defines musical action in a weberian sense. Nevertheless, he restricts the specific sociological nominalism and the elements of neokantianism that reside in
s method. This restriction results from the thesis that determinations of musical behaviour are possible to be found and therefore causal relations may be searched for in this section of social reality. Besides, studying musical action itself ensures a severe restriction of any arbitrariness implicit in an approach based on ideal types.
There are two main reasons for which the concept of mutation, used by
to underline discontinuity in the evolution of musical behaviour, seems rather inappropriate. First, the contents that is seeked to be defined is already designated by the term
that seems more appropriate to use in social sciences. Second, the term “
carries a positivistic sense and may be misinterpreted.
A couple of very important elements may be pointed out in
- First, any reductionism (economic, technological, etc.) is excluded by applying a dialectical approach of social reality using the theory of factors.
Blaukopf does not pursue the construction of a total teleological concept on music and its changes that would neglect the particularities of different musical cultures.
Especially the latter element seems to be of utmost importance in terms of the contemporary cultural condition.