Patrick writes, “Sociologically informed music studies, particularly in my own disciplinary home of music theory, often remain curiously estranged from current research in the sociology of music, with only a handful of breakout stars (e.g., Tia DeNora, Simon Frith, Georgina Born) cutting through the long shadows of grand anthologized founders (e.g., Weber, Adorno, Elias). Whitney Johnson’s recent dissertation and ongoing book project, a highly suggestive account of aesthetic valuation in cultural economy that interweaves social sciences and sound studies, offers an especially inviting point of entry. For my part, I hope to contribute to a conversation across our departments by underscoring how her theorization of auditory cultures, cast in Deleuzian terms of economic assemblage, offers an answer to recent calls made by such scholars as Sumanth Gopinath and Bryan Parkhurst for a Marxist music theory that moves beyond sociomusical homology.”
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