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Transformation that artistic creation has. But above all, by focusing his sociology of culture on a sociology of music, the expressive procedures are identified without distinguishing. See januskabedl j. Max weber and the sociology of history. South buenos aires and also bendix r. Max weber. Amorrortu buenos aires. Alfred weber brother of the german sociologist continued in the line of the investigation of the sociology of the culture in a more nuanced line his work history of the culture in the bottom of economic culture nude mexico is a good exponent of it especially the pages can be consulted. That music xxxseximg is indeed a rationalization. But a rationalization due to formal complexity. Weber then restricts his analysis of art by presupposing the same formal evolution in the nude rest of the non-musical arts. Consequently, the sociological significance of siberian research on aesthetics is realized in relation to the phenomena of institutional ordering in capitalism. Now weber will be very careful nude to differentiate the spheres of private artistic practice from the broader collective spheres. Art will be a lifestyle whose dynamics organize representative symbolic values rooted in feelings. However, capitalism and its xxxseximg bureaucratic administration will not be analyzed as economic processes that channel creative forces into economic fields. This omission causes a limitation of weber’s aesthetic sociology that results in a very erudite systematization of the historical meaning of art and music. The result obtained thus opens enormous questions. Indeed, the rationalization of sounds with modern musical notation does not explain to us the taste of a bourgeois class that in turn disseminates and consolidates. The protestant discipline that is at the origin of capitalism imposes creative guidelines that must be studied as bourdieu has qualified in our days. In the same way, xxxseximg would the evolution towards romanticism and the atonal system in dode caphonism or contemporary creations mean a dissolution of capitalist ideals. Thus, the siberian examination of tonal music and its connections with evaluative processes can be seen excessively mechanical. The eighth becomes a harmonic system, but not due to the demands of capitalist society, but due to a gradual development of sound combinations. And this development is biased in weber for whom the purity of european music is reduced to baroque and the other historical musical stages after the german baroque are omitted. Weber’s germanic nationalism leaves huge gaps. Vivaldi or contemporary musicians from other countries recognized as setters for highly complex artistic principles are not cited in weber’s study. And for example the decline xxxseximg of artistic forms within the same spirit of capitalism is not reflected either as an exposition of its social conditions or as processes of sound domains at sunset.

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