Introduction to the Sociology of Music |
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Adorno artistic audience autonomous avant-garde become Beethoven bourgeois society Brahms called chamber music character circumstances of production cognition composers composition compositorial concept concrete conductor consciousness consumer course critics critique culture industry dynamic economic effect element empirical entertainment music esthetic existence fact false consciousness folk music function of music German hear hits idea ideal ideology immanent individual integration intellectual jazz labor less listener longer mass media material matter means modern Mozart musical language musical sociology musicians objective official musical opera orchestra performance polyphony pop music popular music precisely present principle probably productive forces psychological public opinion purely radio reaction realm reception reflection reified relation remains Richard Strauss Schönberg sense so-called social sociology of music song specific sphere spirit Strauss structure style symphony tendency theater Theodor W things tion totality traditional truth turn unity Wagner Webern Wozzeck