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• Foreword
  

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• The Study of Music and Weber's Sociology of Culture
  
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  • The Period Before 1910
    
  • The Period After 1910 and the First Meeting of the Deutsche Soziologische Gesellschaft (German Sociological Society)
    
• Components of Weber's Sociology of Music
  
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  • The Concept of Geist (Spirit) of Modern Art
    
  • The Concept of the Rationalisation of Art
    
• Theoretical Approaches to Weber's Discourse on Music
  
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  • Researching Weber's Theory
    
  • Reading Evolutionism in Weber's Theory
    

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• Herbert Spencer's Theory of Evolution
  
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  • Evolution as Progress
    
  • Evolution as Racial Differentiation
    
• Charles Darwin's Theory of Evolution
  
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  • Selection and Evolution
    
  • Extermination as an Inevitable Consequence of Selection in the Evolutionary Process
    
• Spencer's and Darwin's Discourse on the Evolution of Music
  
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  • Spencer and Darwin on the Role of Music in Evolution
    
  • Spencer's Theory on the Origin of Music: Music as 'Natural Language of Emotion'
    
  • Spencer's Theory on Development from Homogeneous Towards Heterogeneous Species: The Path from 'Primitive' to the 'Civilised' Music
    
  • Darwin's Theory on the Origin of Music: Voice as a Means for Attraction in Sexual Selection
    
  • Darwin's Thesis on Music as Emotional Expression
    

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• The Influence of Evolutionist Theories on Discourses on
  
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  • The Construction of Scholarly Discourses on Music
    
  • The Incorporation of Evolutionism in Discourses on Music
    
  • Deconstructing Scholarly Discourses on Music
    
• The Concepts of 'Developed' and 'Undeveloped' Musics
  
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  • The Science of Music as the Investigation of Tone Species' Evolution: The Case of Adler
    
  • The Science of Music as a Natural Science: Helmholtz and Riemann
    
• The Concepts of Western and Non-Western Musics
  
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  • Implications of the Musicological Discourse on Progress: Constructing the Field of 'Primitive' Music
    
  • Comparative Musicology as an Alternative Discourse on Music (Or a Discourse on Other Musics)
    

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• The Influence of Evolutionist Musicological Discourses on Weber's Concept of Music Rationalisation
  
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  • Dealing with Acoustics: Dialogue with Helmholtz's Theory
    
  • The Inf luence of the Music Theory Discourse: Incorporation and Modifications of Deconstructing Scholarly Discourses on Music
    
  • Incorporation into the Discourse of the History of Music as a Positivist Science on Written Works of Art
    
  • Complete Incorporation into the Nineteenth-Century Musicological and Ethnomusicological Discourses: 'Developed/Undeveloped' and 'Western/Non-Western'
    
    Dichotomies
    
• Rationalisation as an Imperialistic Evolutionist Model of Constructing Music History
  
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  • The First Evolutionist Symptom: 'Development' of the Intervals from the 'Simpler' Forms to the Increasingly 'Complex' and Continuous 'Progress' of Tonal
    
    Species
    
  • The Second Evolutionist Symptom: Struggle and Selection in the Field of Professional Music
    
  • Rationalisation as Progress
    
  • Development, Progress, Evolution, Rationalisation
    
  • Concept of Style as the Final Answer in the Problematisation of Progress in Weber's Theory of Rationalisation of Music
    

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• Decolonising Weber: Mapping Weber's Theory in the Debate on Imperialism
  
• Foundations for Problematisation of Imperialistic Discourse on Music Evolution: Musicological Readings of Weber
  

Bibliography
Index
Curriculum Vitae