音樂如何社會?從阿多諾（Adorno）到德諾拉（DeNora）： 閱讀《音樂社會學導論》、《日常生活中的音樂》

Abstract

本文討論兩個音樂社會學經典文本：阿多諾的《音樂社會學導 論》與德諾拉的《日常生活中的音樂》。前者視音樂為社會中介，既 造成順從亦能啟蒙重建；後者視音樂為「自我科技」，作為完成事物 的手段。本文認為德諾拉取徑阿多諾，相信音樂形式可提供實踐及塑 造意識；但人藉音樂生產能動自我，而非服從社會秩序。德諾拉被視 為代表近期音樂社會學新方向，並有情感與日常生活轉向，但仍能回 到阿多諾命題，唯賦予人更多實踐 ; 能動與希望。

This study reviews two influential texts in the sociology of music: Adorno`s Introduction to the Sociology of Music and DeNora`s Music in Everyday Life. In the former, Adorno regards music as social mediation, which not only can induce obedience but also enlighten and restructure people`s minds, whereas in the latter, DeNora conceptualises music as a technology of self-a means of accomplishing things. This study proposes that DeNora developed the thoughts of Adorno to acknowledge that music is a building material of consciousness and a mode of praxis and that individuals may use music to produce and structure their agency rather than to accompany the existing social order. The ideas of DeNora are considered a new direction in music sociology, with an `affective turn` and a focus on everyday life. They return to the Adorno proposition but pay more attention to humanity`s search for social practice, agency, and hope.