题名

音樂社會學：經典理論回顧與新興議題展望

并列篇名

The Sociology of Music: A Review on Classical Theories and an Overview on Potential Issues

DOI

10.6244/JOMR.201911_(31).02

作者

朱夢慈(Meng-Tze CHU)

关键词

音樂社會學 ； 音樂群體理論 ； 品味 ； 現場音樂 ； 科技與社會 ； sociology of music ； musical community theory ； taste ； live music ； STS

期刊名称

音樂研究

卷期/出版年月

31期（2019 / 11 / 01）

页次

47 - 79

内容语文

繁體中文
中文摘要

本文回顧音樂社會學的主要理論、議題，及近年新興的熱門研究趨勢，回顧的文本以英文發表的著作為主。音樂社會學近來在國際學術圈重新引起關注，此現象可從近十年以音樂社會學為主題的專文出版看出端倪。音樂社會學的研究基本上可分為將音樂視為客體，以及將音樂視為行動兩種概念化音樂的途徑。它們處理音樂實踐如何形成群體，並以次文化、後次文化、場景與部落主義等不同理論來描述。研究者也討論特定樂種與曲目，如何被特定權力建構其社會位階與歷史價值，也關注音樂如何被創造與流通。本文後半部整理出新興且具有發展性的議題，包括高齡搖滾樂迷與懷舊現象、音樂與負面情境的關聯性、現場音樂與無原創作品的平凡音樂人、「科技與社會」和音樂的關係等。
英文摘要

This article reviews the classical theories, issues, and the emerging research trend in the sociology of music in recent years. The literature reviewed here is mainly to articles published in English. The sociology of music has regained popularity in the academy, and the phenomenon is especially striking with an upsurge in the publications on sociology of music in the past 10 years. The classical theories and issues reviewed here include two different approaches to conceptualize music: music as object and music as action. The researchers analyze how communities are shaped by musicians and how concepts, such as subculture, post-subculture, scene and tribalism are used to describe music practices. Sociology of music also explores how specific genres and repertoires are constructed by the power structure in the society and thus given historical meanings and values. Meanwhile, this paper also discusses the production and distribution of music from different approaches. The second half of the paper presents the new and potential issues in the field during the last 10 years, including: the relationship between senior rock fans and nostalgia, the links between music and negative situations, live music and ordinary musicians without original works, as well as the connection between science-technology and music.
主题分类 人文學 > 藝術
参考文献
  1. Adams, Z.(2015).On the ontology of mechanically reproduced artworks.Popular Music and Society,38,646-662.
  2. Adelt, U.(2012).Machines with a heart: German identity in the music of Can and Kraftwerk.Popular Music and Society,35,359-374.
  3. Adorno, T. W.,Ashton, E. B.(Trans.)(1976).Introduction to the sociology of music.New York, NY:Seabury.
  4. Adorno, T. W.,Hullot-Kentor, R.(Trans.)(1997).Aesthetic theory.London, England:A & C Black.
  5. Ansari, E. A.(2018).The sound of a superpower: Musical Americanism and the cold war.New York, NY:Oxford University Press.
  6. Appadurai, A.(1996).Modernity at large: Cultural dimensions of globalization.Minneapolis:University of Minnesota Press.
  7. Atkinson, W.(2011).The context and genesis of musical tastes: Omnivorousness debunked, Bourdieu buttressed.Poetics,39,169-186.
  8. Atton, C.(2014).Curating popular music: Authority and history, aesthetics and technology.Popular Music,32,413-427.
  9. Avanti, P.(2013).Black musics, technology, and modernity: Exhibit A, the drum kit.Popular Music and Society,36,476-504.
  10. Baxter-Moore, N.(Ed.),Kitts, T. M.(Ed.)(2016).The live concert experience. [Special issue].Rock Music Studies,3(1)
  11. Becker, H. S.(1982).Art worlds.Berkeley:University of California Press.
  12. Becker, H. S.(1963).Outsiders: Studies in the sociology of deviance.New York, NY:Free Press of Glencoe.
  13. Bennett, A.(2013).Music, style, and aging: Growing old disgracefully.Philadelphia, PA:Temple University Press.
  14. Bennett, A.(Ed.),Hodkinson, P.(Ed.)(2013).Ageing and youth cultures: Music, style and identity.London, England:Bloomsbury Academic.
  15. Bennett, A.(Ed.),Janssen, S.(Ed.)(2016).Popular music, cultural memory, and heritage. [Special issue].Popular Music and Society,39(1)
  16. Bennett, A.(Ed.),Kahn-Harris, K.(Ed.)(2004).After subculture: Critical studies in contemporary youth culture.London, England:Palgrave Macmillan.
  17. Bennett, A.(Ed.),Peterson, R. A.(Ed.)(2004).Music scenes: Local, translocal, and virtual.Nashville, TN:Vanderbilt University Press.
  18. Bennett, A.,Taylor, J.(2012).Popular music and the aesthetics of ageing.Popular Music,31,231-243.
  19. Berger, K.(2007).Bach’s cycle, Mozart’s arrow: An essay on the origins of musical modernity.Berkeley:University of California Press.
  20. Berger, P. L.,Luckmann, T.(1966).The social construction of reality: A treatise on the sociology of knowledge.New York, NY:Anchor.
  21. Bohlman, P. V.(2002).World music: A very short introduction.Oxford, England:Oxford University Press.
  22. Born, G.(2010).For a relational musicology: Music and interdisciplinarity, beyond the practice turn.Journal of the Royal Musical Association,135,205-243.
  23. Bourdieu, P.(1979).La distinction: Critique sociale du jugement.Paris, France:Les Éditions de Minuit.
  24. Brackett, D.(2016).Categorizing sound: Genre and twentieth-century popular music.Oakland:University of California Press.
  25. Brett, T.(2015).Autechre and electronic music fandom: Performing knowledge online through techno-geek discourses.Popular Music and Society,38,7-24.
  26. Bryant, C. D.(Ed.),Peck, D. L.(Ed.)(2007).21st century sociology: A reference handbook.Thousand Oaks, CA:Sage Publications.
  27. Bryant, C. D.(Ed.),Peck, D. L.(Ed.)(2007).21st century sociology: A reference handbook.Thousand Oaks, CA:Sage Publications.
  28. Bull, M.(2007).Sound moves: iPod culture and urban experience.London, England:Routledge.
  29. Butler, J.(1990).Gender trouble: Feminism and the subversion of identity.New York, NY:Routledge.
  30. Cerulo, K. A.(1995).Identity designs: The sight and sounds of a nation.New Brunswick, NJ:Rutgers University Press.
  31. Clayton, M.(Ed.),Herbert, T.(Ed.),Middleton, R.(Ed.)(2003).The cultural study of music: A critical introduction.New York, NY:Routledge.
  32. Cloonan, M.(Ed.),Williamson, J.(Ed.)(2017).PMS special edition: Popular music and labor. [Special issue].Popular Music and Society,40(5)
  33. Cohen, H. G.(2011).Vision of freedom: Duke Ellington in the Soviet Union.Popular Music,30,297-313.
  34. Cohen, S.(Ed.),Knifton, R.(Ed.),Leonard, M.(Ed.),Roberts, L.(Ed.)(2014).Sites of popular music heritage: Memories, histories, places.New York, NY:Routledge.
  35. Cook, N.(Ed.),Everist, M.(Ed.)(2001).Rethinking music.Oxford, England:Oxford University Press.
  36. Cowart, G.(2001).Carnival in Venice or protest in Paris? Louis XIV and the politics of subversion at the Paris Opéra.Journal of the American Musicological Society,54,265-302.
  37. Curran, G. M.(1996).From "swinging hard" to "rocking out": Classification of style and the creation of identity in the world of drumming.Symbolic Interaction,19,37-60.
  38. Dauncey, H.(Ed.),Le Guern, P.(Ed.)(2011).Stereo: Comparative perspective on the sociological study of popular music in France and Britain.Farnham, England:Ashgate.
  39. Dauncey, H.(Ed.),Tinker, C.(Ed.)(2014).Souvenirs, souvenirs: La nostalgie dans les musiques populaires. [Special issue].Volume!,11(1)
  40. Dempsey, N. P.(2008).Hook-ups and train wrecks: Contextual parameters and the coordination of jazz interaction.Symbolic Interaction,31,57-75.
  41. DeNora, T.(1995).Beethoven and the construction of genius: Musical politics in Vienna, 1792-1803.Berkeley:University of California Press.
  42. DeNora, T.(2000).Music in everyday life.Cambridge, England:Cambridge University Press.
  43. DeNora, T.(2011).Music-in-action: Selected essays in sonic ecology.London, England:Routledge.
  44. DeNora, T.(1991).Musical patronage and social change in Beethoven’s Vienna.American Journal of Sociology,97,310-346.
  45. Devine, K.(2015).Decomposed: A political ecology of music.Popular Music,34,367-389.
  46. Devine, K.(2013).Imperfect sound forever: Loudness wars, listening formations and the history of sound reproduction.Popular Music,32,159-176.
  47. DiMaggio, P.(1982).Cultural entrepreneurship in nineteenth-century Boston, part II: The classification and framing of American art.Media, Culture and Society,4,303-322.
  48. DiMaggio, P.(1982).Cultural entrepreneurship in nineteenth-century Boston: The creation of an organizational base for high culture in America.Media, Culture and Society,4,33-50.
  49. Dowd, T. J.,Liddle, K.,Lupo, K.,Borden, A.(2002).Organizing the musical canon: The repertoires of major U.S. symphony orchestras, 1842 to 1969.Poetic,30,35-61.
  50. Duffett, M.(Ed.)(2013).Fandom. [Special issue].Popular Music and Society,36(3)
  51. Duffett, M.(Ed.)(2015).Fandom. [Special issue].Popular Music and Society,38(1)
  52. Elias, N.(1993).Mozart: Portrait of a genius.Berkeley:University of California Press.
  53. Evans, J.(2003).Stravinsky’s music in Hitler’s Germany.Journal of the American Musicological Society,56,525-594.
  54. Faulkner, R. R.(1985).Hollywood studio musicians: Their work and careers in the recording industry.Lanham, MD:University Press of America.
  55. Faulkner, R. R.,Becker, H. S.(2009)."Do you know…?": The jazz repertoire in action.Chicago, IL:University of Chicago Press.
  56. Fauquet, J.-M.,Hennion, A.(2000).La grandeur de Bach: L’amour de la musique en France au XIX siècle.Paris, France:Fayard.
  57. Finnegan, R.(1989).The hidden musicians: Music-making in an English town.Cambridge, England:Cambridge University Press.
  58. Forman, M.(Ed.),Fairley, J.(Ed.)(2012).As time goes by: Music, dance and ageing. [Special issue].Popular Music,31(2)
  59. Fosler-Lussier, D.(2015).Music in America’s cold war diplomacy.Berkeley:University of California Press.
  60. Fourmentraux, J.-P.(2014).Art, science, technology: Digital creation and the politics of interdisciplinarity.Volume!,10(2),113-129.
  61. Friedman, S.(Ed.),Savage, M.(Ed.),Hanquinet, L.(Ed.),Miles, A.(Ed.)(2015).Cultural sociology and new forms of distinction. [Special issue].Poetics,53
  62. Frith, S.(1981).‘The magic that can set you free’: The ideology of folk and the myth of the rock community.Popular Music,1,159-168.
  63. Frith, S.(1978).The sociology of rock.London, England:Constable.
  64. Frith, S.,Brennan, M.,Cloonan, M.,Webster, E.(2013).The History of Live Music in Britain: Vol. 1. 1950-1967: From dance hall to the 100 club.Farnham, England:Ashgate.
  65. Galuszka, P.(2015).New economy of fandom.Popular Music and Society,38,25-43.
  66. Gibson, W.(2006).Material culture and embodied action: Sociological notes on the examination of musical instruments in jazz improvisation.The Sociological Review,54,171-187.
  67. Gilman, L.(2016).My music, my war: The listening habits of U.S. troops in Iraq and Afghanistan.Middletown, CT:Wesleyan University Press.
  68. Gregory, G.(2015).Days of futures past – Temporal travel in the world of tribute entertainment.Journal of European Popular Culture,6,117-128.
  69. Grossberg, L.(1992).We gotta get out of this place: Popular conservatism and postmodern culture.New York, NY:Routledge.
  70. Gunkel, D. J.(2012).What does it matter who is speaking? Authorship, authority, and the mashup.Popular Music and Society,35,71-91.
  71. Haanstad, E. J.(2016).Urban simulations and soundscapes of a Thai Beatles tribute band.Rock Music Studies,3(3),281-299.
  72. Hagen, A. N.(2015).The playlist experience: Personal playlists in music streaming services.Popular Music and Society,38,625-645.
  73. Hebdige, D.(1979).Subculture: The meaning of style.York, England:Methuen.
  74. Hennion, A.(1993).La passion musicale: Une sociologie de la médiation.Paris, France:Métailié.
  75. Hennion, A.(1981).Les professionnels du disque: Une sociologie des variétés.Paris, France:Métailié.
  76. Hennion, A.(2001).Music lovers: Taste as performance.Theory, Culture, Society,18(5),1-22.
  77. Hennion, A.(1983).The production of success: An anti-musicology of the pop song.Popular Music,3,159-193.
  78. Hesmondhalgh, D.(2005).Subcultures, scenes or tribes? None of the above.Journal of Youth Studies,8,21-40.
  79. Hesmondhalgh, D.(2007).Audiences and everyday aesthetics: Talking about good and bad music.European Journal of Cultural Studies,10,507-527.
  80. Hirsch, L. E.(2011)."Do you really want to hurt me?" Music as punishment in the United States legal system.Popular Music and Society,34,35-53.
  81. Hodkinson, P.,Deicke, W.(2007).Youth cultures: Scenes, subcultures and tribes.New York, NY:Routledge.
  82. Homan, S. (Ed.)(2006).Access all eras: Tribute bands and global pop culture.New York, NY:Open University Press.
  83. Horn, D.(Ed.),Tagg, P.(Ed.)(1982).Popular music perspectives.Exeter, England:International Association for the Study of Popular Music.
  84. Horsfall, S. T.(Ed.),Meij, J.-M.(Ed.),Probstfield, M. D.(Ed.)(2013).Music sociology: Examining the role of music in social life.New York, NY:Routledge.
  85. Johnson, B.(Ed.),Cloonan, M.(Ed.)(2011).Popular music and violence. [Special issue].Popular Music and Society,34(1)
  86. Johnson, B.,Cloonan, M.(2009).Dark side of the tune: Popular music and violence.Burlington, VT:Ashgate.
  87. Johnson, C.,Dowd, T. J.,Ridgeway, C. L.(2006).Legitimacy as a social process.Annual Review of Sociology,32,53-78.
  88. Kattari, K.(2014).Identifying with the rebel of the past: An ethnographic exploration of nostalgia in the contemporary rockabilly scene in the United States.Volume!,11(1),175-189.
  89. Klein, B.(Ed.)(2011).Popular music and marketing. [Special issue].Popular Music and Society,34(4)
  90. Kremp, P.-A.(2010).Innovation and selection: Symphony orchestras and the construction of the musical canon in the United States (1879-1959).Social Forces,88,1051-1082.
  91. Kuhn, T. S.(1962).The structure of scientific revolutions.Chicago, IL:University of Chicago Press.
  92. Latour, B.(2005).Reassembling the social: An introduction to actor-network-theory.Oxford, England:Oxford University Press.
  93. Lena, J. C.,Peterson, R. A.(2008).Classification as culture: Types and trajectories of music genres.American Sociological Review,73,697-718.
  94. Lenneberg, H.(2003).On the publishing and dissemination of music, 1500-1850.Hillsdale, NY:Pendragon Press.
  95. Levine, L. W.(1988).Highbrow/lowbrow: The emergence of cultural hierarchy in America.Cambridge, MA:Harvard University Press.
  96. Leyshon, A.,Webb, P.,French, S.,Thrift, N.,Crewe, L.(2005).On the reproduction of the musical economy after the internet.Media, Culture and Society,27,177-209.
  97. Maffesoli, M.(1988).Le temps des tribus: Le déclin de l’individualisme dans les sociétés de masse.Paris:Méridiens-Klincksieck.
  98. Maisonneuve, S.(2001).Between history and commodity: The production of a musical patrimony through the record in the 1920-1930s.Poetics,29,89-108.
  99. Manuel, P.(2014).The regional North Indian popular music industry in 2014: From cassette culture to cyberculture.Popular Music,33,389-412.
  100. McClary, S.(1991).Feminine endings: Music, gender, and sexuality.Minneapolis:University of Minnesota Press.
  101. McCormick, L.(2015).Performance perspectives.The Routledge reader on the sociology of music,New York, NY:
  102. Middleton, R.(1990).Studying popular music.Milton Keynes, England:Open University Press.
  103. Mignon, P.(Ed.),Hennion, A.(Ed.)(1991).Rock: de l’histoire au mythe.Paris, France:Anthropos.
  104. Morgan, J. E.(Ed.),Reish, G. N.(Ed.)(2018).Tyranny and music.Lanham, MD:Lexington Books.
  105. Morris, J. W.(2014).Artists as entrepreneurs, fans as workers.Popular Music and Society,37,273-290.
  106. Muggleton, D.(Ed.),Weinzierl, R.(Ed.)(2003).The post-subcultures reader.New York, NY:Berg.
  107. Negus, K.(1992).Producing pop: Culture and conflict in the popular music industry.London, England:Edward Arnold.
  108. Negus, K.(1999).Music genres and corporate cultures.London, England:Routledge.
  109. Nuccio, M.,Guerzoni, M.,Katz-Gerro, T.(2018).Beyond class stratification: The rise of eclectic music consumer in the modern age.Cultural Sociology,12,343-367.
  110. Parent, E.(Ed.)(2011).Peut-on parler de musique noire? [Special issue].Volume!,8(1)
  111. Partridge, C.(2015).Mortality and music: Popular music and the awareness of death.London, England:Bloomsbury Academic.
  112. Pecqueux, A.(Ed.),Roueff, O.(Ed.)(2009).Écologie sociale de l’oreille: Enquêtes sur l’expérience musicale.Paris, France:EHESS.
  113. Perrenoud, M.(2007).Les musicos: Enquête sur des musiciens ordinaires.Paris, France:La Découverte.
  114. Peterson, R. A.(1997).Creating country music: Fabricating authenticity.Chicago, IL:University of Chicago Press.
  115. Peterson, R. A.(1992).Understanding audience segmentation: From elite and mass to omnivore and univore.Poetics,21,243-258.
  116. Pinch, T.,Trocco, F.(2002).Analog days: The invention and impact of the Moog synthesizer.Cambridge, MA:Harvard University Press.
  117. Prior, N.(2014).The plural iPod: A study of technology in action.Poetics,42,22-39.
  118. Prior, N.(2008).Putting a glitch in the field: Bourdieu, actor network theory and contemporary music.Cultural Sociology,2,301-319.
  119. Rice, T.(2014).Ethnomusicology in times of trouble.Yearbook for Traditional Music,46,191-209.
  120. Risch, W. J. (Ed.)(2014).Youth and rock in the Soviet bloc: Youth cultures, music, and the state in Russia and Eastern Europe.Lanham, MD:Lexington Books.
  121. Rosenblum, B.(1978).Style as social process.American Sociological Review,43,422-438.
  122. Roy, E.(2014).Displacing the past: Mediated nostalgia and recorded sound.Volume!,11(1),145-158.
  123. Roy, W. G.(2010).Reds, whites and blues: Social movements, folk Music, and race in the United States.Princeton, NJ:Princeton University Press.
  124. Roy, W. G.,Dowd, T. J.(2010).What is sociological about music?.Annual Review of Sociology,36,183-203.
  125. Sanden, P.(2013).Liveness in modern music: Musicians, technology, and the perception of performance.New York, NY:Routledge.
  126. Sanjek, D.(Ed.),Burns, G.(Ed.)(2012).Special issue on copyright. [Special issue].Popular Music and Society,35(5)
  127. Scherer, F. M.(2001).The evolution of free-lance music composition, 1650-1900.Journal of Cultural Economics,25,307-319.
  128. Schütz, A.(1976).Fragments on the phenomenology of music.Music and Man,2,5-71.
  129. Schütz, A.(1951).Making music together: A study in social relationship.Social Research,18,76-97.
  130. Sexton, J.(2012).Weird Britain in exile: Ghost box, hauntology, and alternative heritage.Popular Music and Society,35,561-584.
  131. Shelemay, K. K.(2011).Musical communities: Rethinking the collective in music.Journal of the American Musicological Society,64,349-390.
  132. Shepherd, J.(Ed.),Devine, K.(Ed.)(2015).The Routledge reader on the sociology of music,New York, NY:
  133. Sheppard, W. A.(2001).An exotic enemy: Anti-Japanese musical propaganda in World War II Hollywood.Journal of the American Musicological Society,54,303-357.
  134. Simmel, G. (1882). Psychologische und ethnologische Studien über Musik. Zeitschrift für Völkerpsychologie und Sprachwissenschaft 13, 261-305.
  135. Sklower, J.(Ed.)(2013).Écoutes : Discours, pratiques, médiations. [Special issue].Volume!,10(1)
  136. Slobin, M.(1993).Subcultural sounds: Micromusics of the West.Hanover, NH:Wesleyan University Press.
  137. Small, C.(1998).Musicking: The meanings of performing and listening.Middletown, CT:Wesleyan University Press.
  138. Smudits, A. (Ed.)(2019).Roads to music sociology.Wiesbaden, Germany:Springer VS.
  139. Spelman, N.(2012).Popular music and the myths of madness.Farnham, England:Ashgate.
  140. Spencer, H. (1858). The origin and function of music. In Essays: Scientific, political, and speculative (pp. 359-384). London, England: Longman, Brown, Green, Longmans, and Roberts.
  141. Straw, W.(2001).Scenes and sensibilities.Public,22/23,245-257.
  142. Straw, W.(1991).Systems of articulation, logics of change: Communities and scenes in popular music.Cultural Studies,5,368-388.
  143. Strong, C.,Greig, A.(2014)."But we remember when we were young": Joy division and new orders of nostalgia.Volume!,11(1),192-205.
  144. Taylor, T. D.(2013).The sounds of capitalism: Advertising, music, and the conquest of culture.Chicago, IL:University of Chicago Press.
  145. Taylor, T. D.(1997).Global pop: World music, world markets.New York, NY:Routledge.
  146. Thornton, S.(1996).Club cultures: Music, media, and subcultural capital.Hanover, NH:Wesleyan University Press.
  147. Toynbee, J.(2000).Making popular music: Musicians, creativity and institutions.London, England:Bloomsbury Academic.
  148. Trottier, D.(2014).L’évocation mémorielle des boîtes à chansons au Québec: Quand le canon se fait complice de la nostalgie.Volume!,11(1),99-113.
  149. Walser, R.(1993).Running with the devil: Power, gender, and madness in heavy metal music.Middletown, CT:Wesleyan University Press.
  150. Waugh, M.(2017).My laptop is an extension of my memory and self’: Post-internet identity, virtual intimacy and digital queering in online popular music.Popular Music,36,233-251.
  151. Weber, M.,Martindale, D.(Trans. Ed.),Riedel, J.(Trans. Ed.),Neuwirth, G.(Trans. Ed.)(1958).The rational and social foundations of music.Carbondale:Southern Illinois University Press.
  152. Weinstein, D.(2014).Constructed nostalgia for rock’s golden age: "I Believe in Yesterday".Volume!,11(1),20-36.
  153. Whiteley, S.(2014)."When You Wish Upon a Star": Nostalgia, fairy stories and the songs of World War II.Volume!,11(1),83-97.
  154. Whiteley, S.(Ed.),Sklower, J.(Ed.)(2014).Countercultures and popular music.Farnham, England:Ashgate.
  155. Wikström, P.(2009).The music industry.Cambridge, England:Polity Press.
  156. 吳方正, F.-C.(2017)。藝術學學門熱門與前瞻研究議題調查成果報告摘要。人文與社會科學簡訊，18(2)，11-28。
print cancel