音樂如何社會？從阿多諾（Adorno）到德諾拉（DeNora）：閱讀《音樂社會學導論》、《日常生活中的音樂》

Reflections on the Sociology of Music: Reading Adorno's Introduction to the Sociology of Music and DeNora's Music in Everyday Life

10.3966/172635812019120036008

黃俊銘(Chun-Ming Huang)

中介 ； 文化工業 ； 日常生活 ； 自我科技 ； 阿多諾 ； 音樂社會學 ； mediation ； cultural industry ； everyday life ； a technology of self ； Adorno ； sociology of music

中華傳播學刊

36期（2019 / 12 / 01）

275 - 288

繁體中文

本文討論兩個音樂社會學經典文本：阿多諾的《音樂社會學導論》與德諾拉的《日常生活中的音樂》。前者視音樂為社會中介，既造成順從亦能啟蒙重建；後者視音樂為「自我科技」，作為完成事物的手段。本文認為德諾拉取徑阿多諾，相信音樂形式可提供實踐及塑造意識；但人藉音樂生產能動自我，而非服從社會秩序。德諾拉被視為代表近期音樂社會學新方向，並有情感與日常生活轉向，但仍能回到阿多諾命題，唯賦予人更多實踐、能動與希望。

This study reviews two influential texts in the sociology of music: Adorno's Introduction to the Sociology of Music and DeNora's Music in Everyday Life. In the former, Adorno regards music as social mediation, which not only can induce obedience but also enlighten and restructure people's minds, whereas in the latter, DeNora conceptualises music as a technology of self-a means of accomplishing things. This study proposes that DeNora developed the thoughts of Adorno to acknowledge that music is a building material of consciousness and a mode of praxis and that individuals may use music to produce and structure their agency rather than to accompany the existing social order. The ideas of DeNora are considered a new direction in music sociology, with an 'affective turn' and a focus on everyday life. They return to the Adorno proposition but pay more attention to humanity's search for social practice, agency, and hope.

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