Palavras chave
Música, amante da música, gosto, ligação, pragmatismo, reflexividade
Resumo
Esta contribuição vê o gosto musical como uma conquista significativa e uma atividade ambientada, com seus truques e artimanhas, ao invés de reduzi-la a um jogo de identidade e diferenciação social. O gosto é uma forma problemática de ligação com o mundo. Nesta concepção pragmática, analisa-se o gosto como uma atividade reflexiva, corpórea, estruturada, coletiva, equipada, dependente dos ambientes, dos momentos e dos dispositivos, o que produz simultaneamente as competências de um amante da música e um repertório de objetos. Explicar o gosto exige que o sociólogo se concentre nos gestos, nos objetos, nos corpos, nas mídias, nos dispositivos e nas relações envolvidas. O gosto é um comportamento. Reproduzir, ouvir, gravar, fazer com que outros ouçam música... todas essas atividades são algo mais do que a realização de um gosto que “já existia”. Tudo isso se recicla durante a ação e o resultado é, em parte, incerto. Dessa forma, a vinculação dos amantes da música e a forma de fazer as coisas se combinam, formam subjetividades e mantêm uma história que não pode ser reduzida a obras. Entendido dessa forma, como um trabalho reflexivo conduzido sobre a base das vinculações próprias, o gosto do amante da música já não é considerado uma escolha arbitrária explicada por razões sociais ocultas. Na verdade, trata-se de uma técnica coletiva, cuja análise ajuda a entender a maneira como nos tornamos sensíveis às coisas, a nós mesmos, às situações e aos momentos, enquanto que, paralelamente, controlamos reflexivamente a forma com que essas emoções podem ser compartilhadas e discutidas com os demais.
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Hennion, A. (2010). Loving music: From a sociology of mediation to a pragmatics of taste. [Gustos musicales: De una sociología de la mediación a una pragmática del gusto]. Comunicar, 34, 25-33. https://doi.org/10.3916/C34-2010-02-02
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