After
Adorno: Rethinking Music Sociology
by Tia DeNora
Cambridge University Press, Cambridge,
2003
192 pp. illus. 12 b/w. Trade, £42.50;
Paper, £15.99
ISBN:0-521-53724-X; ISBN: 0-521-83025-7.
Reviewed by David Beer
University of York and York St John College
david[dot]beer@britishlibrary[dot]net
The writings of Theodor Adorno often attract
fairly firm criticism. His work is often
dismissed on the grounds of its deterministic,
curmudgeonly, or elitist nature. This
criticism has perhaps snowballed as these
dominant critical readings have become
increasingly ingrained in contemporary
social theory. With this in mind, it is
perhaps surprising to find that in much
of the recent literature on popular music,
music technology, and, in the case of
DeNoras work, music in everyday
life, the critique and application of
Adornos work has taken centre stage
in the development of new approaches and
theoretical frameworks. We have now reached
a point, as foreseen by DeNora, where
a reappraisal of Adornos legacy
has become near essential for the future
of the sociology of music, and, more broadly,
I would argue, for a sociology of technology
and culture.
Often close readings of Adornos
work uncover new dimensions and new intricacies
that contradict both his own writings
and these dominant readings of his work.
The contradictions inherent within Adornos
work, and between dominant readings of
his work, make the construction of monological
or totalising interpretations extremely
problematic.
In this text DeNora is concerned with
reconsidering Adornos work by formulating
a detailed critique of his theoretical
conceptualisations and then attempting
to apply these within empirical research
practices. The objective of which is to
overcome the problems that DeNora identifies
in Adornos work, which are, first,
that he theorises on a level that is too
general, and, second, that his work is
abstract and does not attempt to access
music in the everyday day lives of the
listener. The angle that DeNora is adopting
here could well have descended into an
unconstrained celebration of Adornos
failings. However, DeNora treats Adornos
work with a great deal of care. Her critical
evaluations of his work do not overly
dwell upon the perceived problems. Rather
Adornos work is used here as a point
of departure for a reassessment of DeNoras
own research projects. The problem that
DeNora inevitably encounters is that as
she moves toward an analysis of her own
data she tends to leave Adorno behind.
As a result the text feels like it is
constructed around two poles. On one side,
we find the abstract, the theory, and
the concept; on the other, we find the
microscopic analysis, the case study,
and the analysis of music in peoples
everyday lives. I would suggest that this
is an almost insurmountable problem, because,
as it seems clear from a reading of DeNoras
text, Adorno did not intend for his writings
to be used in this type of research. DeNora
must, therefore, be offered a good deal
of credit for facilitating such a successful
empirical application of Adornos
work, a practice that is tantamount to
inserting a square peg in a round hole.
With this aside, and perhaps ignoring
Adornos own attempts at empirical
researchin his analysis of
the symphony on the radio or the opera
on the long playing recordDeNora
has constructed a valuable text that,
through the critical evaluation of Adornos
writings, has created a pragmatic reference
point for the study of music, and for
the study of the ways in which music effects,
either passively or actively, peoples
everyday lives. This is not an easily
obtainable objective. Music is one of
those black boxes, those hidden elements,
those concealed practices and cultural
forms, that cannot be illuminated without
small scale case studies of the type used
by DeNora.
Overall, this is an interesting text that
creates a variety of opportunities for
future research. The development of further
understandings of the ways in which music
is appropriated in the reflexive stimulation
of memory and emotions is one amongst
a set of opportunities that emerge from
a reading of this text. However, I would
like to suggest that the next step requires
a detailed critique of DeNoras approach,
and of the empirical techniques that form
the foundation of the text, so that the
strategy of critique and application
adopted by DeNora is reflected back upon
After Adorno: Rethinking Music Sociology.