Reconsidering Perspectives and Methodologies of Sound Studies, Studies of Auditory Culture through Max Weber's Music Studies and Methodological Writings

Research Project

Project/Area Number	26503002
Research Category	Grant-in-Aid for Scientific Research (C)
Allocation Type	Multi-year Fund
Section	一般
Research Field	文化学
Research Institution	Akita University
Principal Investigator	IZUMI Hiroshi 秋田大学, 教育文化学部, 教授 (40361216)
Project Period (FY)	2014-04-01 – 2017-03-31
Project Status	Completed (Fiscal Year 2016)
Budget Amount *help	¥2,340,000 (Direct Cost: ¥1,800,000、Indirect Cost: ¥540,000) Fiscal Year 2016: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000) Fiscal Year 2015: ¥780,000 (Direct Cost: ¥600,000、Indirect Cost: ¥180,000) Fiscal Year 2014: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000)
Keywords	マックス・ウェーバー / 音楽社会学 / サウンド・スタディーズ / 聴覚文化論 / 感覚の社会学 / 音楽的聴覚 / 音楽的エートス / サウンドスタディーズ / 聴覚文化 / 社会学 / 芸術音楽 / 視覚文化 / モダニティ / ウェーバー
Outline of Final Research Achievements	The purpose of this study is to reconsider perspectives and methodologies of flourishing area of sound studies or studies of auditory culture through reexamining Max Weber’s music sociology and his methodological writings, in order to develop sociological arguments on sound and auditory culture, and seek to clues to a methodological basis that interweaves Weber’s sociology with sound studies. This study shows Weber’s music sociology which focuses technical means of music based on his methodological consideration of sociology and social science can provide a methodological basis for refinement of methodology of sound studies. Furthermore, this study shows Weber’s music sociology has a latent theme of musical hearing and could be developed as a study of modern rationalized musical ‘ethos’. This study 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.