This article compares the sociological writings of Schutz and Becker on making music together. Schutz laid stress on the We-relationship resulting from face-to-face performance of music, in which every listener participates with the other listeners, the performers, and the composers. Becker emphasized the existence of taken-for-granted conventions on which cooperative relations between performers are based, in conjunction with other members of the music subcommunity with whom they are engaged in a communication flow. The involved actors may participate in several reciprocally connected worlds of shared experiences, which if jointly considered constitute the art world. The theoretical and conceptual differences between Schutz and Becker, which concern their sociological writings on music, are related to analogous diversities between Phenomenological Sociology and Symbolic Interactionism. Finally, Weber, Honigsheim, and Adorno’s contributions to the sociology of music have been here considered for comparative purposes.

中文翻译：

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舒茨和贝克尔共同创作音乐：关于他们各自对音乐社会学的贡献的说明

这篇文章比较了舒茨和贝克尔关于共同创作音乐的社会学著作。舒茨强调面对面演奏音乐所产生的我们关系，在这种关系中，每个听众都与其他听众、表演者和作曲家一起参与。贝克尔强调了表演者之间的合作关系所基于的理所当然的惯例的存在，以及与他们参与交流的音乐子社区的其他成员。所涉及的演员可能会参与到几个相互关联的共享经验世界，如果共同考虑就构成了艺术世界。Schutz 和 Becker 之间的理论和概念差异，涉及他们关于音乐的社会学著作，与现象学社会学和符号互动主义之间的类似多样性有关。最后，韦伯、霍尼格海姆和阿多诺对音乐社会学的贡献在此被考虑用于比较目的。