Music and the sociological gaze

Art worlds and cultural production

Peter J. Martin

• Publisher: Manchester University Press
• Year: 2013
• ISBN:
  9781847794871
• Edition: 1
• Topic: Politics & International Relations
• Subtopic: Peace & Global Development
• Index: Politics & International Relations

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.

1
Introduction

It is now more than ten years since the appearance of my previous book on music, Sounds and Society. It would have been appropriate to follow it with a substantial study which aimed to demonstrate the utility of the sort of sociological perspective on music which was developed in the book; that this project did not come to fruition was largely due to the demands of various university management roles which then occupied me for several years. (I even spent some time as Dean Martin.) However, during that period I was able to produce a series of papers, articles and conference presentations which dealt in various ways with the sociological analysis of musical activities, and it is a selection of these that forms the basis of this book.

Moreover, and this is one of the themes which I hope to develop in the pages that follow, since the mid-1990s the distinctiveness of a sociological approach to music has become increasingly apparent. That is, it has become far clearer how sociology can offer perspectives which differ from, and yet may be complementary to, those emerging from musicology, cultural and media studies, history, philosophy, and psychology. At the risk of oversimplifying a complex situation, it may be asserted that the primary focus of this specifically sociological ‘gaze’ is a concern to examine the various ways in which music is used in a whole range of social situations, and the consequences of this. Just as in the study of language, sociologists have with increasing confidence investigated the use of music by real people in real situations, thus moving away from a concern with revealing the meaning of musical texts. This approach does not invalidate the textual ‘readings’ produced by musicologists or cultural theorists, which can tell us much, for example, about how pieces of music or other cultural objects are constructed, or about their history – but a sociological concern with the uses of music seeks to return such cultural objects to the social contexts in which they are produced and experienced. (Inevitably, this invites interesting sociological questions about the claims to authority of the expert analysts who presume to determine the ‘real’ meaning of ‘works’ from the security of the study, and the nature of the ‘art worlds’ which their activities help to constitute). It follows that this focus on the uses of music greatly broadens the range of music encompassed by the analysis because, as Richard Leppert has suggested, even now those musicologists who have been concerned with popular music tend to analyse and ‘valorise’ the exceptional rather than the routine (2002: 345), finding little of interest in the latter. Yet, as I argued in Sounds and Society, it is precisely the ordinary, prosaic, music which becomes part of people’s everyday lives that may be of greatest interest from a sociological point of view.

Indeed, while critical reaction to Sounds and Society was mostly positive, one reviewer took the book to be a polemic against textual ‘interpretation’ as traditionally practised in the humanities, while granting ‘radical autonomy’ to listeners in terms of the meanings they may extract from musical experiences. Needless to say, although I believe this reading to be radically misguided, indeed perverse – and I’m encouraged that no other reviewer read it in this way – such comments do nevertheless serve to illustrate some of the ways in which the sociological gaze may illuminate aspects of musical activity which are of little concern to those engaged in text-based interpretations. One way of putting this would be to say that sociological analysis simply takes seriously Herbert Blumer’s well-known proposition that meanings are not inherent in objects; indeed, all objects of human consciousness are ‘… formed and transformed by the defining process that takes place in social interaction’ (1969: 69). Analytical interest thus shifts to the ‘defining process’ and to ‘social interaction’ rather than seeking the essential qualities of objects; concern is with the ways in which, for example, cultural objects such as ‘the blues’, ‘Beethoven’, ‘South Pacific’ or ‘Elvis’ are constituted and represented through the collaborative social interaction of real people in real situations. This does not, of course, mean that people are free to define objects as they choose; on the contrary, the achievement of orderly social life depends greatly on a tacit consensus among individuals on what they are to ‘take for granted’, and much sociological work is concerned to illuminate ways in which people are constrained and influenced by what Blumer himself called the ‘obdurate character’ of the social world (1969: 22).

Yet some remain troubled by this emphasis on the social constitution of cultural objects, the ‘social construction’ of the world of everyday experience. Nicholas Cook, for example, while accepting that meaning cannot be inherent in music, nevertheless worries that … ‘… then there is nothing in music that can constrain interpretation’ (2001: 173), and seeks to retain the notion that there must be some sort of identifiable relationship between the ‘structural properties’ (ibid.: 174) of music and ‘the meanings ascribed to it’ (ibid.: 171). Cook quotes Johnson’s example of the ‘… insistent oboe playing the dotted eighth-sixteenth note pattern in Haydn’s Symphony No. 83’, which is ‘… the image of a hen to some, the expression of merriment to others, and an essential thread in a web of indescribable content to others. But it would be hard to argue credibly that it is a funeral dirge, or paints the storming of the Bastille, or promotes slavery’ (Johnson, 1995: 2). A similar issue is raised by Fish in his discussion of contrasting interpretations of William Blake’s poem ‘The Tyger’. For some critics the tiger is ‘unambiguously and obviously evil’, while for others the poem ‘celebrates the holiness of tigerness’ (Fish, 1980: 339). Indeed, it has been argued that the very ambiguity or ‘indistinctness’ of literature is its great glory (Carey, 2005: 214). So the question, as Cook puts it, is what is there to constrain or limit the interpretations placed on cultural objects? ‘After all’, as Fish says in a passage that anticipates Johnson’s example from Haydn, ‘while “The Tyger” is obviously open to more than one interpretation, it is not open to an infinite number of interpretations … no one is suggesting that the poem is an allegory of the digestive processes or that it predicts the Second World War …’(Fish, 1980: 341–342). But this is exactly what Fish then does, outlining (in one of the very few academic discussions that have made me laugh out loud) a way of reading ‘The Tyger’ which does render it as ‘an allegory of the digestive processes’ (Fish, 1980: 348–349). I am tempted to go further, using Chomsky’s famous example of a sentence which, although grammatically correct, is ‘senseless’ (Harrison, 1979: 170): ‘Colourless green ideas sleep furiously’. Since Chomsky invented the sentence, of course, the concept of ‘green ideas’ has become widely understood, and ‘colourless green ideas’ might easily be taken to refer, for example, to environmentalist thinking which lacks radical bite. Moreover, if one can sleep ‘soundly’ or ‘peacefully’, then we can’t rule out the possibility of sleeping ‘furiously’. So it is not at all impossible to image a context in which Chomsky’s sentence does make sense – for example, as a newspaper headline to an article about a conference of environmentalists.

I don’t want to push this too far, but such examples show how interpretations need not be constrained or limited by texts. Neither, however, are they random or uncontrolled: the whole point of Fish’s discussion is to emphasise the influence of ‘interpretive communities’ and the ‘authority’ which they may confer or withhold. Thus

the literary institution … at any one time will authorise only a finite number of interpretive strategies. Thus, while there is no core of agreement in the text, there is a core of agreement (though one subject to change) concerning the ways of producing the text. Nowhere is this set of acceptable ways written down, but it is a part of everyone’s knowledge of what it means to be operating within the literary institution as it is now constituted. (Fish, 1980: 432).

Two points deserve emphasis here. First, as Fish suggests, ‘texts’ are consequences of interpretation, not vice-versa. Texts cannot be described neutrally or objectively, but only within the parameters of particular ‘interpretive strategies’. And so it is with music, perhaps even more so. An example from Chapter 3 may serve to illustrate the point: while the composer Harrison Birtwistle explained that one of his pieces is built around ‘six mechanisms’, Robert Adlington observes that ‘the three writers who have analysed the piece in detail have arrived at different conclusions as to the identity and location of each mechanism’ (Adlington, 2000: 141). Secondly, Fish’s discussion of ‘interpretive communities’ emphasises the fundamentally collective, public, in a word social, aspects of processes of interpretation. All too often, in music as in literature, discussions of ‘meaning’ and ‘interpretation’ seem to presuppose that those deriving meanings or engaging in interpretation are atomised social isolates, individual ‘subjects’ somehow removed from their cultural environment. This is not a credible view of the social world inhabited by real people: whereas the terms used by Fish are consistent with a view of social life as constituted in and through processes of collaborative interaction. Thus he speaks of authoritative ‘communities’, and draws attention to the ‘institution’ of the literary world and its established procedures, which ‘everyone’ knows, or must learn about if they wish to operate in it.

So an answer to Cook’s question is that ‘while there are always mechanisms for ruling out readings, their source is not the text but the presently recognised interpretive strategies for producing the text’ (Fish, 1980: 347). In other words, the constraints on the interpretation of cultural objects are to be found neither within the objects nor ‘hard-wired’ into the individual’s psyche. Rather, they are social processes in which, as I argue in Chapter 9, individuals come to share definitions of what constitutes the cultural object, to ‘take for granted’ the conventions and rules of the game, to accept or challenge interpretive strategies, and so on. With this in mind, it is significant that Cook appears to accept the importance of these processes:

it is central to my argument that music never is ‘alone’, that it is always received in a discursive context, and that it is through the interaction of music and interpreter, text and context, that meaning is constructed, as a result of which the meaning attributed to any given material trace will vary according to the circumstances of its reception. In this way it is wrong to speak of music having particular meanings; rather it has the potential for specific meanings to emerge under specific circumstances. (Cook, 2001: 180).

The crucial phrase here, I suggest, is ‘discursive context’, in other words the cultural environment in which music is heard, not by an isolated ‘interpreter’, but by real people who have already been imbued with what Alfred Schütz called ‘a scheme of reference for [the] interpretation of its particularity’ (1964: 168). Nevertheless, Cook still wants to find a way to hold on to the idea that there are specifiable limits to the range of meanings or emotions which any given music can ‘afford’, and even speculates on the possibility of cross-cultural concurrence on these matters (2001: 187). These notions cannot be pursued here, other than to say that sociological interest is in actual associations between music and meaning, and the uses of music in real situations, rather than in philosophical speculation about its potential significations for hypothetical ‘subjects’. This reorientation of analytic attention – away from both the idea of inherent meanings and a preoccupation with individual subjectivities, and towards the social processes which sustain the intersubjective world of everyday appearances – is consistent with much work in contemporary sociology. In particular, it is a perspective which is developed in Howard Becker’s Art Worlds (1982), a work which, as will become evident, I believe to be an enormously fruitful source for the sociology of cultural production.

Sociologists who have pursued these matters in recent years have come to converge on an approach that is not primarily concerned with the deciphering of texts, or with the ‘style’, or indeed with deciding the ‘quality’, of the music in question. Rather, their main interest is in what people do with it, and what it enables them to do. As Simon Frith has put it: ‘The critical issue … is not meaning and its interpretation – musical meaning as a kind of decoding – but experience and collusion: the “aesthetic” describes a kind of self-consciousness, a coming-together of the sensual, the emotional and the social as performance’ (1996b: 272). As I suggested above, we are thus led to consider the fundamental, but normally taken-for-granted, realm of the intersubjective realities which are the source of all human experience, and the part that music can play in constituting and sustaining it.

However, it is clear that the analysis of intersubjectivity and everyday experiences in social situations are well beyond the field of academic musicology, and quite properly so. What should also be apparent, though, is how the disciplinary concerns of sociologists generate a distinctly different perspective on music. Once again, the comments of an earlier (and rather more sympathetic) reviewer may serve to make the point. As suggested above, and as I argued in Sounds and Society, it is not the business of the sociologist of music to make value judgements about it. For some, especially those committed to textual interpretation, this is an evasion of responsibilities, a presumption, even, of ‘Olympian detachment’ (Middleton, 1996: 656). I submit, however, that there is no evasion, but simply a difference between the discourses of musicology and sociology, with their divergent disciplinary commitments, assumptions and procedures. For sociologists, the collaborative practices through which social order is achieved and sustained are of prime concern. These practices include music. As Tia DeNora has put it, in some sociological studies ‘we can see music providing a resource in and through which … agency and identity are produced’ (2000: 5).

In recent years, then, the nature of the differences between musicological and sociological discourses has become clearer. Up to this point, however, I have been speaking as though ‘musicology’ and ‘sociology’ were unified, coherent enterprises – which is, of course, completely untrue. Like all academic specialisms, indeed like all organisations, they are in the end constituted by individual people collaborating, competing and colliding, with the appearance of unity sustained mainly by various rhetorical devices and symbolic representations. Yet the latter do make possible the appearance of ‘movements’ and ‘schools of thought’ – such as the emergence of the ‘new’ musicologists in the 1990s, and the disputes and debates which ensued. If anything, sociology is an even more fragmented field, although as I argue in Chapter 2, just as people attach themselves (and others) to ‘old’ and ‘new’ musicological work, so there are old and new sociologies, with the latter tending to reject ‘structural’ explanations in favour of approaches which understand patterns of social organisation – or ‘the human world’ (Jenkins, 2002) – as the outcome of collaborative interactional practices (Martin, 2004: 34–35; see also Dennis and Martin, 2005).

As I suggest in Chapter 3, it is somewhat ironic that some of the ‘new’ musicologists (taking their cue from that ‘grand theorist’ Adorno), have adopted a distinctly ‘old’ version of sociology, in which musical forms somehow articulate or represent ideological formations. One of the problems inherent in such analyses, as Cook has put it, is that ‘… it is hard to put your finger on exactly how the linkage between musical and social structure is meant to work’ (2001: 172). Moreover, despite their fondness for the ‘social’ analysis of music, the work of the ‘new’ musicologists shows little awareness of the contours of the contemporary sociological landscape: their studies show few, if any, signs of an engagement with such basic texts as (among others) those of Mead (1934), Goffman (1959), Cicourel (1964), Schutz (1964 and 1972), Berger and Luckmann (1966), Garfinkel (1967), Blumer (1969), Weber (1978), Becker (1982), or the important collections edited by Rose (1962), Douglas (1971), Sudnow (1972) and Button (1991). There is much of interest in the revived concern with the ‘social’ analysis of music, but the new musicologists should be aware of the very considerable gap between their work and the discourse of contemporary sociology. This theme is developed in Chapter 3, originally written for the Journal of the Royal Musical Association, in which I attempt to consider three recent musicology books from a sociological point of view, and to suggest some of the ways in which the two fields have different analytical concerns. Chief among these, as I suggested above, is the contrast between efforts to specify the meaning of musical ‘texts’ (whether or not they are held to ‘articulate’ ideological elements), and the ways in which music is used by real people in actual situations. For example, several sociologists have examined ways in which music (irrespective of its ‘style’ or ‘quality’) may be used by people to assert a certain kind of identity; some implications are considered in Chapter 4 on music and the idea of manipulation. My sociological conclusions are that, theoretically, the ‘meanings’ of music must be understood as embedded in more general configurations of social activity, and methodologically that ethnographic research, rather than the production of decontextualised ‘readings’, is more likely to elucidate these meanings.

In Part II, attention turns to another way in which music has been used, and one which has attracted a certain amount of attention among sociologists – the supposed relationship between social class position and musical tastes. The topic presents another clear example of the divergence between musicological and sociological concerns. For musicologists, quite understandably, much of the sociological work is deficient since it says little or nothing about the music. Sociologists, on the other hand, are not greatly concerned about the nature or alleged quality of the music in question; their primary interest is in the ways in which, as Richard Peterson puts it, musical taste may serve as a ‘status marker’. Indeed, for Bourdieu, there is a close relationship – important to his theory of cultural transmission – betweenmusical taste and a person’s position in the socio-economic hierarchy, and it has been argued that this is because styles of music symbolically represent class values. However, it is suggested in Chapter 5 that empirical evidence provides little support for the assumption of a tight class–music nexus. At best, the relationship is much ‘looser’ than is often supposed, and it is proposed that studies of the ways in which music is used and defined by social groups offer a better way of understanding it that the assumption of a ‘homology’ between them.

Moreover, rather than examining the conscious activities of real people in different musical worlds, Bourdieu’s emphasis on cultural differences in fact presupposes the operation of underlying ‘structural’, class-based, processes. This topic is pursued in Chapter 6, in relation to the development of musical institutions during the period of European industrialisation, with particular reference to the ‘bourgeoisie’ in nineteenth-century Manchester. Here, the emergence of Charles Hallé’s orchestra and its symphonic concerts are not seen as the inevitable outcome of class-based ideology, but as a consequence of the successful promotion of a relatively new discourse of aesthetic appreciation by various ‘cultural entrepreneurs’ (of whom Hallé was one), and the establishment of a ‘classical’ music art world. Indeed, the evidence provided by the history of the Gentlemen’s Concerts suggests strongly that many of the legendary ‘Manchester men’, the thrusting entrepreneurs who made the city emblematic of capitalist modernity in the nineteenth century, had relatively little interest in the ‘serious’ music promoted by Hallé.

It might seem that the movement from a concern with processes of social stratification in Part II to the examination of the practice of mu...

Table of contents

• Cover Page
• Title Page
• Copyright Page
• Contents
• Acknowledgements
• 1 Introduction
• Part I Musicology and sociology: the interface
• Part II The sound of social stratification: the din of inequity
• Part III Improvisation and interaction
• Part IV Coda
• Bibliography
• Index