Max Weber as a sociologist of music?Scrutinising an array of nineteenth-century discourses on the concept of 'development' in music, Ana Petrov focuses on Max Weber's theory of rationalisation in music, which led him to see 'rationalised' music as the most 'developed', the most 'complex' and the 'best' music that the whole of civilisation had ever achieved. Weber was convinced that his analysis could prove that the 'peak' of the rationalisation process was to be found in the 'great' masterpieces of German composers, starting with Johann Sebastian Bach and finishing with Richard Wagner. Petrov…mehr
Max Weber as a sociologist of music?Scrutinising an array of nineteenth-century discourses on the concept of 'development' in music, Ana Petrov focuses on Max Weber's theory of rationalisation in music, which led him to see 'rationalised' music as the most 'developed', the most 'complex' and the 'best' music that the whole of civilisation had ever achieved. Weber was convinced that his analysis could prove that the 'peak' of the rationalisation process was to be found in the 'great' masterpieces of German composers, starting with Johann Sebastian Bach and finishing with Richard Wagner. Petrov argues that Weber's allegedly 'neutral' concepts were far from 'innocent' and 'ideology-free', but rather outcomes of his social and intellectual background. She explores the implications of Weber's concept of rationalisation in music, discussing correlations between the theories of evolution and rationalisation and the paradigm of cultural imperialism, which can be recognised in Weber's promulgation of the superiority of Western music traditions.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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Autorenporträt
Ana Petrov (b.1982) is a sociologist and musicologist. An assistant professor at the Faculty of Media and Communications, Singidunum University, Belgrade, she is also the author of books on Pierre Bourdieu and Bruno Latour, as well as articles dealing with Max Weber's theory of rationalisation, Friedrich Nietzsche's musical aesthetics, the public concert as social event, and popular culture in the former Yugoslavia. Her research interests and publications lie at the intersections of the aesthetics of music, sociology of culture, sociology of music, and sociology of the body.
Inhaltsangabe
Contents ForewordIntroduction: Max Weber as a Sociologist of Music?The Study of Music and Weber's Sociology of CultureThe Period Before 1910The Period After 1910 and the First Meeting of the Deutsche Soziologische Gesellschaft (German Sociological Society)Components of Weber's Sociology of MusicThe Concept of Geist (Spirit) of Modern ArtThe Concept of the Rationalisation of ArtTheoretical Approaches to Weber's Discourse on MusicResearching Weber's TheoryReading Evolutionism in Weber's TheoryEvolutionism in Nineteenth-Century Scientific DiscourseHerbert Spencer's Theory of EvolutionEvolution as ProgressEvolution as Racial DifferentiationCharles Darwin's Theory of EvolutionSelection and EvolutionExtermination as an Inevitable Consequence of Selection in the Evolutionary ProcessSpencer's and Darwin's Discourse on the Evolution of MusicSpencer and Darwin on the Role of Music in EvolutionSpencer's Theory on the Origin of Music: Music as 'Natural Language of Emotion'Spencer's Theory on Development from Homogeneous Towards Heterogeneous Species: The Path from 'Primitive' to the 'Civilised' MusicDarwin's Theory on the Origin of Music: Voice as a Means for Attraction in Sexual SelectionDarwin's Thesis on Music as Emotional ExpressionEvolutionism in Nineteenth-Century Discourses on Music The Influence of Evolutionist Theories on Discourses onThe Construction of Scholarly Discourses on MusicThe Incorporation of Evolutionism in Discourses on MusicDeconstructing Scholarly Discourses on MusicThe Concepts of 'Developed' and 'Undeveloped' MusicsThe Science of Music as the Investigation of Tone Species' Evolution: The Case of AdlerThe Science of Music as a Natural Science: Helmholtz and RiemannThe Concepts of Western and Non-Western MusicsImplications of the Musicological Discourse on Progress: Constructing the Field of 'Primitive' MusicComparative Musicology as an Alternative Discourse on Music (Or a Discourse on Other Musics)Evolutionism in Weber's Discourse on MusicThe Influence of Evolutionist Musicological Discourses on Weber's Concept of Music RationalisationDealing with Acoustics: Dialogue with Helmholtz's TheoryThe Inf luence of the Music Theory Discourse: Incorporation and Modifications of Deconstructing Scholarly Discourses on MusicIncorporation into the Discourse of the History of Music as a Positivist Science on Written Works of ArtComplete Incorporation into the Nineteenth-Century Musicological and Ethnomusicological Discourses: 'Developed/Undeveloped' and 'Western/Non-Western' DichotomiesRationalisation as an Imperialistic Evolutionist Model of Constructing Music HistoryThe First Evolutionist Symptom: 'Development' of the Intervals from the 'Simpler' Forms to the Increasingly 'Complex' and Continuous 'Progress' of Tonal SpeciesThe Second Evolutionist Symptom: Struggle and Selection in the Field of Professional MusicRationalisation as ProgressDevelopment, Progress, Evolution, RationalisationConcept of Style as the Final Answer in the Problematisation of Progress in Weber's Theory of Rationalisation of MusicConclusion: Implications of Weber's Discourse on Rationalisation of MusicDecolonising Weber: Mapping Weber's Theory in the Debate on ImperialismFoundations for Problematisation of Imperialistic Discourse on Music Evolution: Musicological Readings of WeberBibliographyIndexCurriculum Vitae
Contents ForewordIntroduction: Max Weber as a Sociologist of Music?The Study of Music and Weber's Sociology of CultureThe Period Before 1910The Period After 1910 and the First Meeting of the Deutsche Soziologische Gesellschaft (German Sociological Society)Components of Weber's Sociology of MusicThe Concept of Geist (Spirit) of Modern ArtThe Concept of the Rationalisation of ArtTheoretical Approaches to Weber's Discourse on MusicResearching Weber's TheoryReading Evolutionism in Weber's TheoryEvolutionism in Nineteenth-Century Scientific DiscourseHerbert Spencer's Theory of EvolutionEvolution as ProgressEvolution as Racial DifferentiationCharles Darwin's Theory of EvolutionSelection and EvolutionExtermination as an Inevitable Consequence of Selection in the Evolutionary ProcessSpencer's and Darwin's Discourse on the Evolution of MusicSpencer and Darwin on the Role of Music in EvolutionSpencer's Theory on the Origin of Music: Music as 'Natural Language of Emotion'Spencer's Theory on Development from Homogeneous Towards Heterogeneous Species: The Path from 'Primitive' to the 'Civilised' MusicDarwin's Theory on the Origin of Music: Voice as a Means for Attraction in Sexual SelectionDarwin's Thesis on Music as Emotional ExpressionEvolutionism in Nineteenth-Century Discourses on Music The Influence of Evolutionist Theories on Discourses onThe Construction of Scholarly Discourses on MusicThe Incorporation of Evolutionism in Discourses on MusicDeconstructing Scholarly Discourses on MusicThe Concepts of 'Developed' and 'Undeveloped' MusicsThe Science of Music as the Investigation of Tone Species' Evolution: The Case of AdlerThe Science of Music as a Natural Science: Helmholtz and RiemannThe Concepts of Western and Non-Western MusicsImplications of the Musicological Discourse on Progress: Constructing the Field of 'Primitive' MusicComparative Musicology as an Alternative Discourse on Music (Or a Discourse on Other Musics)Evolutionism in Weber's Discourse on MusicThe Influence of Evolutionist Musicological Discourses on Weber's Concept of Music RationalisationDealing with Acoustics: Dialogue with Helmholtz's TheoryThe Inf luence of the Music Theory Discourse: Incorporation and Modifications of Deconstructing Scholarly Discourses on MusicIncorporation into the Discourse of the History of Music as a Positivist Science on Written Works of ArtComplete Incorporation into the Nineteenth-Century Musicological and Ethnomusicological Discourses: 'Developed/Undeveloped' and 'Western/Non-Western' DichotomiesRationalisation as an Imperialistic Evolutionist Model of Constructing Music HistoryThe First Evolutionist Symptom: 'Development' of the Intervals from the 'Simpler' Forms to the Increasingly 'Complex' and Continuous 'Progress' of Tonal SpeciesThe Second Evolutionist Symptom: Struggle and Selection in the Field of Professional MusicRationalisation as ProgressDevelopment, Progress, Evolution, RationalisationConcept of Style as the Final Answer in the Problematisation of Progress in Weber's Theory of Rationalisation of MusicConclusion: Implications of Weber's Discourse on Rationalisation of MusicDecolonising Weber: Mapping Weber's Theory in the Debate on ImperialismFoundations for Problematisation of Imperialistic Discourse on Music Evolution: Musicological Readings of WeberBibliographyIndexCurriculum Vitae
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