This introduction explains how the collection marks a new stage in the development of a meaningful sociology of the arts which aims to move beyond production perspectives and their limiting focus on the social organization of artistic endeavors. I argue that the sociology of the arts has not kept pace with advances in cultural sociology, and I attribute this stagnation to two causes. First, the “critical stream” in the sociology of the arts has continued to avoid the reflexive self-criticism that Inglis (Sociologie de l’Art, 15, 113–135, 2010) believed was necessary for it to confront the tendency toward imperialism and dogmatism in its analytic dispositions. Second, the distinction between culture as an object of study and culture as an approach has become an ingrained habit. As a result, sociologists of the arts have continued to neglect questions of meaning and sociologists who adopt cultural approaches have tended to gravitate toward empirical domains other than the arts. I define the scope of the volume and outline its contents, showing how the contributions demonstrate the benefits and rewards of adopting a cultural approach in the sociological study of the arts.
|Title of host publication
|The Cultural Sociology of Art and Music
|Subtitle of host publication
|New Directions and New Discoveries
|Number of pages
|Published - 17 Dec 2022