Search results
Results from the WOW.Com Content Network
Sociomusicology (from Latin: socius, "companion"; from Old French musique; and the suffix -ology, "the study of", from Old Greek λόγος, lógos : "discourse"), also called music sociology or the sociology of music, refers to both an academic subfield of sociology that is concerned with music (often in combination with other arts), as well as a subfield of musicology that focuses on social ...
The sociology of space is a sub-discipline of sociology that mostly borrows from theories developed within the discipline of geography, including the sub fields of human geography, economic geography, and feminist geography. The "sociology" of space examines the social and material constitution of spaces.
In her 1970 book Meaning and Expression: Toward a Sociology of Art, Hanna Deinhard gives one approach: "The point of departure of the sociology of art is the question: How is it possible that works of art, which always originate as products of human activity within a particular time and society and for a particular time, society, or function -- even though they are not necessarily produced as ...
The social production of space is a concept in the sociology of space which contends that space is neither a thing nor a container, but a product and means of production. Thus, space is produced and constructed socially and a set of human relations. [1] It was pioneered by philosopher Henri Lefebvre in his 1974 book La Production de l'espace. [2]
Spatial music is composed music that intentionally exploits sound localization. Though present in Western music from biblical times in the form of the antiphon , as a component specific to new musical techniques the concept of spatial music ( Raummusik , usually translated as " space music ") was introduced as early as 1928 in Germany.
Sociology of literature, film, and art is a subset of the sociology of culture. This field studies the social production of artistic objects and its social implications. A notable example is Pierre Bourdieu's Les Règles de L'Art: Genèse et Structure du Champ Littéraire (1992). [129]
Stokes argues that music does not simply serve as a reflection of existing social structures, but yields the potential to actively transform a given space. Music denoting place can “preform” a knowledge of social boundaries and hierarchies that people use to negotiate and understand the identities of themselves and others and their relation ...
Space music appears in many film soundtracks and is commonly played in planetariums. [21] According to Hill space music is an eclectic music produced almost exclusively by independent labels and it occupies a small niche in the marketplace, supported and enjoyed by a relatively small audience of loyal enthusiastic listeners. [22]