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date: 26 November 2020

Abstract and Keywords

This article examines how scholarship in the sociology of music has been dominated by an economic framework known as the production/consumption paradigm. It first traces the history of the production/consumption paradigm through its appearance in key texts, showing how it changes as it passes from Theodor W. Adorno and Pierre Bourdieu to the American production of culture perspective. It then presents a thematic overview of the literature and highlights the strengths of established research agendas as well as the blind spots that reveal the need for a more cultural approach. It also considers music as a text, as a resource, as a product, and as performance before proposing an alternative to the production/consumption dichotomy. The article argues that the growing interest in performance presents an opportunity not only to advance the study of music, but also to engage with the core theoretical issues in sociology.

Keywords: sociology of music, production/consumption paradigm, Theodor W. Adorno, Pierre Bourdieu, Music, Performance, sociology

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