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Resumo

Three classics of sociology are discussed for how they treat music as a social symptom of modernity's rationalization process, as a conceptual model of modern sociality, and as a generic resource for sociological writing. Where parts of Max Weber's The Rational and Social Foundations of Music focus on the distinctive 'ethos' of creative composition within the rise of modern music, passages in Georg Simmel's Schopenhauer and Nietzsche address the specific 'logos' of modern performance as an autonomous expression of metaphysical will, and the final chapters of W.E.B. Du Bois's The Souls of Black Folk are concerned with the 'pathos' of listening as a potential way of transcending social divisions. The social contexts, cultural contents, and personal motivations of these proto-sociologies of music are shown to articulate a contrapuntal or 'lyrical' sociology which is attentive to the production, distribution, and consumption of cultural forms along with the harmonic, melodic, and rhythmic aspects of social life itself.

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