ESOn4033 Cultural Sociology of Music: Live Performance and/as Ritual

Faculty of Social Studies
Autumn 2025
Extent and Intensity
1/1/0. 10 credit(s). Type of Completion: zk (examination).
In-person direct teaching
Teacher(s)
Dr. Abigail Gower (lecturer)
prof. Bernadette Nadya Jaworsky, Ph.D. (lecturer)
Guaranteed by
prof. Bernadette Nadya Jaworsky, Ph.D.
Department of Sociology – Faculty of Social Studies
Contact Person: Ing. Soňa Enenkelová
Supplier department: Department of Sociology – Faculty of Social Studies
Timetable
each even Friday 10:00–13:40 P52
Prerequisites
TYP_STUDIA(N)
none
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 20 student(s).
Current registration and enrolment status: enrolled: 17/20, only registered: 0/20, only registered with preference (fields directly associated with the programme): 0/20
fields of study / plans the course is directly associated with
there are 10 fields of study the course is directly associated with, display
Course objectives
Within the broad field of cultural sociology, the cultural sociology of music is a relatively small but up and coming sub-discipline with huge potential for a multi-directional understanding of the role of music as a source of meaning making within different cultures. This course focuses on one of many potential research directions: music - specifically live performance - and/as ritual. In exploring key texts and theories from Durkheim, Collins, and Alexander on ritual and cultural performance as well as more music-specific texts whose content can be related back to those theories, this class explores how live music performances can be the basis for deep and enduring social/cultural meaning making, uniquely aiding in strengthening the bonds of society itself. However, this class is not only theoretical. Discerning the impact of live music is something best understood through a combination of discussing and doing. Thus, this class is analytical, experimental, and experiential. In addition to the reading and discussion half of the course, the class will also be making their own musical cultural performance, structuring their own ritual. The class will form a choir, and be expected to prepare two pieces which will be selected by the group during the organizational meeting (this requires no previous musical experience, only a willingness to sing). Drawing from their knowledge learned via the required readings and discussion, the class will construct a performance to be given live at the end of the semester as a final exam. Additionally, written journaling assignments will be given to be answered at the end of every class responding to specifically formulated questionnaires, transforming the participatory part into both a live cultural sociologically informed experience for the students and an experiment in itself.
Learning outcomes
By the end of the semester, students will be able to: ● Define and discuss different cultural sociological concepts of ritual/cultural performance ● Understand and apply these concepts within the context of live music performances ● Relate music-specific body, space, and audience factors to their understanding of meaningful ritual creation ● Analyze their experience as an audience member of a live musical performance from a cultural sociological perspective ● Apply the knowledge gained throughout to course to curate their own unique music cultural performance
Syllabus
  • 1. Organizational Meeting
  • 2. (Live) Music and/as Ritual
  • 3. Alexander, Cultural Performance, and Live Music (as well as Collins Continued)
  • 4. Live Music and the Body/Mind
  • 5. Live Music and Space and How to Make Our Own
  • 6. Live Music and Audiences
Literature
    required literature
  • ALEXANDER, Jeffrey C. Performance and power. 1st pub. Cambridge: Polity Press, 2011, ix, 246. ISBN 9780745648170. info
  • COLLINS, Randall. Interaction ritual chains. Princeton: Princeton University Press, 2004, xx, 439. ISBN 0691123896. info
  • DURKHEIM, Émile. The elementary forms of religious life. Edited by Carol Cosman - Mark S. Cladis. 1st pub. Oxford: Oxford university press, 2001, xli, 358. ISBN 9780199540129. info
  • Music in everyday life. Edited by Tia DeNora. New York: Cambridge University Press, 2000, xiii, 181. ISBN 052162732X. info
  • The origins of music. Edited by Nils L. Wallin - Björn Merker - Steven Brown. Cambridge: Bradford Book, 2000, xii, 498. ISBN 0262731436. info
Teaching methods
lectures, seminars, active participation, homework assignments
Assessment methods
Reading and discussion participation: 25% ● 5 points for each class (students who cannot attend the class due to illness, technical problems or other serious personal reasons should contact the instructors for individual extra work);
Preparation for and participation in choir rehearsals: 25% ● 5 points for each class, preparation includes independent practice as well as group practice in between each class, see below for specifics.
Journaling after the rehearsals: 20% ● 4 points for each class, see below for journaling expectations
Attend a performance and journal about it (mid-term): 10% ● 10 points (5% performance attendance, 5% post-performance journaling)
Active and informed participation in final performance + invitation - Bring at least one attendee (final): 20% ● 20 points (10% attendance and active informed participation, 5% Bringing an audience member, 5% post-performance journaling)
Náhradní absolvování
In the event of a trip abroad, it is not possible to complete the course in a substitute form.
Language of instruction
English
Further comments (probably available only in Czech)
Study Materials
Teacher's information
Abigail Gower, Ph.D. (Office hours by appointment)
Prof. Bernadette Nadya Jaworsky, Ph.D. (room 3.66, Wednesdays 11:00 – 12:00; jaworsky@fss.muni.cz)
  • Enrolment Statistics (recent)
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