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Musical sociology is perhaps the only discipline among the many sociologies of the arts that attempts to construct its identity and to propose a kind of general research program. There is a set of common theoretical and methodological problems which have been discussed for the last couple of decades which can be traced back to the studies of Max Weber and Theodor Adorno, and are considered to be the classics of the theoretical sociology of music. The collection Roads to Music Sociology provides us with the opportunity to review the problems and to see how the research agenda of the discipline has changed and advanced during the last several decades. However, the main assumption common to many scholars still remains unquestionable. It is the rejection to give any essential definition of music. The contributors do not define music. Instead, they suggest using the conventional definitions of music circulated in society. These definitions are usually broader than the ones accepted by musicologists and musicians themselves; this fact is a traditional point of tension between sociology and music. Instead of speaking of one Music (with a capital letter M, i.e., Music as art), sociologists study “musics”, exploring the social hierarchies that make one kind of music art while neglecting the rest. The collection is edited by Alfred Smudits, and is part of the series Music and Society. The formal aim of the volume is to celebrate the 50th anniversary of the Department of Music Sociology at the University of Music and Performing Arts in Vienna, Austria. To celebrate the Jubilee in 2015, the Department organized a two-day conference entitled “50 Years of Music Sociology in Vienna. Historical Roots. Current Approaches. Future Perspectives”. 1 The second purpose of the meeting, as indicated by Alfred Smudits in his “Introduction”, was to reflect on the contribution of the Austrian musicologist, Kurt

New Roads and Old Promises of Music Sociology