What sociologists learn from music: identity, music-making, and the sociological imagination

Abstract

Sociologists very often have extra-curricular lives as musicians.This article explores the relationship between musical life and sociological identities.Through a range of examples from Howard Becker's grounding in field research as a pianist in the Chicago jazz clubs and his theories of deviance, to the connection between Emma Jackson's life as a bass player in Brit pop band Kenickie and her feminist punk sociology, an argument is developed about the things sociologists learn from music.Based on 28 life history interviews with contemporary sociologists this paper shows how sociologists learn -both directly and tacitly -to understand society through their engagement with music.Music offers them an interpretive device to read cultural history, a training in the unspoken and yet structured aspects of culture, and an attentiveness to improvised and interactive aspects of social interaction.For sociologists, involvement in music making is also an incitement to get off campus and encounter an alternative world of value and values.Music enables sociologists to sustain their research imaginations and inspires them to make sociology differently.However, the article concludes that in the contemporary neoliberal university it is harder for sociologists to sustain a creative hinterland in music.The tacit knowledges that often nourish sociological identities may run the risk of being depleted as a result.

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