ANNOTATIONS
1 Ana Petrov: âKoncept evolucije muzike u teorijama Herberta Spensera i Äarlsa Darvinaâ [The Concept of Music Evolution in Herbert Spencerâs and Charles Darwinâs Theories], Filozofija i druĹĄtvo 23/3 (2012), pp. 253â273.
2 Ana Petrov: âMax Weberâs Theory of Music Development: Evolution and Rationalisation of Musicâ, in: Music and its Referential Systems, eds. MatjaĹž Barbo and Thomas Hochradner. Wien: Hollitzer Verlag, 2012, pp. 45â54.
3 Ana Petrov: âIf itâs not on Paper, is it Music at All? The Paradigm on the Written Record in Nineteenth-Century Discourses on Musicâ, in: Music Identities on Paper and Screen, eds. Mirjana VeselinoviÄ-Hofman et al. Belgrade: Department of Musicology, Faculty of Music, University of Arts, 2014, pp. 245â254.
4 Ana Petrov: âAre We Still Evolutionists? The Case of Reception of Max Weberâs Theory of Music Developmentâ, in: Critical Music Historiography: Probing Canons, Ideologies and Institutions, eds. Vesa Kurkela and Markus Mantere. Ashgate, 2015, pp.197â209.
5 Lawrence A. Scaff: âWeber, Art and Social Theoryâ, in: Etica & Politica/Ethics & Politics 6/2 (2005), http://www.units.it/etica/2005_SCAFF.htm, accessed on May 25, 2013.
6 Christoph Braun: Max Webers âMusiksoziologieâ. Laaber: Laaber-Verlag, 1992.
7 Christoph Braun and Ludwig Finscher: Introduction to Weber, Max: Zur Musiksoziologie (NachlaĂ 1921), Gesammtausgabe 14, eds. Christoph Braun and Ludwig Finscher. TĂźbingen: J. C. B. Mohr (Paul Siebeck), 2004, pp. 1â144.
8 Edith Weiller: Max Weber und die literarische Moderne: Ambivalente Begegnungen zweier Kulturen. Stuttgart: J. B. Metzler, 1994.
9 Marianne Weber: Max Weber. Ein Lebensbild. TĂźbingen: J. C. B. Mohr (Paul Siebeck), 1984, p. 45.
10 Max Weber: Jugendbriefe, ed. Marianne Weber. TĂźbingen: J. C. B. Mohr (Paul Siebeck), 1936, p. 25.
11 Joachim Radkau: Max Weber. A Biography. Cambridge: Polity Press, 2009.
12 Lawrence A. Scaff: âWeber, Art and Social Theoryâ, 8â9. During the 1910s Weber regularly read about and commented on Italian renaissance art. In the letters from 1908 he mentioned, for example, the two-volume study on art in Florence by Paul Schubring. Max Weber: Briefe 1906â1908. Max Weber Gesamtausgabe 2/5, eds. M. Rainer Lepsius and Wolfgang J. Mommsen. TĂźbingen: J. C. B. Mohr (Paul Siebeck), 1990, pp. 532â563.
13 In 1898 Neumann sent to Weber a study on Jacob Burckhardt, and in the same year Weber read Neumannâs essay âDas Werk und der KĂźnstlerâ, published in: Deutsche Rundschau. Scaff: âWeber, Art and Social Theoryâ, p. 21. It is indicative that Weberâs comments on Rembrandt were incorporated in the book The Protestant Ethic and the Spirit of Capitalism, in the section about the influences of puritan and ascetic ideals on the artistâs works. Neumannâs influence can also be seen in the concepts of the âspiritualâ and âeternally greatâ in art. Scaff: âWeber, Art and Social Theoryâ, p. 10.
14 Max Weber: âMax Weber on Race and Societyâ in: Social Research 38 (1971), pp. 30â41.
15 Max Weber: âMax Weber on Church, Sect, and Mysticismâ, in: Sociological Analysis 34/2 (1973), pp. 140â149.
16 Frustrated by internal disputes and inaction among the Society members, and faced with difficulties in funding the new organisation, the following year he resigned in from his executive position as treasurer and publications editor, and after the 1912 meeting in Berlin he withdrew entirely from any further participation in what he called a âsalon des refusesâ. Max Weber: Briefe 1909â1910. Max Weber Gesamtausgabe 2/6, eds. M. R. Lepsius and W. Mommsen, with B. Rudhard and M. Schoen. TĂźbingen: J. C. B. Mohr (Paul Siebeck), 1994, p. 656. Nevertheless, this first meeting was certainly a major episode in Weberâs career, and in many ways prefigures the diversity of topics and conflicting approaches to sociology that have often characterised the discipline ever since. Thomas M. Kemple: âRemarks on Technology and Cultureâ, in: Theory, Culture, Society 22/4 (2005), p. 23.
17 Werner Sombart: âTechnik und Kulturâ, in: Vehandlungen des ersten Deutschen Soziologentages. TĂźbingen: J. C. B. Mohr (Paul Siebeck), 1911, pp. 63â83.
18 Ibidem, pp. 67â69. Cf. Braun and Finscher: Introduction to Weber, Max: Zur Musiksoziologie, p. 83. Sombartâs contribution to the sociology of music was brief and underdeveloped, and therefore no definite conclusions could be made about the analysis of music in the lecture. His thesis was thus merely an impetus for the succeeding discussion.
19 Sombart: âTechnik und Kulturâ, p. 306. Cf. Kemple: âRemarks on Technology and Cultureâ, p. 24.
20 Weber: Briefe 1909â1910, p. 655.
21 Kemple: âRemarks on Technology and Cultureâ, p. 24.
22 With the publication of The Protestant Ethic and the Spirit of Capitalism in 1905, Weber had already adopted a critical stance regarding Sombartâs approach to cultural history in: Der moderne Kapitalismus [Modern Capitalism, 1902] and to economic history in: Die deutsche Volkswirtschaft im neunzehnten Jahrhundert [The German National Economy in the Nineteenth Century, 1903]. In the footnotes added to the 1920 edition he intensified his engagement with Sombartâs work with a detailed discussion of Die Juden und das Wirtschaftsleben [The Jews and Economic Life, 1911] and Der Bourgeois [The Burgeois, 1913], both of which Sombart had cast as a ârefutation of historical materialismâ. But Weberâs own interest in the cultural significance of modern capitalism also prompted him to concede that even âthose who feel stimulated time and again by Sombartâs studies to oppose his views strongly, and directly to reject some of his theses, are obligated to clarify their reasons for doing so explicitlyâ. Kemple: âRemarks on Technology and Cultureâ, p. 24.
23 James Wierzbicki: âMax Weber and Musicology: Dancing on Shaky Foundationsâ, in: The Musical Quarterly 93/2 (2010), p. 271.
24 Paul Honigsheim noted that music was âessential for Weberâs lifeâ, and that Weber complained about being sick in the last years of his life, and thus unable to dedicate himself to musical research. Paul Honigsheim: On Max Weber. New York: Free Press, 1968, pp. 83â84.
25 Braun and Finscher: Introduction to Max Weber: Zur Musiksoziologie, p. 23.
26 âOnly we have harmonic music although other cultures possess a more refined sense of hearing and a more intensive culture of musicâ Weber: Briefe 1906â1908, p. 639.
27 Radkau: Max Weber, pp. 366â367.
28 Idem.
29 Following both the usage current at the time and Sombartâs definition of Technik in his lecture as the application of means for the attainment of ends, and specifically as a mode of processing material goods, this term and its adjectival form have for the most part been translated in the narrower and more modern sense as âtechnologyâ and âtechnologicalâ. Occasionally the broader meaning of âtechniqueâ or âtechnicalâ is also intended, which may include a customary rule of thumb, a traditional skill, tricks of the trade or purposive activity of any kind. Although the term Kultur may be translated in its fairly general sense as civilisation, as in Freudâs Das Unbehagen in der Kultur [Civilisation and its Discontents], both Sombart and Weber are at least implicitly drawing on the time-honoured contrast in German thought between âZivilisationâ as a shorthand for (usually modern) economic, political and technological development and âKulturâ (which may be objective or subjective, material or ideal) understood as a bourgeoi...