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The Rational and Social Foundations of Music, by Max Weber
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Octavo. Decorated Cloth. Weber (1864-1920) was a sociologist whose intellectual interests found voice in a series of noteworthy studies covering an extremely wide range of modern social science from economics, politics, and administration to the sociology of religion, law, authority, leadership, and knowledge. Not least among his fields of inquiry was that of music; the present volume, translated from the German, is important to sociologists and musicians. It was Weber's belief that social actions are stabilized through four types of action (rational, evaluative, emotional, and traditional) with the properties of the action being determined by the relation of means to ends. Music, as well as other fields of human action, is subject to these forces. Weber, in a tightly knit study, analyzes musical culture in terms of the rational and non-rational patterns it assumes. It is his thesis that the distinguishing feature which led to the development of Western music as contrasted with that of other cultures lies in its unusual development in this regional area of rational structural patterns. The properties of this musical rationality are examined, and the social and technical forces which played a role in its historical growth come under a closely reasoned scrutiny. The translators have provided a fifty-two page introduction summarizing his argument, together with copious references and editorial notes. 148 p. Originally published by Southern Illinois University Press, 1958
- Sales Rank: #4198695 in Books
- Published on: 2010
- Binding: Hardcover
Most helpful customer reviews
1 of 1 people found the following review helpful.
Lifers were taking over the low notes of social culture long before Max Weber
By epic phlegm Hooha
The best part of this book for me was about the wrath of metaphysical powers. Music in antiquity was based on instruments that had different tunings. Greeks and Romans were aware of tone intervals based upon the different length of strings that could be analyzed with the ratios of prime numbers like 2:3. The same tone an octave higher might not form the same ratio with a fourth or fifth as inverted chords would get overtones that were as bad as an augmented sixth.
Musicians who became familiar with happens to people who are drunk were not supposed to slip into the kind of harmonies that would violate strict pure tones of worship. Max Weber related the power of music to the social rituals of magic ceremonies that were supposed to influence gods or demons. Bad things could happen:
Since any deviation from a magical formula
once proved to be effective
destroys its potency,
in fact, such deviation can attract the wrath
of metaphysical powers.
The wrong rendition of a tone formula
was an offense which could only be
atoned by the instantaneous murder
of the offender.
Once canonized for any reason,
stereotyped tone intervals were
of extraordinary influence. (p. 40).
American society sometimes thinks it is free of the discords that can hardly be official after diatonicism began to monopolize thinking.
In the lifetime of Max Weber, it was still possible to notice strings producing a different kind of music than military music, which was "the old natural home of wind instruments." In Europe, people in the north were more comfortable in their homes for so much of the year that a piano became "a significant piece of middle-class furniture." So much of art has fallen from a high horse since our ox no longer fits in a buggy or gurney that mass production has made music far beyond the metaphysical powers that would restrain the parvenu everybody upstarts from recording whatever combinations of songs has their own sympathy for the devil that will help them blast the lifers.
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