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Professor for Sociology of Music (Universidade Nova de Lisboa, Faculty of Humanities and Social Sciences, Lisbon)

(email: mv.carvalho@fcsh.unl.ptmariovieiradecarvalho@gmail.com)

Founder (1997) and Chairman of the Research Centre for Aesthetics and Sociology of Music (CESEM – Centro de Estudos de Sociologia e Estética Musical) (Universidade Nova de Lisboa).  http://cesem.fcsh.unl.pt/

Member of the Direction of the Europäische Musiktheater-Akademie (European Academy of Music Theatre) (Vienna). http://www.univie.ac.at/ema/de/vorstand.php

Member of the Academy of Sciences of Lisbon.    http://www.acad-ciencias.pt/

Main research areas: Sociology of Music, Philosophy of Music, Aesthetics of Music, Music and Literature, Music and Politics, Theory and Praxis of Opera and/or Music-Theatre (Musiktheater). Strong link to Critical Theory, especially Theodor W. Adorno, but also Walter Benjamin. Research oriented towards a holistic approach to music as a social praxis.

The social in music is understood as communication. Socio-communicative systems not only give the framework to music –  to its production, performance, mediation, reception and corresponding strategies of encoding and decoding – but also are immanent to it, or, in other words, to forms of life in which ‘music’ or ‘musical performance’ take place. Any music only exists – notably for the Sociology of Music – where it emerges as a socio-communicative system.

O social na música é o comunicativo. Os sistemas sócio-comunicativos não só enquadram a música – a sua produção, praxis de execução, mediação, recepção e correspondentes estratégias de codificação e descodificação – como são também imanentes à própria música, ou, por outras palavras, às formas de vida em que a ‘música’ ou o ‘comportamento musical’ se realizam. Qualquer música só existe – desde logo, para a Sociologia da Música – quando se manifesta como um sistema sócio-comunicativo.

Das Soziale in der Musik wird als ein Kommunikatives verstanden. Soziokommunikative Systeme geben nicht nur den Rahmen für die Musik ab – für deren Produktion, Aufführungspraxis, Vermittlung, Rezeption, und für die Kodierungs- und Dekodierungstrategien, die dazu gehören –, sondern sind der Musik selbst immanent oder, in anderen Worten, den Lebensformen, in denen ‘Musik’ bzw. ‘musikalisches Verhalten’ sich vollzieht. Jede Musik existiert nur – nicht zuletzt für die Musiksoziologie –, indem sie als ein soziokommunikatives System erscheint.

(Mário Vieira de Carvalho, ‘Denken ist Sterben’. Sozialgeschichte des Opernhauses Lissabon, Kassel / Basel / New York / etc.: Bärenreiter, 1999: 10)


 

 

Subpages (1): Curriculum Vitae