Max Weber and Charles Ives
Identifieur interne : 000757 ( Main/Exploration ); précédent : 000756; suivant : 000758Max Weber and Charles Ives
Auteurs : Eduardo De La Fuente [Australie]Source :
- Journal of classical sociology [ 1468-795X ] ; 2004-07.
English descriptors
- KwdEn :
- Teeft :
- Aesthetic sphere, Aesthetic views, Allen unwin, American attitude, American attitudes, American culture, American experimentalist encapsulates, American music, American pursuit, American society, Ascetic, Ascetic goals, Asceticism, Barren aestheticism, Basic books, Calder boyars, California press, Cambridge university press, Charles ives, Chicago press, Classical sociology, Cowell, Cultural life, Cultural modernism, Cultural modernity, Cultural type, Daily tasks, England press, Ethic, Ethos, European counterparts, Experimental music, Experimental tradition, Expressive individualism, Fuente, German sociologist, Gure, Harvard university press, High culture, Highest form, Ives, John cage, John dewey, Levine, Many aspects, Minimal self, Modern artist, Modern capitalism, Modern culture, Modern life, Modern music, Modern world, Modernism, Modernist, Mystic, Mysticism, Nineteenth century, Oxford university press, Powerful spiritualization, Practical part, Practical results, Princeton university press, Protestant asceticism, Protestant ethic, Protestant notion, Puritan, Puritan attitude, Puritan ethos, Puritan heritage, Randolph bourne, Religious ethics, Religious rejections, Religious types, Routledge kegan paul, Shortest road, Social structure, Tocqueville, Typical attitude, Walt whitman, Weber, Western forms, Whimster, William james, Work ethic, Wright mills.
Abstract
At first glance, the figure of the Puritan analysed by Max Weber seems to be in direct tension with the ethos of the modern artist. But the latter resembled the former, in two important respects: in his sense of mission and in his ‘heroic individualism’. In countering the tendency to see the Protestant-bourgeois and the modern artist as arch-rivals, this article brings Weber’s characterization of the Puritan into dialogue with the aesthetic ethos of a key figure in American music: the modernist composer Charles Ives. Ives saw music as a weapon against the spiritual and aesthetic barrenness of modern life, and celebrated work and business over the ethic of ‘art for art’s sake’. His evocation of the Protestant ethic raises an important question for the sociology of modern culture: did American modernists ‘cultivate the arts’ differently to their European counterparts? It is argued that American ‘experimental’ music is different to European ‘serialism’ precisely in that it subscribes to a commitment to ‘practical action’. The article concludes by asserting that even those American composers who have opted for a ‘mystical’ route to salvation - for example, John Cage - have often replicated the Protestant desire to find beauty and ‘grace’ in the modern world.
Url:
DOI: 10.1177/1468795X04043933
Affiliations:
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<front><div type="abstract" xml:lang="en">At first glance, the figure of the Puritan analysed by Max Weber seems to be in direct tension with the ethos of the modern artist. But the latter resembled the former, in two important respects: in his sense of mission and in his ‘heroic individualism’. In countering the tendency to see the Protestant-bourgeois and the modern artist as arch-rivals, this article brings Weber’s characterization of the Puritan into dialogue with the aesthetic ethos of a key figure in American music: the modernist composer Charles Ives. Ives saw music as a weapon against the spiritual and aesthetic barrenness of modern life, and celebrated work and business over the ethic of ‘art for art’s sake’. His evocation of the Protestant ethic raises an important question for the sociology of modern culture: did American modernists ‘cultivate the arts’ differently to their European counterparts? It is argued that American ‘experimental’ music is different to European ‘serialism’ precisely in that it subscribes to a commitment to ‘practical action’. The article concludes by asserting that even those American composers who have opted for a ‘mystical’ route to salvation - for example, John Cage - have often replicated the Protestant desire to find beauty and ‘grace’ in the modern world.</div>
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