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Medical sociology is the sociological analysis of medical organizations and institutions; the production of knowledge and selection of methods, the actions and interactions of healthcare professionals, and the social or cultural (rather than clinical or bodily) effects of medical practice. The field commonly interacts with the sociology of knowledge, science and technology studies, and social epistemology. Medical sociologists are also interested in the qualitative experiences of patients, often working at the boundaries of public health, social work, demography and gerontology to explore phenomena at the intersection of the social and clinical sciences. Health disparities commonly relate to typical categories such as class and race. Objective sociological research findings quickly become a normative and political issue.

Early work in medical sociology was conducted by Lawrence J Henderson whose theoretical interests in the work of Vilfredo Pareto inspired Talcott Parsons interests in sociological systems theory. Parsons is one of the founding fathers of medical sociology, and applied social role theory to interactional relations between sick people and others. Key contributors to medical sociology since the 1950s include Howard S. Becker, Mike Bury, Peter Conrad, Jack Douglas, David Silverman, Phil Strong, Bernice Pescosolido, Carl May, Anne Rogers, Anselm Strauss, Renee Fox, and Joseph W. Schneider.

The field of medical sociology is usually taught as part of a wider sociology, clinical psychology or health studies degree course, or on dedicated Master's degree courses where it is sometimes combined with the study of medical ethics/bioethics. In Britain, sociology was introduced into the medical curriculum following the Goodenough report in 1944: "In medicine, ‘social explanations’ of the aetiology of disease meant for some doctors a redirection of medical thought from the purely clinical and psychological criteria of illness. The introduction of ‘social’ factors into medical explanation was most strongly evidenced in branches of medicine closely related to the community — Social Medicine and, later, General Practice" (Reid 1976).

Role of health professions[link]

The professionalization of medicine has brought on many contemporary transformations. Firstly, the medical industry is not only concerned with disease and illness, but health as well. Also, hospitals are not solely responsible for providing health care and research; the entire community is considered to play a role in the modernization of the medical industry. The definition of pain has broadened to include chronic symptoms in addition to acute symptoms. Fourthly, research used to emphasize finding a cure has expanded to investigating preventions of disease. Treatment style has also advanced from being highly dependent on intervention to now using monitoring techniques. Lastly, as professional medicine advances, the role of the client has shifted from patient to person.

See also[link]

• Medical anthropology
• Medicalization
• Epidemiological transition
• Health disparities
• Social medicine
• Sociology of health and illness
• Stroke Belt

References[link]

• Reid, Margaret (1976), "The Development of Medical Sociology in Britain", Discussion Papers in Social Research No 13 (University of Glasgow), http://www.britsoc.co.uk/medsoc/Medsoc+Origin.htm 

Further reading[link]

Jay Lewis Turner (July 11, 1914 – November 1960) was an American football running back in the National Football League for the Washington Redskins. He attended George Washington University.

This biographical article relating to an American football running back born in the 1910s is a stub. You can help Wikipedia by expanding it. v t e

Gustav Allan Pettersson (19 September 1911 – 20 June 1980) was a Swedish composer. Today he is considered one of the most important Swedish composers of the 20th century. His symphonies developed a devoted international following, starting in the final decade of his life.

Biography[link]

Pettersson, one of four children of a violent, alcoholic blacksmith, was born at the manor of Granhammar in Västra Ryd parish in the province of Uppland, but grew up in poor circumstances in Stockholm, where he resided during his whole life. He once said of himself: "I wasn't born under a piano, I didn't spend my childhood with my father, the composer... no, I learnt how to work white-hot iron with the smith's hammer. My father was a smith who may have said no to God, but not to alcohol. My mother was a pious woman who sang and played with her four children" ^[1]

In 1930, he began study of violin and viola, as well as counterpoint and harmony, at the Stockholm Royal Conservatory of Music. He became a distinguished viola player but also started composing songs and smaller chamber works in the 1930s. At the beginning of the second world war he was studying the viola in Paris. During the 1940s he worked as a violist in the Stockholm Concert Society Orchestra, but also studied composition privately with Karl-Birger Blomdahl and Otto Olsson. His production from this decade include the twenty-four Barefoot Songs (1943-45) and a concerto for violin and string quartet (1949).

In 1951 Pettersson composed the first of his seventeen symphonies, which he left unfinished. This work has recently been recorded in a perfroming version prepared by trombonist and conductor Christian Lindberg. The later symphonies were to follow in rapid succession. Also in 1951 he went to Paris to study composition, having been a student of René Leibowitz and Arthur Honegger.

Pettersson returned to Sweden in 1953. That same year he was given the diagnosis polyarthritis and, by the time of his fifth symphony, completed in 1962, his mobility and health were considerably compromised.^[2] His greatest success came a few years later with his seventh symphony (1966-67), which has also received more recordings than his other works. The conductor Antal Doráti made premiere recordings of several of Petterson's symphonies and contributed to his rise to fame during the seventies.

He was hospitalized for nine months in 1970, soon after the composition of his ninth and longest symphony, beginning to write the tenth (1972) from his sickbed.^[3] He recovered, but ill health confined him permanently to his apartment.^{[citation needed]} The release of a recording of his seventh symphony (with Antal Doráti conducting the Stockholm Philharmonic) was a breakthrough, establishing his international reputation. During the last decade of his life he also wrote the cantata Vox Humana (1974, on texts by Latin American poets), concertos for violin and orchestra (1977-78) and for viola and orchestra (1979), a twelfth symphony for mixed chorus and orchestra (1973) to poems by Pablo Neruda and a sixteenth symphony (1979) which features a bravura solo part for alto saxophone. He also started to write a seventeenth symphony, but he died before finishing it.^[4]

Music[link]

Pettersson's writing is tonal, but very strenuous and often has many simultaneous polyphonic lines. Most of his symphonies are written in a single movement, making them all the more demanding. Overwhelmingly serious in tone, often dissonant, his music rises to ferocious climaxes, relieved, especially in his later works, by lyrical oases.

Pettersson’s music has a very distinctive sound and can hardly be confused with that of any other C20 composer. His symphonies, which range in length from 25-67 minutes, are typically one movement works made up of successive stretches of music of varying rhythms and figurations. The effect is like listening to a gigantic toccata or chorale prelude. Sometimes the effect is predominantly that of dance-music, as in the Symphony No.9, which sounds for long stretches like a huge Mahler scherzo, sometimes the effect is grimmer, with march rhythms or angry declamation predominating, as in the Symphony No.13.

Pettersson maintains the listener’s interest by varying the sounds and moods of the different sections, so some are more lyrical, others faster and more angry. The architecture of his symphonies is built on similar thematic material emerging at key points in the work (rather than classical statement-development-recapitulation), by rhythmic vitality and tonal progression. Even though his symphonies are some of the longest single movement orchestral works ever written, they are intensely compelling. The effect they convey is of great vitality and unstoppable momentum.

Most of his music has now been recorded at least once and much of it is now available in published score.

Discography[link]

• Symphony No. 1 (1951)(performing version by Christian Lindberg)
  • Norrköping Symphony Orchestra, Christian Lindberg
• Symphony No. 2 (1952/53)
  • Swedish Radio Symphony Orchestra, Stig Westerberg
  • BBC Scottish Symphony Orchestra, Alun Francis
  • Norrköping Symphony Orchestra, Christian Lindberg
• Symphony No. 3 (1954/55)
  • Rundfunk-Sinfonieorchester Saarbrücken, Alun Francis
  • Norrköping Symphony Orchestra, Leif Segerstam
• Symphony No. 4 (1958/59)
  • Göteborgs Symfoniker, Sergiu Comissiona
  • Rundfunk-Sinfonieorchester Saarbrücken, Alun Francis
• Symphony No. 5 (1960/62)
  • Berliner Sibelius Orchester, Andreas Peer Kähler
  • Malmö Symphony Orchestra, Moshe Atzmon
  • Rundfunk-Sinfonieorchester Saarbrücken, Alun Francis
• Symphony No. 6 (1963/66)
  • Norrköping Symphony Orchestra, Okko Kamu
  • Deutsches-Sinfonie-Orchester Berlin, Manfred Trojahn
• Symphony No. 7 (1966/67)
  • Stockholm Philharmonic Orchestra, Antal Dorati
  • Swedish Radio Symphony Orchestra, Sergiu Comissiona
  • Philharmonisches Staatsorchester Hamburg, Gerd Albrecht
  • Norrköping Symphony Orchestra, Leif Segerstam
• Symphony No. 8 (1968/69)
  • Baltimore Symphony Orchestra, Sergiu Comissiona
  • Radio-Symphonie-Orchester Berlin, Thomas Sanderling
  • Philharmonisches Staatsorchester Hamburg, Gerd Albrecht
  • Norrköping Symphony Orchestra, Leif Segerstam
• Symphony No. 9 (1970)
  • Göteborgs Symfoniker, Sergiu Comissiona
  • Deutsches Symphonie-Orchester Berlin, Alun Francis
• Symphony No. 10 (1971/72)
  • Swedish Radio Symphony Orchestra, Antal Doráti
  • Radio-Philharmonie Hannover des NDR, Alun Francis
  • Norrköping Symphony Orchestra, Leif Segerstam
• Symphony No. 11 (1971/73)
  • Norrköping Symphony Orchestra, Leif Segerstam
  • Radio-Philharmonie Hannover des NDR, Alun Francis
• Symphony No. 12 »De döda på torget« (1973/74)
  • Stockholms Filharmoniska Orkester, Stockholms Filharmoniska Kör, Uppsala Akademiska Kammarkör, Carl Rune Larsson
  • Swedish Radio Symphony Orchestra, Swedish Radio Choir, Eric Ericson Choir, Manfred Honeck
• Symphony No. 13 (1976)
  • BBC Scottish Symphony Orchestra, Alun Francis
• Symphony No. 14 (1976)
  • Stockholms Filharmoniska Orkester, Sergiu Comissiona
  • Radio-Symphonie-Orchester Berlin, Johan M. Arnell
• Symphony No. 15 (1978)
  • Deutsches Symphonie-Orchester Berlin, Peter Ruzicka
  • Norrköping Symphony Orchestra, Leif Segerstam
• Symphony No. 16 (1979)
  • Frederick L. Hemke (Saxophone), Stockholm Philharmonic Orchestra, Yuri Ahronovitch
  • John-Edward Kelly (Saxophone), Rundfunk-Sinfonieorchester Saarbrücken, Alun Francis
• Concerto No. 1 for Violin and String Quartet (1949)
  • Ulf Hoelscher, Mandelring-Quartett
• Concerto No. 2 for Violin and Orchestra (1977/78)
  • Ida Haendel (Violin), Swedish Radio Symphony Orchestra, Herbert Blomstedt
  • Isabelle van Keulen (Violin), Swedish Radio Symphony Orchestra, Thomas Dausgaard
• Seven Sonatas for two Violins (1951)
  • Duo Gelland
• Lamento for Piano (1945)
  • Volker Banfield
  • Lennart Wallin
• A 12 CD pack "Complete Symphonies" of Allan Pettersson has been produced by Classic Produktion Osnabrück, that is, CPO Music based on recordings of 1984, 1988, 1991-1995, 2004.
• Cantata »Vox Humana« (1974)
  • Marianne Mellnas (soprano), Margot Rodin (alto), Sven-Erik Alexandersson (tenor), Swedish Radio Symphony Orchestra, Swedish Radio Chorus, Stig Westerberg

Notes[link]

Bibliography[link]

• Göran Bergendal: 33 svenska komponister. Lindblad, Stockholm, 1972. ISBN 91-32-40374-7
• Leif Aare: Allan Pettersson. Norstedt, Stockholm, 1978. ISBN 91-1-783412-0
• Paul Rapoport: Opus est. Six composers from Northern Europe, ch. V: Allan Pettersson and his Symphony No. 2, p. 109-132. Kahn & Averill, London, 1978. ISBN 0-900707-88-7. 2nd ed., Taplinger, New York, 1985. ISBN 0-8008-5845-X
• Markus Brylka: Kompositionstechnik und Formdenken bei Allan Pettersson unter dem Aspekt der Einsätzigkeit als symphonische Form im 20. Jahrhundert. Internationale Allan Pettersson-Gesellschaft, Wuppertal, 1993.
• Mechthild Nicolin (ed.): Musik von Allan Pettersson. Sekretariat für gemeinsame Kulturarbeit in Nordrhein-Westfalen, Wuppertal, 1994.
• Laila Barkefors: Gallret och stjärnan. Allan Petterssons väg genom Barfotasånger till symfoni. Dissertation Gothenburg University, 1995. ISBN 91-85974-34-X
• Michael Kube (ed.): Allan Pettersson (1911-1980): Texte, Materialien, Analysen. Von Bockel, Hamburg, 1994. ISBN 3-928770-30-6
• Michael Kube: Allan Pettersson Symphonie Nr. 8. Florian Noetzel, Wilhelmshaven, 1996. ISBN 3-7959-0708-X
• Laila Barkefors: Allan Pettersson: det brinner en sol inom oss - en tonsättares liv och verk. Sveriges Radios Förlag, Stockholm, 1999. ISBN 91-522-1822-8
• Allan Pettersson-Jahrbuch. Pfau-Verlag, Saarbrücken (1986 - 2004).

External links[link]

• International Pettersson Society - IAPG
• Paul Cauthen’s Allan Petterson Page
• Mark Shanks's Allan Pettersson Pages
• Allan Pettersson - private website