Schutz and Becker on making music together

A note on their respective contributions to the sociology of music

Dados Bibliográficos

ID7875697
AutoresSandro Segre (0000-0003-1582-4451, Università di Genova, Italy, autor correspondente)
Ano2020
Volume20
Fascículo1
Páginas64-79
Data de publicação2020-02-01
Peer ReviewedSim
Open AccessSim
TipoARTICLE
PeriódicoJournal of Classical Sociology (JOURNAL)
Identificadores do periódicoISSN: 1468-795X • E-ISSN: 1741-2897
EditoraSAGE Publications (PUBLISHER • US)
DOI10.1177/1468795x18807592
OpenAlexW2909605103
IdiomaEN
Citações recebidas2
Referências citadas30

This article compares the sociological writings of Schutz and Becker on making music together. Schutz laid stress on the We-relationship resulting from face-to-face performance of music, in which every listener participates with the other listeners, the performers, and the composers. Becker emphasized the existence of taken-for-granted conventions on which cooperative relations between performers are based, in conjunction with other members of the music subcommunity with whom they are engaged in a communication flow. The involved actors may participate in several reciprocally connected worlds of shared experiences, which if jointly considered constitute the art world. The theoretical and conceptual differences between Schutz and Becker, which concern their sociological writings on music, are related to analogous diversities between Phenomenological Sociology and Symbolic Interactionism. Finally, Weber, Honigsheim, and Adorno’s contributions to the sociology of music have been here considered for comparative purposes

Aesthetics · Art · Epistemology · Popular music · Social science · Sociology · Sociology of culture · Symbolic interactionism · Visual arts · Diverse Music Education Insights · Music History and Culture · Philosophy · Social and Cultural Dynamics