problems in theoretical plan.

In 1921, a book was published by one of the founders of the bourgeoisie. S. m., which rendered means. influence on the development of Western-European. sociology of culture, – M. Weber “Rational and sociological foundations of music.” As A. V. Lunacharsky noted (“On the sociological method in the history and theory of music”, 1925), Weber’s work was “only an etude, an approach to the general boundaries of the topic.” She attracted the rich in fact. material, but at the same time suffered from a touch of vulgar sociologism and flawed methodology. principles (neo-Kantianism). In Zap. In Europe, Weber’s ideas have been developed since the 1950s and 60s, when numerous works on S. m. Most of the Western European. scientists refuse to interpret S. m. as independent. science and consider it as a branch of musicology, empiric. sociology or music. aesthetics. Thus, K. Blaukopf (Austria) interprets musical music as a doctrine of the social problems of the history and theory of music, which should complement the traditions. areas of musicology. A. Zilberman, G. Engel (Germany) are studying the distribution and consumption of music in society and the attitude towards it decomp. societies. audience layers. They have accumulated actual social and economic material. position of musicians in decomp. era (“Music and Society” G. Engel, 1960, etc.), but abandoned the theoretical. generalizations empirical. material. In the works of T. Adorno (Germany), S. m. received mainly theoretical. lighting in the tradition of it. philosophical thought about music and essentially dissolved in music. aesthetics. In his books “Philosophy of New Music” (“Philosophie der Neuen Musik”, 1958), “Introduction to the Sociology of Music” (1962) Adorno considered the social functions of music, the typology of listeners, the problems of modern. music life, questions of reflection in music of the class structure of society, the specifics of the content and history, the evolution of the department. genres, national the nature of the music. creativity. He paid special attention to the criticism of bourgeois. “mass culture”. However, it was sharply criticized by Adorno from the standpoint of a defender of elite forms of art.

In Western Europe. countries and the USA developed a number of questions S. m, incl. methodology and correlation of social media with other disciplines — T. Adorno, A. Zilberman, T. Kneif, H. Eggebrecht (Germany); social functions of music in the era of imperialism and scientific and technical. revolutions – T. Adorno, G. Engel, K. Fellerer, K. Maling (Germany), B. Brook (USA); music structure. capitalist culture. countries, societies, economics. and socio-psychological. the position of composers and performing musicians – A. Zilberman, G. Engel, Z. Borris, V. Viora (Germany), J. Muller (USA); the structure and behavior of the public, the social conditioning of music. tastes – A. Zilberman, T. Adorno (Germany), P. Farnsworth (USA) and J. Leclerc (Belgium); the relationship between music and mass media (research is coordinated by the International Institute of Audio-Visual Communication and Cultural Development in Vienna, scientific adviser – K. Blaukopf); music life dec. strata of society – K. Dahlhaus (Germany), P. Willis (Great Britain), P. Bodo (France); sociological music problems. folklore – V. Viora (Germany), A. Merriam, A. Lomax (USA), D. Carpitelli (Italy). In a number of these works there is a rich factual material, but most of them are based on eclectic philosophical methods.

S. m. in the USSR and other socialist. countries. In the Sov. Union 20s. became the beginning of the development of S. m. The decisive role in this was played by the processes that took place in societies. life. Communist party and Soviet state-in from the first days of Oct. Revolution of 1917 put forward the slogan: “Art to the people!”. All the powers of art. intelligentsia were mobilized to carry out the Leninist policy of the cultural revolution. In the owls muz.-sociological. works of the 20s. problems of a general nature concerning societies are put forward. the nature of music and the laws of its historical. development. Of particular value are the works of A. V. Lunacharsky. Based on the active nature of the arts. reflections, he considered the content of the muses. art as a result of the interaction of the composer’s individuality with the social environment. In the article “The Social Origins of Musical Art” (1929), Lunacharsky also emphasized that art is a means of communication in society. In the articles “One of the shifts in art history” (1926), “The social origins of musical art” (1929), “New ways of opera and ballet” (1930), he outlined the main. the functions of music in society, including aesthetic and educational. Lunacharsky emphasized the ability of music, as well as art in general, to form and transform the psychology of society, he emphasized that music in all eras was a means of communication. BL Yavorsky attached great importance to the connection between creativity and society. perception. It means even more. the place was taken by the problems of S. m. in the works of B. V. Asafiev. In the article “On the Immediate Tasks of the Sociology of Music” (preface to the book “Music of the Medieval City” by G. Moser, translated from German, 1927), Asafiev first outlined a number of issues that S. m. should deal with, and among them – societies. music functions, mass music. culture (including everyday music), the interaction of the city and the countryside, patterns of perception of music and the development of music. “economy” and “production” (performing, instrumentation, concert and theater organizations, etc.), the place of music in the life of different societies. groups, the evolution of theater. genres depending on the conditions of existence of music. In numerous articles of the 20s. Asafiev touched upon the social conditions of existence of music in different eras, the state of traditional and new household genres in the city and countryside. The book “Musical Form as a Process” by Asafiev (1930) contained fruitful thoughts about the relationship between creativity and perception in the process of intonation, showed how the practice of societies. making music can influence creativity. In the preface to his book. “Russian Music from the Beginning of the 1930th Century” (XNUMX) Asafiev examined the forms of music-making characteristic of various socio-economic. formations.

In the 1920s in the Sov. Union, along with the theoretical unfolded concrete sociological. music research. culture. Under the Institute of the History of Art in Leningrad, for the first time in world practice, the Cabinet for the Study of Muses was created. life (KIMB). RI Gruber took an active part in its organization and work. Despite the achievements, in a number of works, owls. musicologists of the 1920s there were tendencies to simplify complex problems, ignoring the specifics of the arts. creativity, a somewhat straightforward understanding of the dependence of the superstructure on the economic. basis, i.e. what was then called vulgar sociologism.

For S. m., Asafiev’s theory of the “intonation dictionary of the era” as the “secret” of popularity and societies acquired great importance. viability of production, as well as the hypothesis of “intonation crises”, put forward in his book. “Musical form as a process. Book two. “Intonation” (1947). The question of the relationship between composer creativity and the “genre fund” of the era was developed in the 30s. A. A. Alshvang. He expressed a fruitful idea about “generalization through the genre”, which was further developed in his monograph on P. I. Tchaikovsky (1959). The question of “genre” as a musical and sociological. category was also developed by S. S. Skrebkov (article “The Problem of the Musical Genre and Realism”, 1952).

As independent. scientific disciplines of S. m. since the 60s. began to be developed in the works of A. N. Sohor. In his numerous articles and especially in the book. “Sociology and musical culture” (1975) defines the subject of modern. Marxist musical music, describes its tasks, structure, and methods, defines the system of social functions of music, substantiates the typology scheme of the modern music public. On the initiative of Sohor, a number of all-Union and international conferences on the problems of S. m. A group of muses showed great activity in the field of S. m. sociology Moscow. departments of the CK RSFSR, studying music. the tastes of the youth of Moscow (G. L. Golovinsky, E. E. Alekseev). In book. “Music and the Listener” by V. S. Tsukerman (1972) summarizes data from specific studies of music. life of the Urals, an attempt is made to define such concepts as muses. culture of society, music. the needs of the population. Questions of the social functions of music and its changes in modern music are being developed. conditions, typology of student groups, classification and social education. the role of music transmitted on radio and television (G. L. Golovinsky, E. E. Alekseev, Yu. V. Malyshev, A. L. Klotin, A. A. Zolotov, G. Sh. Ordzhonikidze, L. I. Levin ). Sociological music problems. folklore are considered in the works of I. I. Zemtsovsky, V. L. Goshovsky and others. and socio-psychological. E. Ya. Burliva, E. V. Nazaykinsky and others work on the problems of music perception. performance in the system of mass media of music distribution are discussed in the articles of L. A. Barenboim, G. M. Kogan, N. P. Korykhalova, Yu. V. Kapustin and others. classical and owls. musicology is the tradition of studying genres in music in connection with their vital purpose and conditions of functioning. These problems are solved in terms of modernity, as well as historically. Among the works of this type, the works of A. N. Sohor, M. G. Aranovsky, L. A. Mazel, V. A. Tsukkerman stand out.

Valuable achievements in the field of S. m. have been achieved by scientists of other socialist. countries. E. Pavlov (Bulgaria), K. Niemann (GDR), and others developed a methodology for studying the public and its relationship to traditional and new means of distributing music. The works of I. Vitania (Hungary) are devoted to the music. life of youth, J. Urbansky (Poland) – to the problems of music on radio and television. In Romania (K. Brailoiu and his school) sociological methods have been developed. music studies. folklore. Among the theoretical works – “Introduction to musical sociology” by I. Supicic (Yugoslavia, 1964), covering a wide range of problems of this science, including its specifics, methodology, correlation with traditional. musicology. Under the editorship of Supicic, a magazine has been published since 1970. “International Review of the Aesthetics and Sociology of Music”, Zagreb. Some general issues of S. m. scientists L. Mokri, I. Kresanek, I. Fukach, M. Cerny. Z. Lissa (Poland) contributed means. contribution to the development of such problems as social conditioning and historical. music variability. perception, society. evaluation of music, musical and cultural traditions. J. Uyfalushshi and J. Maroti (Hungary) are studying the social typology of listeners.

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A. H. Coxop, Yu. V. Kapustin