音楽の合理化

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タイトル別名
  • Rationalizations of Music
  • オンガク ノ ゴウリカ マックス ウェーバー ノ オンガク シャカイガク ニ オケル キンダイ オンガク ノ ニジュウ ノ ゴウリカ ニ ツイテ
  • Weber's Sociology of Music and the Dual Rationalization of Modern Music
  • マックス・ウェーバーの『音楽社会学』における近代音楽の二重の合理化について

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Although Max Weber's analysis of rationalization is considered indispensable to the study of modern society, his work on the rationalization of music has remained neglected because of its musicological complexity. In this paper, his unfinished work on music is reconstructed in terms of the two principles of rationalization that he distinguished : the distance-principle and the harmonic principle.<BR>Rationalization based on the distance-principle defines the relations of musical tones by the distance or the symmetry between them. Weber says that melodious music, for example, ancient Greek music and a host of non-Western music, which has no connection with rationalized polyphony (music which has two or more relatively independent parts), is characterized by the distance-principle. This principle makes possible the free and subtle movement of a melody.<BR>On the other hand, harmonic rationalization, which is based on the harmonic principle, tries to construct a musical scale by harmonious sounds. This latter rationalization is the basis of modern Western tonal music, in which all musical tones and chords are ordered around a central tone (tonic). These two principles of rationalization contradict each other, in that free movement of a melody breaks harmony and, vice versa, harmony prevents free movement of a melody.<BR>It is considered that modern tonal music has its foundations in the harmonic principle, but has gradually been shaped by the intertwining of these two processes of rationalization. Harmonic rationalization inevitably has contradictions. In order to solve these contradictions the distance-principle is coupled with harmonic rationalization. It is this contradictory process of rationalization in the historical development of Western tonal music that Weber intended to explore. This paper presents an explanation of this process of the dual rationalization of modern music.

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