Sounds of the Metropolis: The Nineteenth-Century Popular Music Revolution in London, New York, Paris, and Vienna

By Derek B. Scott | Go to book overview

Notes

Introduction

1. Music and Society since 1815 (London: Barrie and Jenkins, 1976), 147. Adorno mentions the “scars of capitalism” that afflict all forms of twentiethcentury art in a letter to Walter Benjamin, 18 Mar. 1936, in Theodor W. Adorno: Über Walter Benjamin, ed. Rolf Tiedemann (Frankfurt: Suhrkamp Verlag, 1970), 126–34.

2. See Howard Becker, Art Worlds (Berkeley: University of California Press, 1982), 35, 78. Becker accepts that a number of specific art worlds may share certain activities and features that allow them to be considered as part of a more general art world (161).

3. Art Worlds, 305, 307. Becker’s arguments then begin to depart from my own, because he concentrates on revolutions in an art world that lead to new accepted practices, whereas I am interested in revolutions that leave a state of continuing struggle. For example, the added sixth continues throughout the nineteenth century to be rejected in the musical high-art world as a vulgarism. I conceive of the practices I’m discussing as revolutions that lead to new art worlds. Becker sees a revolution as something that causes changes in an existing art world, while he understands new art worlds as those that bring together “people who never cooperated before” and “conventions previously unknown” (310); he regards rock music, for example, as a new art world (313).

4. Theodor W. Adorno, Introduction to the Sociology of Music, trans. E. B. Ashton (New York: Continuum, 1989; originally published as Einleitung in die Musiksoziologie [Frankfurt: Suhrkamp Verlag, 1962]).

5. “Nicht bloss werden die Ohren der Bevölkerung so mit leichter Musik

-219-

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