- Copyright Page
- About the Editors
- Abbreviated Titles for Max Weber’s Texts
- Chronology of Max Weber’s Life
- Max Weber Past, Present, and Future
- Economics and Society and the Fate of Liberal Capitalism
- Max Weber’s Analysis of Capitalism
- Money, Credit, and Finance in Capitalism
- Law and the Development of Capitalism
- Is There a Future for Bourgeois Liberalism?
- Contemporary Capitalism and the Distribution of Power in Society
- Weberian Social Theory: Rationalization in a Globalized World
- Democracy, Partisanship, and Civil Society
- Nation, Nation-State, and Nationalism
- The Weberian City, Civil Society, and Turkish Social Thought
- The Modern State and Its Monopoly on Violence
- The Relevance of Weber’s Conception and Typology of <i>Herrschaft</i>
- The Supranational Dimension in Max Weber’s Vision of Politics
- Plebiscitary Politics and the Threats to Legality: Some Classical Insights on a Current Phenomenon
- Politics and Ethics, and the Ethic of Politics
- Max Weber’s Ethics for the Modern World
- Max Weber and the Late Modernization of Catholicism
- The “Disenchantment of the World” or Why We Can No Longer Use the Formula as Max Weber Might Have Intended
- The Literati and the Dao: Vernacular and Nation in China
- Class, Caste, and Social Stratification in India: Weberian Legacy
- Including Islam
- The Study on Ancient Israel and Its Relevance for Contemporary Politics
- The Rationalizations of Culture and Their Directions
- Max Weber and the Sociology of Music
- Contemporary Life Conduct and Existential Cultures
- From Occidental Rationalism to Multiple Modernities
- Max Weber and the Idea of the Occident
- Intellectuals, Scholars, and the Value of Science
- The Iron Cage in the Information Age: Bureaucracy as Tangible Manifestation of a Deep Societal Phenomenon
- Causation, Value Judgments, <i>Verstehen</i>
- Realism and Reality in Max Weber
Abstract and Keywords
No art form drew closer or more sustained attention from Max Weber than music. A lifelong personal passion, music became the subject of a singularly ambitious study in the final decade of his life, resulting in an unfinished monograph, Zur Musiksoziologie (The Rational and Social Foundations of Music ), begun in 1912–1913 and published posthumously in 1921, raising key issues to which Weber returned in other writings. As with his earlier study of capitalism, Weber sought to trace the origins and development of a distinctive cultural product, occidental harmony, that revealed a complex interaction between rational processes both internal to the art and in counterpoint with varied social and historical contexts. Correspondingly, the music study avidly pursued cross-cultural perspectives, a prominent concern for Weber in the aftermath of critical reception to The Protestant Ethic and the Spirit of Capitalism and for which music had become a touchstone in contemporary scholarly and scientific domains. Engaged with diverse contexts and disciplinary perspectives that informed a frequently technical yet cosmopolitan account of Western music and its signal developments, Weber’s music study explored how a sociology of music could be productively founded and what it might aspire to become.
Brandon Konoval is on faculty at the University of British Columbia, where he holds a cross-appointment at the UBC School of Music and in the UBC Arts One Program. His research addresses the relationship between music, mathematics, and early modern science, as well as the genealogies of inequality, morality, and sexuality developed by Rousseau, Nietzsche, and Foucault. Recent publications include contributions to Nietzsche-Studien (2013), Perspectives on Science (2014, 2018), I Tatti Studies in the Italian Renaissance (2019), and Modern Intellectual History (2017, 2019), as well as a chapter on music and disciplinary culture in Foucault on the Arts and Letters (2016).
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