マックス・ウェーバーの音楽社会学と音楽の技術，「音楽的エートス」 ― ウェーバーの音楽社会学とサウンド・スタディーズ ―

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  • Max Weber’s Music Study, Technical Means of Music and “Musical Ethos”: Weber’s Music Study, Sound Studies and German National Identity

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Abstract

The purpose of this paper is to reconsider Max Weber’s music study or music sociology focusing on its methodology in order to explore the possibilities of its development as a study of modern musical hearing or musical ‘ethos’ and a theoretical foundation of methodology and ‘reflexivity’ of sound studies, studies of auditory culture, sociology of sound and senses. Weber’s unfinished music study focuses on technical means of music ― tone systems, temperaments, musical instruments ― and delineates a music history of rationalizations which spotlights not famous composers and musical ‘canon’ but nameless people, religious groups, cultures around technical means of music. This focus bases on Weber’s methodology of social science and sociology. This paper shows Weber’s study of technical means of music has latent theme of musical hearing and could be interpreted and developed as a study of modern rationalized musical ‘ethos’ which internalizes various irrationalities. This paper also examines the musical ‘ethos’ of Weber’s discourses that is related to the creation of German national identity and modern conception of ‘music’ since late eighteenth century.

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