Show Less
Restricted access

Kurt Blaukopf on Music Sociology – an Anthology

2nd Unrevised Edition

Series:

Edited By Tasos Zembylas

This anthology contains seven texts by Kurt Blaukopf (1914–1999) that exemplify the sociological and epistemological position of this pioneer of Austrian music sociology. Blaukopf’s efforts were aimed at a comprehensive, interdisciplinary approach and analysis of music as a cultural phenomenon and as social practice. The primary aim of this anthology is to make Blaukopf’s work better known in the English-speaking world. It offers the interested reader a fruitful analysis of the relation between music sociology and its sister disciplines, e.g. musicology, a solid analysis in terms of the philosophy of science on the possibilities and limits of music sociology, and a highly topical discussion about the significance of intrinsic artistic aspects in music sociology.
Show Summary Details
Restricted access

The Sociological Concept of the Kunstwollen and its Origins in the Austrian School of Art History and Musicology

Extract

1

Music sociology is sometimes accused of not having firmly established its repertoire of methods.2 Such an accusation is based on the assumption that musicology can draw its sociological tools from sociology in useable finished parts. This expectation clouds the view for the sociological questions and methods that do not stem from theories in sociology but have been developed by musicology itself. This includes the theory of Kunstwollen3 and its linking with empirical research, as it was developed by the Vienna art historian Alois Riegl (1858–1905) and taken into the methods of musicology by Guido Adler. This concept is inseparably linked with a style of thought that in Adler’s surroundings the natural sciences, jurisprudence and above all the Vienna School of Art History were attached to.

Alois Riegl’s pupil Hans Tietze wrote a Method of Art History,4 which Guido Adler’s Method of Music History5 picked up, not only echoing the title but in its content. Both methods were based on the idea that the social (and thereby also artistic) processes are accessible to scientific analysis. Adler’s friend and patron, the physicist Ernst Mach, had already argued this thesis in 1863, in his Lectures on Psychophysics, and in particular had pointed to the application of statistical methods and their use in the understanding of such processes. The strict separation of the so-called exact sciences from the cultural sciences had no place in this concept. Nothing that was typical of a particular genre of science was...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.