Abstract
AbstractThis article offers clarifications and critiques of actor-network theory and its usefulness for music historiography. Reviewing the work of ANT theorists Bruno Latour, Annemarie Mol, and other social theorists (such as Georgina Born and Anna Tsing), the author explains that ANT is a methodology, not a theory. As a general introduction, the author outlines ANT's methodological presuppositions about human and non-human agency, action, ontology, and performance. He then examines how these methodological principles affect three concerns of music-historical interest: influence, genre, and context. In conclusion, he addresses problems related to temporality, critique, and reflexivity. He draws on music-historical examples after 1960: John Cage, the Jazz Composer's Guild, Henry Cow, Iggy Pop, and the Velvet Underground.
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