Anthropologist Georgina Born presents one of the first ethnographies of a powerful western cultural organization, the renowned Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) in Paris. As a year-long participant-observer, Born studied the social and cultural economy of an institution for research and production of avant-garde and computer music. She gives a unique portrait of IRCAM's composers, computer scientists, technicians, and secretaries, interrogating the effects of the cultural philosophy of the controversial avant-garde composer, Pierre Boulez, who directed the institute until 1992. Born depicts a major artistic institution trying to maintain its status and legitimacy in an era increasingly dominated by market forces, and in a volatile political and cultural climate. She illuminates the erosion of the legitimacy of art and science in the face of growing commercial and political pressures. By tracing how IRCAM has tried to accomodate these pressures while preserving its autonomy, Born reveals the contradictory effects of institutionalizing an avant-garde. Contrary to those who see postmodernism representing an accord between high and popular culture, Born stresses the continuities between modernism and postmodernism and how postmodernism itself embodies an implicit antagonism toward popular culture.

As a year-long participant-observer, Born studied the social and cultural economy of an institution for research and production of avant-garde and computer music. She gives a unique portrait of IRCAM's composers, computer scientists, technicians, and secretaries, interrogating the effects of the cultural philosophy of the controversial avant-garde composer, Pierre Boulez, who directed the institute until 1992.

This book looks at the historic and contemporary links between music's connection to emotions and men's supposed discomfort with their own emotional experience. Looking at music tastes and distaste, it demonstrates how a sociological analysis of music and gender can actually lead us to think about emotions and gender inequalities in different ways.

Consider the vast array of things around you, from the building you are in, the lights illuminating the interior, the computational devices mediating your life, the music in the background, even the crockery, furniture and glassware you are in the presence of. Common to all these objects is that their concrete, visual and technological forms were invariably conceived, modelled, finished and tested in sites characterised as studios. Remarkably, the studio remains a peculiar lacuna in our understanding of how cultural artefacts are brought into being and how ‘creativity’ operates as a located practice. Studio Studies is an agenda setting volume that presents a set of empirical case studies that explore and examine the studio as a key setting for aesthetic and material production. As such, Studio Studies responds to three contemporary concerns in social and cultural thought: first, how to account for the situated nature of creative and cultural production; second, the challenge of reimagining creativity as a socio-materially distributed practice rather than the cognitive privilege of the individual; and finally, to unravel the parallels, contrasts and interconnections between studios and other sites of cultural-aesthetic and technoscientific production, notably laboratories. By enquiring into the operations, topologies and displacements that shape and format studios, this volume aims to demarcate a novel and important object of analysis for empirical social and cultural research as well to develop new conceptual repertoires to unpack the multiple ways studio processes shape our everyday lives.

The Routledge Reader on the Sociology of Music offers the first collection of source readings and new essays on the latest thinking in the sociology of music. Interest in music sociology has increased dramatically over the past decade, yet there is no anthology of essential and introductory readings. The volume includes a comprehensive survey of the field’s history, current state and future research directions. It offers six source readings, thirteen popular contemporary essays, and sixteen fresh, new contributions, along with an extended Introduction by the editors. The Routledge Reader on the Sociology of Music represents a broad reference work that will be a resource for the current generation of sociologically inclined musicologists and musically inclined sociologists, whether researchers, teachers or students.

This book analyzes the history of contemporary or 'new' music in the twentieth-century through the lens of the sociology of modern culture, linking the paradoxical aspects of twentieth-century music to the central processes in modern culture that are analyzed by sociology and social theory.

Culture is increasingly important to American social science, but in what way? This book addresses the core issues of the sociology of culture-questions about the social role of meaning, along with those about the methods sociologists use to study culture and society-in a manner that makes clear their relevance to sociology as a whole. Part I consists of essays by leading cultural sociologists on how the turn to culture has changed the sociological study of organizations, economic action, and television, and concludes with Georgina Born's methodological statement on the sociology of art and cultural production. Part II contains a highly original, and at times heated, debate between Richard Biernacki and John H. Evans on the appropriateness of abstract and quantifiable coding schemes for the sociological study of culture. Ranging from the philosophy of science to the concrete, practical problems of interpreting masses of cultural data, the debate raises the controversy over the interpretation of culture and the explanation of social action to a new level of sophistication.

The idea that research should become more interdisciplinary has become commonplace. According to influential commentators, the unprecedented complexity of problems such as climate change or the social implications of biomedicine demand interdisciplinary efforts integrating both the social and natural sciences. In this context, the question of whether a given knowledge practice is too disciplinary, or interdisciplinary, or not disciplinary enough has become an issue for governments, research policy makers and funding agencies. Interdisciplinarity, in short, has emerged as a key political preoccupation; yet the term tends to obscure as much as illuminate the diverse practices gathered under its rubric. This volume offers a new approach to theorising interdisciplinarity, showing how the boundaries between the social and natural sciences are being reconfigured. It examines the current preoccupation with interdisciplinarity, notably the ascendance of a particular discourse in which it is associated with a transformation in the relations between science, technology and society. Contributors address attempts to promote collaboration between, on the one hand, the natural sciences and engineering and, on the other, the social sciences, arts and humanities. From ethnography in the IT industry to science and technology studies, environmental science to medical humanities, cybernetics to art-science, the collection interrogates how interdisciplinarity has come to be seen as a solution not only to enhancing relations between science and society, but the pursuit of accountability and the need to foster innovation. Interdisciplinarity is essential reading for scholars, students and policy makers across the social sciences, arts and humanities, including anthropology, geography, sociology, science and technology studies and cultural studies, as well as all those engaged in interdisciplinary research. It will have particular relevance for those concerned with the knowledge economy, science policy, environmental politics, applied anthropology, ELSI research, medical humanities, and art-science.

Creative practice in music, particularly in traditional concert culture, is commonly understood in terms of a rather stark division of labour between composer and performer. But this overlooks the distributed and interactive nature of the creative processes on which so much contemporary music depends. The incorporation of two features-improvisation and collaboration-into much contemporary music suggests that the received view of the relationship between composition and performance requires reassessment. Improvisation and collaborative working practices blur the composition/performance divide and, in doing so, provide important new perspectives on the forms of distributed creativity that play a central part in much contemporary music. Distributed Creativity: Collaboration and Improvisation in Contemporary Music explores the different ways in which collaboration and improvisation enable and constrain creative processes. Thirteen chapters and twelve shorter Interventions offer a range of perspectives on distributed creativity in music, on composer/performer collaborations and on contemporary improvisation practices. The chapters provide substantial discussions of a variety of conceptual frameworks and particular projects, while the Interventions present more informal contributions from a variety of practitioners (performers, composers, improvisers), giving insights into the pleasures and perils of working creatively in collaborative and improvised ways.

In May 1968, France teetered on the brink of revolution as a series of student protests spiraled into the largest general strike the country has ever known. In the forty years since, May ’68 has come to occupy a singular place in the modern political imagination, not just in France but across the world. Eric Drott examines the social, political, and cultural effects of May ’68 on a wide variety of music in France, from the initial shock of 1968 through the "long" 1970s and the election of Mitterrand and the socialists in 1981. Drott’s detailed account of how diverse music communities developed in response to 1968 and his pathbreaking reflections on the nature and significance of musical genre come together to provide insights into the relationships that link music, identity, and politics.