Peter J. Martin

In this important new book, Peter J. Martin explores the interface between musicological and sociological approaches to the analysis of music, and in doing so reveals the differing foundations of cultural studies and sociological perspectives more generally. Building on the arguments of his earlier book Sounds and society, Dr Martin initially contrasts text-based attempts to develop a ‘social’ analysis of music with sociological studies of musical activities in real cultural and institutional contexts. It is argued that the difficulties encountered by some of the ‘new’ musicologists in their efforts to introduce a social dimension to their work are often a result of their unfamiliarity with contemporary sociological discourse. Just as linguistic studies have moved from a concern with the meaning of words to a focus on how they are used, a sociological perspective directs our attention towards the ways in which the production and reception of music inevitably involve the collaborative activities of real people in particular times and places.

In this important new book, Peter J. Martin explores the interface between musicological and sociological approaches to the analysis of music, and in doing so reveals the differing foundations of cultural studies and sociological perspectives more generally. Building on the arguments of his earlier book Sounds and society, Dr Martin initially contrasts text-based attempts to develop a ‘social’ analysis of music with sociological studies of musical activities in real cultural and institutional contexts. It is argued that the difficulties encountered by some of the ‘new’ musicologists in their efforts to introduce a social dimension to their work are often a result of their unfamiliarity with contemporary sociological discourse. Just as linguistic studies have moved from a concern with the meaning of words to a focus on how they are used, a sociological perspective directs our attention towards the ways in which the production and reception of music inevitably involve the collaborative activities of real people in particular times and places.

Praise for the First Edition: `Totally reliable… the authors have produced a book urgently needed by all those charged with introducing students to the classics… quite indispensable' - Times Higher Education Supplement This is a fully updated and expanded new edition of the successful undergraduate text. Providing a lucid examination of the pivotal theories of Marx, Durkheim and Weber, the authors submit that these figures have decisively shaped the discipline. They show how the classical apparatus is in use, even though it is being directed in new ways in response to the changing character of society. Written with the needs of undergraduates in mind, the text is essential reading for students in sociology and social theory.

Praise for the First Edition: `Totally reliable… the authors have produced a book urgently needed by all those charged with introducing students to the classics… quite indispensable' - Times Higher Education Supplement This is a fully updated and expanded new edition of the successful undergraduate text. Providing a lucid examination of the pivotal theories of Marx, Durkheim and Weber, the authors submit that these figures have decisively shaped the discipline. They show how the classical apparatus is in use, even though it is being directed in new ways in response to the changing character of society. Written with the needs of undergraduates in mind, the text is essential reading for students in sociology and social theory.

In this introduction to the social analysis of music, the author argues that musical meaning must be understood as socially constructed, rather than inherent, and that the notion of a correspondance between social and musical structures is highly problematic. An alternative approach, based on the "social action" perspective is outlined, and the book concludes with a discussion of the social situation of music in advanced capitalist society. The text draws on studies spanning the whole spectrum of Western music - rock bands to symphony orchestras, medieval plainchant to avant-garde jazz.