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MARCO TEÓRICO Y ANALÍTICO: OBJETIVACIÓN SOCIOLÓGICA DEL ROCK (P.64)

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MARCO TEÓRICO Y ANALÍTICO: OBJETIVACIÓN SOCIOLÓGICA DEL ROCK (P.64) UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS POLÍTICAS Y SOCIOLOGÍA Departamento de Sociología V (Teoría Sociológica) TESIS DOCTORAL Una sociología del cuerpo del rock MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Cristián Martín Pérez Colman Director Fernando J. García Selgas Madrid, 2015 © Cristián Martín Pérez Colman 2015 UNA SOCIOLOGÍA DEL CUERPO DEL ROCK MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Cristián Martín Pérez Colman Director: Fernando J. García Selgas Departamento de Sociología V (Teoría Sociológica) Facultad de Ciencias Políticas y Sociología UNIVERSIDAD COMPLUTENSE DE MADRID Madrid, Noviembre de 2014 0 AGRADECIMIENTOS Son muchos los agradecimientos adeudados. Tan solo espero poder saldar mínimamente los reconocimientos merecidos, tanto con las personas que me han ayudado, guiado y esperado como con las instituciones que me han apoyado, financiado y dado cobijo. Esta tesis no habría sido posible sin la ayuda del Ministerio de Educación, que me concedió una beca FPU que me permitió llevar a cabo las estancias en la Universidad de California, Santa Cruz, y en la Universidad de Leeds. Tampoco quiero dejar de agradecer a la Universidad Complutense de Madrid y su Facultad de Ciencias Políticas y Sociología y en particular al departamento de Teoría Sociológica y a su secretaria, Marta Piñeiro. De sus profesores, en primer lugar, en tanto que labor académica, esta tesis debe reconocer a Manuel Rodríguez Caamaño, quien lamentablemente ya no está entre nosotros, pero cuyo recuerdo y consecuencias –esta tesis, por ejemplo- aún perduran. Fue él quien me sugirió, ahora hace casi diez años, que podía estudiar un doctorado. En segundo lugar, quiero agradecer al profesor Fernando García Selgas por aceptar dirigir esta tesis y aceptar a un alumno poco convencional. En tercer lugar quiero agradecer al profesor Javier Noya, director del grupo de investigación MUSYCA, por crear un espacio de investigación musical en la facultad y hacerme parte de él. Al profesor Fernán del Val, antiguo compañero de licenciatura, colega infinito en este mundo académico del rock, le debo también mi agradecimiento. A todos los integrantes de MUSYCA, los que siguen, los que se suman y los que no sé por dónde andan, os debo mucho, más de lo imaginamos –si leyerais este trabajo, seguro que os encontraríais en sus páginas. Quiero agradecer también a Herman Gray, de la Universidad de California, y con él, a Steve Nava, Tu Vu, Marie Virginia Waterson, Barbara Laurence y Travis Williams, y con ellos a sus familias, por el cariño inesperado 1 que recibí. De la Universidad de Leeds, he de agradecer a Richard Cleminson, a Gregorio Alonso, y a Duncan Wheeler, hospitalarios e inspiradores. Mi agradecimiento ha de ir también a los compañeros y compañeras del doctorado. A Sergio Passero, quien aun en la distancia ha dejado huella en este trabajo, gracias. Por último, y no menos importante por ello, tengo que dar las gracias a mi familia y muy especialmente a María, mi mujer, quien ha sufrido esta tesis como nadie, y a mi hijo, Martín, que también ha tenido que sufrir lo suyo. Querría agradecer tácitamente a todos los que no me da tiempo a nombrar, a los alumnos y alumnas del seminario Rock en Cine o del seminario de Introducción a la Sociología de la Música. 2 ÍNDICE INTRODUCCIÓN (p.8) 1 OBJETO Y ENFOQUE: EL OÍDO DE LA SOCIOLOGÍA (p.13) 1.1 La sociología, el rock y la sordera, o la legitimidad del objeto de estudio (p.13) 1.1.1 Sociología y antropología de la música, del rock y de la juventud (p.15) 1.1.2 Presentación del objeto: las interacciones sonoras (p.22) 1.2 Música y cuerpo, o el estado de la dimensión corporal de la música (p.24) 1.2.1 Racionalización musical (p.25) 1.2.2 Experiencia conjunta (p.28) 1.2.3 Cuerpo y música popular (p.32) 1.2.3.1 Sexualidad y música popular (p.37) 1.3 El advenimiento del sonido grabado y la conformación de un oído social (p.41) 1.3.1 Una sociología de los fenómenos sonoros (p.42) 1.3.2 El oído social y la sociología sónica: hacia una hipótesis tecnológica (p.44) 1.3.3 El registro sonoro y los campos de actividad musical (p.47) 1.4 Las dimensiones de la corporalidad del rock (p.50) 1.4.1 El cuerpo del rock (p.51) 1.4.2 Rock y paisaje sonoro (p.57) 1.4.3 Rock y participación colectiva (p.60) 1.4.4 Rock y modernidad (p.62) PARTE I: MARCO TEÓRICO Y ANALÍTICO: OBJETIVACIÓN SOCIOLÓGICA DEL ROCK (p.64) 2 ESPACIO SOCIAL Y CUERPO DEL ROCK (p.65) 2.1 Bourdieu, el rock, y los sociólogos del rock (p.65) 2.2 El habitus y las ciencias sociales (p.71) 2.2.1 El habitus como cuerpo e institución (p.72) 2.2.2 El habitus, la parálisis y la práctica como capacidad de agencia (p.74) 2.2.3 El habitus como matriz generadora (p.76) 2.3 Habitus, cuerpo, hexis (p.79) 2.4 Un cuerpo histórico del rock (p.84) 2.5 El cuerpo objetivado mediante la habilidad técnica (p.89) 2.6 Hexis y obras: objetivación del espacio social (p.94) 3 3 ESPACIO DE PRODUCCIÓN CULTURAL DEL ROCK (p.102) 3.1 Las Reglas del Rock (p.102) 3.1.1 La sociología como ciencia de las obras culturales (p.103) 3.1.2 Campos de producción cultural (p.106) 3.2 La creencia y el capital rockero (p.110) 3.3 La producción restringida y las tecnologías (p.116) 3.4 El canon de las obras consagradas como audición estilizada (p.121) 4 OBJETIVACIÓN DEL ESPACIO SONORO (p.128) 4.1 El oído como una conceptualización de la dimensión sonora (p.128) 4.1.1 Las discrepancias participatorias que generan los sonidos musicales (p.131) 4.1.2 El lift-up-over sounding (p.136) 4.1.3 El espacio o paisaje sonoro de la modernidad (p.141) 4.2 El oído social como constitución de un campo social sonoro (p.145) 4.2.1 Formas culturales y formas sonoras (p.146) 4.2.2 El orden de los sonidos (p.151) 4.2.2.1 Resistencia sonora (p.160) 4.2.3 Homología sonora como vibración al unísono (p.162) 4.3 El oído: de escucha social a la individualización sonora (p.169) 4.3.1 El oído sociológico de la antropología sonora (p.172) 4.4 El método de los sonidos (p.177) PARTE II: ESTUDIO DE CASO: LAS INTERACCIONES SONORAS EN TORNO A LOS ORÍGENES DEL ROCK BRITÁNICO (p.184) 5 EL BEAT BOOM Y EL CUERPO HISTÓRICO DEL ROCK (p.187) 5.1 El cuerpo del rock como esquema sociológico conceptual de la interacción sonora (p.187) 5.2 El ascenso desde el retrete, o los orígenes desde lo bajo (p.193) 5.3 El cuerpo milagroso y el surgimiento del beat boom: el cuerpo regio (p.199) 5.3.1 La visibilidad-disputa del cuerpo del rock: de las calles a los conciertos (p.210) 5.3.2 La contrapartida al cuerpo milagroso (p.213) 5.4 La retirada del cuerpo del rock (p.220) 4 6 GÉNESIS Y CONFIGURACIÓN (p.226) 6.1 Introducción: los músicos británicos de rock en los sesenta (p.226) 6.1.1 Las mujeres del rock británico (p.228) 6.1.2 La juventud del Beat Boom y su momento histórico (p.232) 6.2 Las Art Schools y la creación de una bohemia del rock (p.234) 6.3 Del acto solista al acto grupal (p.240) 6.4 Conformación de la paleta musical y estética del rock (p.245) 6.5 El habitus de la sociología del rock y la fórmula generadora de obras (p.249) 6.6 Los orígenes de la nueva música popular británica, o la llamada fase imitativa (p.253) 6.6.1 El final de la fase imitativa (p.257) 7 TECNOLOGÍA E INDUSTRIA MUSICAL (p.261) 7.1 Introducción (p.261) 7.2 Del sonido grabado a la industria discográfica (p.263) 7.3 La industria musical tras la Gran Depresión o el escenario del rock’n’roll (p.266) 7.4 La organización y justificación de la industria discográfica del rock (p.270) 7.5 La tecnología electromagnética o el paradigma analógico (p.275) 7.6 Los ingenieros de sonido, o el sonido como objeto manipulable (p.283) PARTE III: DEL ANÁLISIS DE CASO A LA REVISIÓN DEL ENFOQUE (p.292) 8 LOS COMIENZOS DE LA CARRERA DISCOGRÁFICA: UN ANÁLISIS SOCIOLÓGICO (p.292) 8.1 Introducción a la carrera discográfica o fórmula del pop (p.293) 8.2 El caso beatle o la visagra entre la vieja y nueva producción (p.298) 8.2.1 La grabación de Please, please me (p.301) 8.2.2 Las versiones (o covers) como afirmación de otredad (p.303) 8.3 El caso kink: una carrera discográfica como desafío a la industria (p.308) 8.3.1 La fórmula generadora del álbum The Kinks (p.309) 8.3.2 Las sesiones de The Kinks (p.311) 8.3.3 Los viejos elementos de la fórmula generadora: Músicos de sesión (p.315) 8.3.4 La progresión discográfica de los Kinks como insumisión y objetivación de la industria: primera stapa 1964-1966, extroversión y equidad grupal (p.317) 5 8.3.4.1 Segunda etapa 1966-1969: intromisión y liderazgo de Ray Davies (p.319) 8.3.4.2 Tercera etapa: 1970 y el año de la objetivación discográfica de la industria (p.325) 8.4 El Caso Who: la física del grupo como adaptación (p.326) 8.4.1 El cambio de la intra-física del grupo (p.331) 8.4.2 La extra-física del grupo (p.334) 9 CONSOLIDACIÓN DEL CAMPO: UNA SOCIOLOGÍA ROCKERA (p.338) 9.1 Sgt Pepper’s o la nueva fórmula generadora del rock (p.340) 9.1.1 El camino a Pepperland (p.341) 9.1.2 Los sonidos de Sgt.
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