Lyubimova T. B. (1941–2020): Tradition and Civilization

the article provides an overview of the work of T. B. Lyubimova, an original Russian thinker, a representative of the aesthetic school of the Institute of Philosophy of the Russian Academy of Sciences. During her rich creative life, Tatyana Borisovna has explored a wide range of the most intriguing topics: the aesthetic categories of the comic / tragic and the sociology of music, the metaphysical dimension of politics and the ideology of modernization, initiatory traditions and the profanation of the spiritual. She was interested in the issues of the formation of the spiritual elite, the essence of metaphysical goal-setting, theater as a liturgical practice. The big theme of her life was traditionalism as an integral worldview system and a view of the world of a single tradition, the traces of which T. B. Lyubimova reconstructed from ancient philosophy, Hinduism, Christianity and Islam. Particular attention is paid to the final monograph by T. B. Lyubimova "Philosophy and Countertradition" (Moscow: Golos, 2019, 292 p.), where the author demarcates tradition, pseudo-tradition and anti-tradition and seeks to lead the reader on a razor's edge between the temptations of profaning the spiritual, mass representation of esoteric practices and their vulgar interpretation

Reports From the Field: Confessions of a Facebook Punk, or How Not to Do Social Media

The author is rarely certain of his purpose in life—a condition that is heightened by a busy yet reluctant level of engagement with social media. The author utilizes Facebook and Twitter to promote activity around popular music education and sociology of music education. There is considerable overlap in the author’s life between professional and personal domains, which seems amplified by social media. Facebook and Twitter provide less formal, more direct means to engage with the world than traditional modes of peer-reviewed communication among academic colleagues. Social media provide a platform for working through ideas and for addressing problems with urgency and immediacy. As such, and despite some messiness and increased levels of vulnerability and risk, the author encourages peers to engage with social media’s immediate and powerful, punk pedagogical potential.

Um estudo sobre a Sociologia da Música, de Theodor W. Adorno, e sua atualização na cultura-mundo hipermoderna

Um estudo sobre a Sociologia da Música, de Theodor W. Adorno e sua atualização na cultura-mundo hipermoderna Resumo: A obra “Sociologia da Música” descreve o aspecto musical como algo intrínseco ao sociológico e, considerando-se a música como um fenômeno social, torna-se evidente e necessária investigação do curso de seu desenvolvimento. Mais que a música propriamente dita, Theodor Adorno se dedica a uma teoria do ouvinte, à recepção musical e aos elementos psicológicos envolvidos. Segundo Adorno, a recepção da música por parte do ouvinte revela modos passivos de comportamento, mas a regressão da audição representa a regressão de pessoas conscientemente neutralizadas que não conseguem pensar de um modo que não seja coletivamente partilhado, cujas convenções estéticas inibem a formação de uma consciência autônoma. Tenciona-se, portanto, relacionar o pensamento de Adorno com os valores da hipermodernidade e da cultura-mundo, de Lipovetsky, fundamentadas na moral do consumo, da individuação, desumanização e reificação da consciência, cuja dialética entre o universal e o particular tende à igualitarização dos modos de vida e conduta.Palavras-Chave: Estética; Sociologia da música; Hipermodernidade. A study on The Sociology of Music, by Theodor W. Adorno, and its update on the hypermodern world-culture. Abstract: The book “Sociology of Music” describes the musical aspect as intrinsic to the sociological and, considering music as a social phenomenon, it becomes evident and necessary investigation of the course of its development. More than music itself, Theodor Adorno is devoted to a listener theory, musical reception, and the psychological elements involved. According to Adorno, the listener's reception of music reveals passive modes of behavior, but the regression of hearing represents the regression of consciously neutralized people who cannot think in a way that is not collectively shared, whose aesthetic conventions inhibit the formation of a person. autonomous consciousness. It is intended, therefore, to relate Adorno's thought with Lipovetsky's values ​​of hypermodernity and world-culture, based on the moral of consumption, individuation, dehumanization and reification of consciousness, whose dialectic between the universal and the particular tends to equalization of ways of life and conduct.Keywords: Aesthetics; Sociology of music; Hypermodernity. Data de registro: 11/10/2018Data de aceite: 30/08/2019

Evolución de la red musical afronorteamericana

The evolution of the set of African-American music as a network of diverse and heterogeneous musical styles establishes an objective investigative perspective. This approach is addressed from the establishment of an organized set of Afro-North American music structured on several ethnomusicological and sociohistorical data. At the methodological level, the Social Network Analysis (SNA) is used for the visualization and analysis of the faced phenomenon, complemented in an analytical perspective with the musical comparison of a specific case of African American musical evolution. The results indicate a high stylistic cohesion between the different relationships perceived in the phenomenon addressed. At the musical level, there is the gradual increase in the harmonic complexity of a classic song from the Afro-North American repertoire. In addition, the approach to a transdisciplinary line of research in the international panorama of ethnomusicology and the sociology of music begins.