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Harmonious Triads: Physicists, Musicians, and Instrument Makers in Nineteenth-Century Germany; Helmholtz Musicus: Die Objektivierung der Musik im 19. Jahrhundert durch Helmholtz' Lehre von den Tonempfindungen

Harmonious Triads: Physicists, Musicians, and Instrument Makers in Nineteenth-Century Germany;... 50:2, Fall 2006 DOI 10.1215/00222909-2008--019 © 2009 by Yale University Rond d’alembert or Jean-Philippe Rameau and these later figures—the book is valuable not least on the level of dispensing basic historical information. However, Jackson’s real contribution arguably lies in his tacit proposal of a new way of understanding “culture” in scientific, as well as in musical or music-theoretical, contexts. There are at least two significant ways in which this reevaluation takes place in Jackson’s work. The first belongs to a broader shift in thinking about the idea of science as culture (as opposed to science as pure knowledge or science merely in culture—i.e., as just another autonomous thing floating in the flux of history without interacting with real-life people and events in any meaningful way). This shift is by now well established in science studies itself. Following the blossoming of a field known as “sociology of scientific knowledge” in the 1970s and into the 1980s, the 1990s saw a movement away from studying science on the often generalizing and abstract level of sociological analysis toward a much more craft- and skill-oriented understanding of scientific enterprises (although the sociological perspective was pivotal in making this move in the first http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Harmonious Triads: Physicists, Musicians, and Instrument Makers in Nineteenth-Century Germany; Helmholtz Musicus: Die Objektivierung der Musik im 19. Jahrhundert durch Helmholtz' Lehre von den Tonempfindungen

Steege, Benjamin
Journal of Music Theory , Volume 50 (2) – Jan 1, 2006
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Publisher
Duke University Press
Copyright
Copyright 2006 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2008-019
Publisher site
See Article on Publisher Site

Abstract

50:2, Fall 2006 DOI 10.1215/00222909-2008--019 © 2009 by Yale University Rond d’alembert or Jean-Philippe Rameau and these later figures—the book is valuable not least on the level of dispensing basic historical information. However, Jackson’s real contribution arguably lies in his tacit proposal of a new way of understanding “culture” in scientific, as well as in musical or music-theoretical, contexts. There are at least two significant ways in which this reevaluation takes place in Jackson’s work. The first belongs to a broader shift in thinking about the idea of science as culture (as opposed to science as pure knowledge or science merely in culture—i.e., as just another autonomous thing floating in the flux of history without interacting with real-life people and events in any meaningful way). This shift is by now well established in science studies itself. Following the blossoming of a field known as “sociology of scientific knowledge” in the 1970s and into the 1980s, the 1990s saw a movement away from studying science on the often generalizing and abstract level of sociological analysis toward a much more craft- and skill-oriented understanding of scientific enterprises (although the sociological perspective was pivotal in making this move in the first

Journal

Journal of Music Theory – Duke University Press

Published: Jan 1, 2006

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