How is Extra-Musical Meaning Possible? Music as a Place and Space for "Work"

DeNora, Tia

doi:10.2307/202107

Cited by 66 publications

(19 citation statements)

References 19 publications

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“…I am less interested in what music 'simulates' than in what is 'done to' music, and by 'doing things to music' I include discussions (lay and analytical) of 'what' music signifies: how do actors orient to what music does in order to 'do' or 'get through' other things? Music can best be understood, I am suggesting, as a cultural 'work space' for the articulation of meaning and action, a real structure upon which one can 'map' or 'hang' non-musical associations and activities (DeNora, 1986).…”

Section: Musical Mappings: the Case Of Music Gender And Sexualitymentioning

confidence: 99%

“…But there are also many musical works that do not come equipped with "user's guides' or 'directions' for reading/ decoding (or they may come with several alternative and perhaps contradictory guides) and even with those that do, music can be "mis-read' (see Sue Wise's idiosyncratic reading of Elvis Presley -Wise, 1984) or 're-read' when something different is provided as a map for its apprehension. Think for example, of the feminist reappropriation of Tammy Wynette's 'Stand By Your Man' (see Scott, 1993) or the Jimi Hendrix version of the 'Star Spangled Banner ' (DeNora. 1986) or, to return to the 'Marseillaise', the English schoolboy version of that tune ('a Frenchman went to the lavatory .…”

Section: Doing Things To Music: Mapping the Music-society Interfacementioning

confidence: 99%

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The Musical Composition of Social Reality? Music, Action and Reflexivity

DeNora

1995

The Sociological Review

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Developments in the sociology of music during the 1980s have brought the sub-field more firmly in to the center of sociological concerns. The 'worlds' concept, and the concern with music and social status have helped to ground and specify links between music and society. Meanwhile however, questions concerning music's social content have been sidelined. This paper explores music as an active ingredient in the constitution of lived experience. As with other cultural/technical forms, music provides a resource for the articulation of thought and activity. Bodily conduct and movement, the experience of time, and social character within opera are used to illustrate this point. Recent developments in feminist music analysis have been suggestive for the ways in which music metaphorizes social processes and categories of being. These developments can enrich the sociology of music. However, as with all attempts to 'read' music's social content, they should be conceived as claims made by analysts who are themselves engaged in social projects. Analytical readings of music have no a priori claim of privilege. A constructivist sociology of music should therefore be devoted to the question of how specific music users forge links between musical significance and social life. A sociology of the construction and deployment of musical realities is capable of avoiding the naive positivism otherwise implicit In attempts to 'read' music's social content.In recent years, the 'new' sociology of music has considerably enriched our understanding of music's link to social formation, opening up a range of new topics for sociological exploration. The focus of this work has been directed at, among other things, the social shaping of repertory {Gilmore, 1987{Gilmore, , 1988{Gilmore, and 1990, the construction of the musical canon as a cultural-entrepreneurial strategy (DiMaggio, 1982; DeNora, I99I;Weber, 1992), reception

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Section: Musical Mappings: the Case Of Music Gender And Sexualitymentioning

confidence: 99%

Section: Doing Things To Music: Mapping the Music-society Interfacementioning

confidence: 99%

The Musical Composition of Social Reality? Music, Action and Reflexivity

DeNora

1995

The Sociological Review

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“…is also a 'work space' for social work to be done (DeNora 1986;. Unsurprisingly, then, music has featured in discussions of social formations and consumption.…”

Section: Consumption Communitiesmentioning

confidence: 99%

Cultural memory and the heritagisation of a music consumption community

O’Reilly¹,

Doherty

Carnegie³

et al. 2017

AAM

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Purpose The purpose of this paper is to explore how music consumption communities remember their past. Specifically, the paper reports on the role of heritage in constructing the cultural memory of a consumption community and on the implications for its identity and membership. Design/methodology/approach Drawing upon insights from theories of cultural memory, heritage, and collective consumption, this interpretive inquiry makes use of interview, documentary, and artefactual analysis, as well as visual and observational data, to analyse an exhibition of the community’s popular music heritage entitled One Family – One Tribe: The Art & Artefacts of New Model Army. Findings The analysis shows how the community creates a sense of its own past and reflects this in memories, imagination, and the creative work of the band. Research limitations/implications This is a single case study, but one whose exploratory character provides fruitful insights into the relationship between cultural memory, imagination, heritage, and consumption communities. Practical implications The paper shows how consumption communities can do the work of social remembering and re-imagining of their own past, thus strengthening their identity through time. Social implications The study shows clearly how a consumption community can engage, through memory and imagination, with its own past, and indeed the past in general, and can draw upon material and other resources to heritagise its own particular sense of community and help to strengthen its identity and membership. Originality/value The paper offers a theoretical framework for the process by which music consumption communities construct their own past, and shows how theories of cultural memory and heritage can help to understand this important process. It also illustrates the importance of imagination, as well as memory, in this process.

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“…Inicialmente no se aprenden contenidos, sino que se desarrollan destrezas (melódica, rítmica, armó-nica y memoria tonal) con un input declarativo, las cuales son previas a cualquier construcción de significado. Asimismo, se debe tener en cuenta que el conocimiento simbólico asociado al lenguaje de la música incluye una dimensión artística que confiere a las construcciones sonoras una significación que es añadida de forma cultural o personal (DeNora, 1986).…”

Section: Estudios Previos Relacionados Con Esta Investigaciónunclassified

El conocimiento armónico como estrategia para mejorar la comprensión, la motivación y la creatividad en el aprendizaje del lenguaje musical

Ruiz¹,

Guerrero

Gómez

2017

Rev. Electrón. Complut. Investig. Educ. Music.

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Resumen. En nuestro contexto socio-cultural occidental, la mayoría de la música que se produce y se consume está basada en el sistema tonal-armónico, que organiza el discurso musical a partir de la combinación de acordes con distintos grados de tensión y de reposo. En un intento por mejorar la formación musical de los alumnos y facilitarles la adquisición de los aprendizajes, se ha abordado la elaboración, puesta en práctica y evaluación de una serie de propuestas metodológicas para la iniciación a la educación musical desde un contexto tonal en la asignatura de Lenguaje Musical, dirigida a los alumnos de los dos primeros cursos de las enseñanzas elementales del Conservatorio Profesional de Música de Segovia. La investigación presentada en este artículo permite afirmar, como una de sus conclusiones fundamentales, que las actividades tonales desarrolladas en el aula han sido realmente útiles para ofrecer una educación integral, significativa y motivadora para los alumnos, al mismo tiempo que han potenciado su creatividad y les ha capacitado para la composición de canciones. Palabras clave: sistema tonal-armónico; lenguaje Musical; creatividad; composición musical; conservatorio.[en] Harmonic knowledge as strategy to improve comprehension, motivation and creativity in ear training learning Abstract. In our Western sociocultural context, the vast majority of the music that it is produced and consumed is based on the tonal-harmonic system, which organises musical discourse thanks to the combination of chords with tension and release. In an attempt to improve the musical training of students and facilitate the acquisition of knowledge, different methodological proposals have been designed, implemented and evaluated from a tonal context in the Ear Training subject. Students of the two first courses in the elementary level at the Professional Conservatory of Music in Segovia have taken part in this study. The research included in this paper shows clearly that the suggested activities have been really useful to offer holistic, meaningful and motivating education to students, have fostered their creative abilities and have enabled them to write songs.

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How is Extra-Musical Meaning Possible? Music as a Place and Space for "Work"

Cited by 66 publications

References 19 publications

The Musical Composition of Social Reality? Music, Action and Reflexivity

The Musical Composition of Social Reality? Music, Action and Reflexivity

Cultural memory and the heritagisation of a music consumption community

El conocimiento armónico como estrategia para mejorar la comprensión, la motivación y la creatividad en el aprendizaje del lenguaje musical

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