Abstract
In Making Music, Making Society the editors and the various authors provide an in-depth understanding of the central role of music in society. The book sets out to explore this role of music in society via various case studies situated in a wide array of countries, regional settings and ethnic/cultural contexts. This diversity in settings is one of the strongest points of the book, especially as the authors of each chapter demonstrate a profound knowledge of the local musical scene, and specific historical, socio-cultural and ethnic constellations.
The general message the edited volume wishes to express is the reciprocal nature of music: music does not only play an important role in social life, social life also affects music itself. In the introductory chapters of the book, the editors therefore provide what can be considered an overarching framework. This ‘framework’ is based on the idea that music plays a key role in three facets of social life: identity, social order and exchanges. This framework then serves a structuring role for the set-up of the book as Chapter 3 and Chapter 4 explore the role of music in shaping identities, Chapter 5 and Chapter 6 discuss social order and its interconnection with music, while Chapter 7 and Chapter 8 focus on the role of music for exchanges during human interaction.
Methodologically, these chapters rely mostly on anthropological and ethnomusicological analyses, conducted by the various contributing authors. Most of the chapters are therefore based on extensive fieldwork in different national, regional or cultural settings, including Romania (Moldova region), Uganda (Bunyoro and Tooro), Argentinia (Pilaga), Spain (Barcelona), and Gabon (Baka). The rigorous research conducted by these authors is impressive, and often relies on long-term embeddedness in the cultural context under study. At times, however, this creates a feeling of conflict of interests, and perhaps a lack of analysis due to the meticulously reporting what the authors see without necessarily digging into underlying patterns.
The two concluding chapters, 9 and 10, unexpectedly present the reader with two short monographs or treatises on what I would coin a ‘social turn’ in ethnomusicological research. Against the backdrop of the canonical practices of research in ethnomusicology demonstrated in the previous chapters, the authors of the final chapters argue that in modern days, the ethnomusicologist also has an effect on, and a social responsibility towards the communities they study. This ‘social turn’, advocated by ethnomusicologists in recent years, is coined as dialogical, participatory, collaborative or applied ethnomusicology. As a reader, I found this section rather surprising, especially since the subject matter did not receive much attention in the introductory chapters. However, in a sense these final chapters – although, perhaps, value driven and ideological – bring the argument full circle: the reciprocal nature between music and society also affects the ethnomusicologist’ research practices.
For readers with a background in cultural sociology or cultural studies Making Music, Making Society might not necessarily be their cup of tea: the anthropological and ethnomusicological perspective of the book means that it rarely offers in-depth sociological or cultural analyses, nor does it apply common cultural sociological theoretical frameworks. In a sense, this lack in theoretical depth is compensated for by the space taken for a thorough and highly descriptive discussion of the reciprocal relationship between music and society in various national, cultural and geographical settings. At times, however, the cultural sociologist would argue that the book would benefit from a less normative and more distanced socio-theoretical perspective.
In conclusion, the authors and editors must be commended for making an informed, descriptive and entertaining illustration of the reciprocal role of music in society, which indicates how music defines society, while at the same time how society defines musical practices. Making Music, Making Society provides a comprehensive and meticulously studied account of this reciprocal relationship in a wide range of countries, regions and cultural contexts. In doing so, it provides the reader with a detailed treatment of international music scenes and networks. At times, however, the book skims over topics that demand more attention and cultural-sociological analysis. Additionally, some readers might be deterred by the book’s preference for (occasionally rather trivial) detail, and its lengthy descriptions. Overall, Making Music, Making Society will prove valuable to any scholar or student in need of a broad overview of the music-society relationship in various international settings and contexts.