Twentieth Century Music and the Question of Modernity PDF
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Twentieth Century Music and the Question of Modernity Routledge Advances in Sociology Forafulllistoftitleinthisseries,pleasevisitwww.routledge.com 16.Love, Heterosexualityand 24.AGeneralTheoryofEmotions Society andSocialLife PaulJohnson Warren D.TenHouten 17.Agricultural Governance 25.Sociology,Religion andGrace GlobalizationandtheNewPoliticsof ArpadSzakolczai Regulation EditedbyVaughanHigginsand 26.YouthCultures Geoffrey Lawrence Scenes,SubculturesandTribes EditedbyPaulHodkinsonand 18.Challenging Hegemonic Wolfgang Deicke Masculinity RichardHowson 27.TheObituaryasCollective Memory 19.Social IsolationinModern BridgetFowler Society RoelofHortulanus,Anja Machielse 28.Tocqueville’s Virus andLudwienMeeuwesen UtopiaandDystopia inWesternSocial andPoliticalThought 20.Weber andthe Persistence of MarkFeatherstone Religion SocialTheory,Capitalismandthe 29.JewishEating andIdentity Sublime Throughthe Ages JosephW.H.Lough DavidKraemer 21.Globalization, Uncertainty and 30.TheInstitutionalizationof LateCareers inSociety SocialWelfare EditedbyHans-PeterBlossfeld, AStudyofMedicalizingManagement SandraBuchholzandDirkHofäcker MikaelHolmqvist 22.Bourdieu’sPolitics 31.TheRole ofReligion inModern ProblemsandPossibilities Societies JeremyF.Lane EditedbyDetlefPollack andDaniel V.A.Olson 23.MediaBiasinReportingSocial Research? 32.SexResearchandSexTherapy TheCaseofReviewing ASociologicalAnalysisofMastersand EthnicInequalities inEducation Johnson MartynHammersley RossMorrow 33.A CrisisofWaste? 44.Feminism,Domesticity and UnderstandingtheRubbish Society PopularCulture MartinO’Brien EditedbyStacyGillisandJoanne Hollows 34.Globalizationand Transformations ofLocal 45.ChangingRelationships Socioeconomic Practices EditedbyMalcolmBryninandJohn EditedbyUlrikeSchuerkens Ermisch 35.TheCultureofWelfareMarkets 46.FormalandInformalWork TheInternational RecastingofPension TheHidden WorkRegimein Europe andCare Systems EditedbyBirgitPfau-Effinger,Lluis IngoBode Flaquer, &PerH.Jensen 36.Cohabitation, Family and 47.InterpretingHumanRights Society SocialSciencePerspectives TizianaNazio EditedbyRhiannonMorgan and BryanS.Turner 37.Latin Americaand Contemporary Modernity 48.ClubCultures ASociologicalInterpretation Boundaries,Identities andOtherness JoséMaurízio Domingues SilviaRief 38.Exploring theNetworked 49.EasternEuropeanImmigrant WorldsofPopularMusic Families MilieuCultures MihaelaRobila PeterWebb 39.TheCulturalSignificanceofthe 50.PeopleandSocieties ChildStar RomHarréandDesigning theSocial JaneO’Connor Sciences LukvanLangenhove 40.EuropeanIntegration asan EliteProcess 51.LegislatingCreativity TheFailureofaDream? TheIntersections ofArtandPolitics MaxHaller DustinKidd 41.Queer PoliticalPerformance 52.YouthinContemporary andProtest Europe BenjaminShepard EditedbyJeremyLeamanand MarthaWörsching 42.Cosmopolitan Spaces Europe,Globalization,Theory 53.Globalizationand ChrisRumford Transformations ofSocial Inequality 43.Contexts ofSocial Capital EditedbyUlrike Schuerkens SocialNetworksin Communities, MarketsandOrganizations 54.TwentiethCenturyMusicand EditedbyRay-MayHsung,NanLin, theQuestion ofModernity andRonaldBreiger EduardoDeLaFuente Twentieth Century Music and the Question of Modernity Eduardo De La Fuente Firstpublished2011 byRoutledge 270MadisonAvenue,NewYork,NY10016 SimultaneouslypublishedintheUK byRoutledge 2ParkSquare,MiltonPark,Abingdon,OxonOX144RN RoutledgeisanimprintoftheTaylor&FrancisGroup,aninforma business This edition published in the Taylor & Francis e-Library, 2010. To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk. ©2011Taylor&Francis TherightofEduardoDeLaFuentetobeidentifiedasauthorofthiswork hasbeenassertedbyhiminaccordancewithsections77and78ofthe Copyright,DesignsandPatentsAct1988. Allrightsreserved.Nopartofthisbookmaybereprintedorreproduced orutilisedinanyformorbyanyelectronic,mechanical,orothermeans, nowknownorhereafterinvented,includingphotocopyingandrecording, orinanyinformationstorageorretrievalsystem,withoutpermissionin writingfromthepublishers. TrademarkNotice:Productorcorporatenamesmaybetrademarksor registeredtrademarks,andareusedonlyforidentificationand explanationwithoutintenttoinfringe. LibraryofCongressCataloginginPublicationData Fuente,EduardoDeLa. Twentiethcenturymusicandthequestionofmodernity/byEduardo delaFuente. p.cm.–(Routledgeadvancesinsociology;54) Includesbibliographicalreferencesandindex. 1.Modernism(Music)2.Music–20thcentury–Historyandcriticism. 3.Music–20thcentury–Philosophyandaesthetics.4.Music–20th century–Socialaspects.I.Title. ML197.F862010 780.9’04–dc22 2010007189 ISBN 0-203-84547-1 Master e-book ISBN ISBN13:978-0-415-96208-7(hbk) ISBN13:978-0-203-84547-9(ebk) Contents Acknowledgments viii Introduction 1 1 Modernity, Modernism and Music 16 2 Myth and Narrative in Twentieth Century Musical Culture 31 3 The Structure of Musical Revolutions 40 4 Music in Max Weber’s Sociology of Modernity 53 5 Modernity in Theodor Adorno’s Philosophy of Modern Music 67 6 Music in Modern Theories of Communication 80 7 Arnold Schoenberg: The Composer as Prophet 91 8 Igor Stravinsky: The Composer as Priest 103 9 Pierre Boulez: The Composer as Ascetic 115 10 John Cage: The Composer as Mystic 126 11 From Avant-Gardism to Post-Modernism 138 12 Musical Re-enchantment? 154 Bibliography 168 Index 181 Acknowledgments Thisprojecthasbeeninthepipelineforagreatnumberofyearsandtherefore has benefited from the input of a long list of people. IwouldliketothankTonyBennettforsupervisingamuchearlierincarnation of this study as a PhD thesis at Griffith University, under the title ‘Music, Modernity and Social Theory’. The author put the ‘music and modernity’ project to one side for a number of years until it was given a new lease of lifeduringaperiodspentasaFacultyFellowattheYaleCenterforCultural Sociology, in April–June of 2005. In addition to providing a desk in the lovely Queen Anne Revival Mansion that houses the Center for Cultural Sociology, and access to one of the great research libraries, Jeff Alexander, Phil Smith and Ron Eyerman offered a congenial intellectual environment for discovering afresh the possibilities present in a cultural sociology. Phil Smith also offered the perceptive advice that the project sounded like a ‘Routledge kind of book’ and I am pleased the publisher agreed with him. It was during my period at Yale that I was also able to reacquaint myself with those wonderful Exeter sociologists Bob Witkin and Tia DeNora, who also happened to be passing through New Haven at the time. Their work is a constant source of inspiration; as are the writings of Bernice Martin, a pioneerinthefieldofthesociologyofavant-gardecultures.ThelatterIonly know through her publications but, as the contents of this book reveal, her study A Sociology of Contemporary Cultural Change has been a constant companion during the writing of Twentieth Century Music and the Ques- tion ofModernity.ItwasGaryEasthope,acolleague duringmyyearsatthe UniversityofTasmania,whodecided tobequeathhiscopyofMartin’sbook to a young cultural sociologist then struggling to work out how to write meaningfullyaboutthetopicoftheartsandculturalchange. Martin’swork, like the visit to Yale, turned out to be just the tonic I was looking for. During the writing phase, I was fortunate to have conversations about music and modernity with various other old and new colleagues – John Lechte, John Potts, and Alison Leitch at Macquarie University; and Agnes Heller,PhilipFlavin,PeterMurphy,andDavidRobertsatMonashUniversity. The latter two have an uncanny capacity to preempt where I will head next in my own thinking. I still find it difficult to believe that Chapters 7 and 10 Acknowledgments ix were anticipated by a conversation the three of us had over lunch in a Carlton hotel in Melbourne, in December of 1999. Peter Murphy also com- mented on drafts of chapters and I thank him for his editing abilities. I have also been fortunate, during the last three years, to supervise some very talented postgraduate and honors students. I would like to especially thank Michael Walsh and Lawson Fletcher for letting me use them as sounding boards.
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