Abstract

In his social theory, Max Weber (1864 – 1920) attempts to identify patterns that have distinguished Western rationality. Music, he argues, is one of the domains that exhibit such structures. As a specific instance, Weber cites counterpoint as developed in 15th century Europe and – so he claims – culminating in Bach’s music. “No other epoch and culture possesses it”, Weber asserts. Counterpoint’s rationality is meant to manifest itself in rules; yet Weber’s approach lacks an analysis of such rules. Remarkably, 18th century music theory brought the social meaning of counterpoint to the fore more sharply than did Weber’s sociology of music.