Chapter 1 After Relational Aesthetics Improvised Music, the Social, and (Re)theorizing the Aesthetic

What does it mean to speak of a social aesthetics and, in particular, to do so in relation to improvised music?In this mainly conceptual chapter I develop some proposals concerning the relations between improvised music and the social and pursue the implications for retheorizing the aesthetic.I will be concerned with the social mediation of music, where mediation is conceived as a two-way or co-productive process.As we will see, music engenders certain kinds of socialities, yet it also refracts or transforms existing social formations.This conceptual project responds to a series of overlapping movements: the demand issued by scholarship in ethnomusicology, musicology, popular music studies, jazz studies, and sociology of music for progress in theorizing the heterogeneity and the different scales of music's social mediation; the drive in art theory and criticism to take seriously and analyze those facets of recent art practices in which the social features as a dimension of aesthetic experience; and the concern within anthropological and social theory to reconceptualize the social-or "sociality"-itself (Latour 2005; Long and Moore 2012a, 2012b; Strathern 1990).These movements do not exist in isolation: that they are intertwined is evident in the way that ethnography, the method of anthropology, has become involved in contemporary collaborative art (Foster 1995; Rutten et al. 2013; Schneider and Wright 2006, 2010) and music practices (Born 2013a).Despite this convergence, it has proved surprisingly difficult to develop an approach adequate to the challenge of conceptualizing how the social

Aesthetics · Art · Sociology · Diverse Musicological Studies · Psychology

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