The Social Construction of the Senario and the Septimal Heresy

Berger and Luckmann's (1966) penetrating grasp of the social construction of reality has, ironically, rarely been employed to address constructions in disciplines such as music or physics, where the boundaries are maintained by means of mastering an arcane body of problems, solutions, and applied knowledge. Likewise, neither Gushee's (1973) analysis of social genre by the observed function of historical musical treatises, nor Power's (1981) deployment of emic and etic methods to reconstruct theoretically conceived versus empirically identified tonal and modal types in music, have entered sociological discourse. These systematic omissions and the academic custom of measuring the significance of a paper by its length, perhaps explain how the social theorist might have overlooked Dudley Duncan's achievement in dismantling Weber's Musiksoziologie in an earlier issue of Sociological Theory. In three pages Duncan not only undermines the Weberian edifice, but also frames a challenge to Western equal temperament manifest in the iiberteilige Bruche (superparticular ratios) which Weber postulated as the earliest steps to the rationality of Occidental, artistic, tonal music. One is left to wonder not how and why a mere set of notes by the great scholar came to be published-since the manuscript might well have been rejected if penned by someone of lesser repute-but whether the research question Weber posed has been so badly misunderstood that it can no longer be raised without the taint of Weber's misconstruction

Epistemology · Heresy · Political science · Sociology · Historical and Literary Studies · Law · Musicology and Musical Analysis · Philosophy · Sociology and Cultural Identity Studies

• Un livre placé sous le signe du malentendu

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• From Max Weber

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