1. Origins and Development of the Sociology of Music: Methodological Issues I - General sociology: the emergence and development of sociology as a discipline; major research areas; key scholars - Empirical and theoretical sociology - The emergence of the sociology of music - Principal research areas of the sociology of music - The problem of the sociological analysis of musical works 2. Origins and Development of the Sociology of Music: Methodological Issues II - Max Weber: Weberian ideal types and typologies in the sociology of music; the problem of evaluation and value neutrality - Other major scholars of the sociology of music (Theodor W. Adorno, John Henry Mueller, Alphons Silbermann, Kurt Blaukopf, Christian Kaden, John Shepherd) - Sociology of tone systems - Czech sociology of music 3. Principles of Empirical Research in the Sociology of Music - Qualitative and quantitative research - Stages of quantitative sociological research - Population and sample; sampling methods - Data collection techniques - Questionnaire design for research in the sociology of music 4. The Sociology of Czech Musical Life - The three surveys of musicality conducted by Vladimír Karbusický and Jaroslav Kasan (1963-1969) - Jaroslav Kasan's Survey of Musicality (1990) - Mikuláš Bek's Music Audiences in the Czech Republic (2001) - Interpretation of empirical findings in the sociology of music 5. The Sociology of Music History: Musicians in Medieval Europe - Troubadours in the changing society of the Middle Ages - Itinerant musicians 6. The Sociology of Music History: Bourgeois Musical Culture and the Concert Institution - The emergence of the bourgeois public sphere - The concert as a representative social institution of bourgeois society 7. The Sociology of Music History: The Sociology of Opera - Opera as a social and historical phenomenon - Operatic production in the Italian stagione system, the Paris Opera, and German court and municipal theatres - Participants in operatic production: impresarios and theatre managers, opera singers, and opera audiences - Theatre contracts, performing rights, and copyright 8. Women in Music - Gender perspectives in music - Women composers in music history - Women performers in music history - The musical salon as a counterpart to the public concert in bourgeois society 9. The Music Industry in Capitalist Society - A historical overview of the development of the music industry - Technology and music production 10. Critiques of Mass Musical Culture - The Frankfurt School - Theodor W. Adorno and Max Horkheimer: Dialectic of Enlightenment - Theodor W. Adorno and the fetish character of music - Walter Benjamin and the loss of the aura of the work of art - Pierre Bourdieu and cultural capital - Revisions of critical theory in Cultural Studies
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The course focuses on terminology, theoretical concepts, techniques and methods of music sociological research. Attention will be also paid to interpretation of seminal texts and practical training.
Acquire knowledge: The student knows basic concepts of music sociology, its key texts and principles of musical-sociological empirical research. Acquired skills: The student: - is able to create a survey questionnaire for a musical-sociological research; - is capable of the practical application of techniques of the musical sociological research. Acquired qualifications: Knowledge of social structures of music life and its actors, or, the functioning of music institutions in different phases of the history of music, leads the student to a better understanding of the developmental process of music. A completion of the course significantly widens student's competences for next professional involvement in an organisation and management of music life.
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HUDEBNÍ SOCIOLOGIE, In: Hudební věda I-III, Praha 1988.
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Adorno, Theodor, W. (2009). Schéma masové kultury. Praha.
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Adorno, Theodor, W. O fetišovém charakteru v hudbě a regresi slyšení, in: Divadlo 1964, č. 1-2..
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Bek, Mikuláš. Konzervatoř Evropy? K sociologii české hudebnosti. Praha 2003..
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Bek, Mikuláš:. Vybrané kapitoly hudební sociologie. Olomouc 1993.
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De la Motte-Haber-Neuhoff, Hans, red. (2007). Musiksoziologie. Laber.
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DISMAN, Miroslav. Jak se vyrábí sociologická znalost. Praha 1998..
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Gülke, Peter . (1975). Mönche, Bürger, Minnesinger. Leipzig.
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Heister, H. W. Das Konzert. eorie einer Kulturform. Wilhelmshaven 1982..
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Kaden, Christian. (1993). Des Lebens wilder Kreis. Musik im Zivilisationsprozeß. Kassel.
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Kaden, Christian. (1997). heslo ?Musiksoziologie?, MGG (2. vydání, Sachteil sv. 6, s. 1618-1670). Kassel.
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Karbusický, Vladimír - Kasan, Jaroslav: Karbusický, Vladimír. Výzkum současné hudebnosti. Díl 1. Výzkum z roku 1962. Díl 2. Výzkum z roku 1965/66. Praha 1969..
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Karbusický, Vladimír. Teoretické předpoklady empiricko-sociologického výzkumu hudby. In: Hudební věda, 1965, č. 3..
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Kolektiv autorů. Hudba v českých dějinách. Praha 1988..
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Křupková Lenka. Kapitoly z hudební sociologie. Olomouc. 2013.
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NOWAK, Raphaël - BENNETT, Andy. Music Sociology: Value, Technology, and Identity. 2022.
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SHEPERD, John - DEVINE, Kyle. Sociology of Music (USA). Grove Music Online [online]. Oxford: Oxford University Press, datum poslední úpravy 25. 7. 2013. Dostupné z DOI: https://doi.org/10.1093/gmo/9781561592630.article.A2242526. 2013.
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SHEPERD John - DEVINE, Kyle. The Routledge Reader on the Sociology of Music. 2015.
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WALTER, Michael. ?Die Oper ist ein Irrenhaus?. Sozialgeschichte der Oper im 19. Jahrhundert. Stuttgart ? Weimar. 1997.
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Weber, Max. "Objektivita" sociálněvědního a sociálněpolitického poznání. In: Weber, M., Metodologie, sociologie a politika. Praha 1998..
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Weber, Max. Smysl "hodnotové neutrality" v sociologických a ekonomických vědách. In: Weber, M., Metodologie, sociologie a politika. Praha 1998, s. 64-108..
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Wicke, Peter. Hudební průmysl. Historicko-systematický nástin..
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Wicke, Peter. Populární hudby jako průmyslový produkt..
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