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