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Sociomusicology refers to both an academic subfield of sociology that is concerned with music (often in combination with other arts), as well as a subfield of musicology that focuses on social aspects of musical behavior and the role of music in society. Sociology (from Latin: socius, "companion"; and the suffix -ology, "the study of", from Greek λόγος, lógos, "knowledge" 1) is the scientific or systematic study of society, including patterns of social relations, social stratification, social interaction, and culture2. Musicology (Greek: μουσική = "music" and λόγος = "word" or "reason"), on the other hand, is the scholarly study of music; However, the term is often used in a narrow sense, confined to the history of Western art music.

Since the field of musicology has tended to emphasize historiographic and analytical/critical rather than sociological approaches to research, sociomusicology is still regarded as somewhat outside the mainstream of musicology. However, with the increased popularity of ethnomusicology in recent decades (with which the field shares many similarities), as well as the development and mainstreaming of "New Musicology" (coinciding with the emergence of interdisciplinary Cultural Studies in academia), sociomusicology is increasingly coming into its own as a fully established field.

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Sociomusicological issues

The work of scholars in sociomusicology is often similar to ethnomusicology in terms of its exploration of the sociocultural context of music, however sociomusicology maintains relatively less of an emphasis on ethnic and national identity, and is not limited to ethnographic methods. Rather, sociomusicologists use a wide range of research methods and take a strong interest in observable behavior and musical interactions within the constraints of social structure. Sociomusicologists are more likely than ethnomusicologists to make use of surveys and economic data, for example, and tend to focus on musical practices in contemporary industrialized societies.

Sociomusicologists

Among the most notable of earlier sociologists to examine social aspects of music were Georg Simmel (1858-1918), Alfred Schutz (1899-1959), Max Weber (1864-1920) and Theodor Adorno (1903-1969). Others have included Alphons Silbermann, Ivo Supicic, Max Kaplan, K. Peter Etzkorn, Charles Seeger (1886-1979), Howard Saul Becker, Eli Siegmeister, Jacques Attali, John Mueller (1895-1965), Kurt Blaukopf and Charles Keil.

More recently, notable sociomusicologists have included

Younger scholars whose work contributes to the field of sociomusicology include:

See also

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References

  • Adler, Guido (1885). Umfang, Methode und Ziel der Musikwissenschaft. Vierteljahresschrift für Musikwissenschaft, 1, 5-20.
  • Honing, Henkjan (2006). "On the growing role of observation, formalization and experimental method in musicology." Empirical Musicology Review, 1/1, 2-5
  • Kerman, Joseph (1985). Musicology. London: Fontana. ISBN 0-00-197170-0.
  • McClary, Susan, and Robert Walser (1988). "Start Making Sense! Musicology Wrestles with Rock" in On Record ed. by Frith and Goodwin (1990), pp. 277-292. ISBN 0394564758.
  • Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.
  • Pruett, James W., and Thomas P. Slavens (1985). Research guide to musicology. Chicago: American Library Association. ISBN 0-8389-0331-2.

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