本稿の目的は，ウェーバーの『音楽社会学』における西洋近代音楽についての分析の特徴と含意を，合理化のパラドクスという点から明らかにするとともに，『音楽社会学』の潜在的テーマである「音楽的聴覚」の問題の重要性を示すことにある．
　ウェーバーの音楽社会学の課題は，なぜ西洋近代に合理的和声音楽が誕生したのかを明らかにすることにある．ウェーバーは，都市についての研究と同様に，この課題を古代ギリシアと中世・ルネサンスの音楽の比較から探求した．そして『音楽社会学』では，古代ギリシアと異なるかたちでルネサンス以降進展した近代音楽の合理化が，結果的に古代ギリシア的なものの復活に至る合理化のパラドキシカルな展開が描き出されている．
　『音楽社会学』では，『プロテスタンティズムの倫理と資本主義の精神』での合理化についての考察とは異なり，複数の合理化の方向の関係により生じる合理化のパラドクスが問題になっている．また合理化にアプローチする方法も異なっており，『音楽社会学』では，音楽についての理念や生活態度ではなく，音楽の「技術」に焦点があてられている．この結果，ウェーバーの音楽社会学では，音楽と社会の関係よりむしろ，音楽の合理化の自律的な過程が描き出される．しかし，音楽の技術と表裏一体をなす，社会的に形成される「音楽的聴覚」の問題が，『音楽社会学』の潜在的テーマをなしている．

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This paper deals with RS 15. 30+15. 49+17. 389 (H. 6) excavated in Ras Shamra, from a cultural historical point of view.
We can see that the Hurrianized Akkadian terms, together with the numerals of H. 6 are related to a type of musical instruction. We know many terms for musical instructions in ancient Near Eastern texts for example, in the Convers Tablet and in the headings of the Book of Pslam. We have also identified the cheironomy in the reliefs of ancient Egypt. The musical instruction of H. 6 is very unique, because it is the letter notation which shows how to sing a song in detail. The terms and the writing system of H. 6 indicate that the notation of this text was influenced by Mesopotamian culture. This notation might have been brought from Mesopotamia to Ugarit by the Hurrians. And it is characteristic that this Hurrian system of musical notation was used in the kingdom of Ugarit.
We can identify the designation for the genre of the song (nid qabli) in the colophon of the H. 6 text. This term is related to a type of mode. The mode of H. 6 can be interpreted by means of the Babylonian tuning text (U. 7/80). This tuning text may indicate that the ancient Babylonians had a heptatonic system in making use of the fourth and fifth. This heptatonic system of using the fourth and fifth is well known in Greek musical theory. We can see that the nid qabli mode in the H. 6 text is related to the Lydian one. Therefore, the musical life of Ugarit suggests a linkage between Babylonian and Greek musical life.

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　In his unfinished work The Rational and Social Foundations of Music, Max Weber considers the history of western music from the viewpoint of rationalization. It is uncommon to think of art and music using the concept of rationalization. Weber's analysis concentrates on the detailed historical process of the construction of modern musical tone systems (well-tempered systems and the equal temperament). However he does not explain why the viewpoint of rationalization is meaningful to understand the history of western music and modern society; therefore his study of music has been regarded as musicological, not sociological.
　This paper seeks to reveal the meaning of rationalization in the history of western music, especially in the modern era, through the relations between rationalization and the body.
　Since ancient Greece, the emotional and passionate side of music, that is, the Dionysian character of music has been much discussed, because it has been thought to have a great influence upon human character {ethos). In medieval Christianity a certain kind of instrumental music was prohibited and the central genre of music was a vocal music that was regarded as rational and religious, because it depended on words and texts (logos). But after the Baroque era, the instrumental music made rapid progress as music was gradually established as an autonomous Art, and it raised a serious problem about the status of music. The instrumental music, which is 'music without words,' does not have a clear meaning and message, so it was despised as useless entertainment and the music's status of Art was suspected and criticized. To overthrow this criticism and to guard its status of an art, music was rationalized in various respects by repressing the emotional and corporeal elements of tone system, music form and musical experiences.
　Weber's abstract and musicological analysis of the tone systems can be situated in this context of musical rationalization directed at establishing an autonomous field of Music in the art and aesthetics of the modern era.

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As is well known, in the Respublica III Plato remarks many kinds of harmoniai, among which he selects the Dorian and the Phrygian as fitting subject matter for education of the young The aim of this paper is firstly to find out the real nature of Dorian and other harmoniai The detailed structures are shown in the additional paragraph of Aristides Quintihanus (Arq)' De Musica I ch 9 as old-fashioned harmoniai, according to which we can guess that Plato's Dorian is akin to the form of disjunction of two tetrachords, the standard style of a scale of an octave On the other hand the rationalized styles of harmoniai as the species of an octave are also described in Arq (I ch 8) These structures correspond to the modes of Western Medieval and Renaissance music Historically speaking the standard schema of an octave has developed through Terpander's improvement Terpander's schema has been guessed to be conjunction of tetrachords added the tonos uppermost But this schema shows the Mixolydian octave instead of the Dorian To be Dorian the schema must be the form of disjunction As an evidence of the disjunct octave we can take up Nicomachus' description of Philolaus' scale in the Enchilidion ch 9 This passage is opposed to the description of Pythagoras' scale (Ench ch 5), which is an improvement of the old-fashioned conjunct scale Compared to Nicomachus' passages we can conclude that Terpander's schema must have been the disjunct schema devoid of the trite Terpander arranged the old-fashioned Dorian which had appeared much earlier into the rationalized schema of the disjunct octave Contrary to the Dorian the other old-fashioned harmoniai are supposed to come into existence respectively These traces could be seen in Plutarch's description (mainly on the Mixolydian) So the rationalized style of harmoniai which form the species of an octave should have come into existence somewhat later They might have been constructed artificially about BC430 when Eratocles (an inventor of the circularity of a scale) and Damon were both in their akme Plato's so called Dorianism is supposed to be a reaction against the overflowing of ethos of his age But Plato was not a theorist of harmonics, so he was unable to make an actual reformation It was Aristoxenus (Arx ) who reformed the musical situation by replacing the species with tonoi (pitch) Each tonos is also the same fragment as the species of an octave, but there is a central note, the mese, around which all of the other notes move As the mese works as a central note, many kinds of ethos in the species of an octave disappear, and the scale is reduced to the Dorian The system of tonos presupposes the Great Perfect System (GPS), two octaves system which has the mese as a central note Usually GPS wasconjectured to be arranged about at the middle of the 4^<th> century BC and succeeded by Arx , but I assert as a conclusion that it was invented by Arx constructing the system of tonos

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L'affermazione che esista nell'universo un'armonia cosmica venne sostenuta da autorita antiche come Pitagora, Platone, Cicerone e Macrobio, ma venne rifiutata da Aristotele e dai suoi commentatori medievali come Tommaso d'Aquino. Rispetto a questo, Dante, parlando dell'armonia delle sfere sin dal primo canto del Paradiso, dichiara la sua posizione riguardo a tale dottrina. La concezione che il moto delle sfere risultasse in un'armonia sonora ha origine negli studi matematici di tradizione pitagorica ed e stata in seguito sviluppata in diversi modelli dell'armonia musicale al fine di calcolare le distanze tra i pianeti e dalla Terra, nonche le dimensioni complessive dell'universo. I secolari studi matematico-musicali sull'argomento vennero poi categorizzati da Boezio nella cosiddetta musica mundana. Questo lavoro muove dalla considerazione di alcuni trattati che potrebbero aver formato la concezione musicale di Dante, insieme ad un breve accenno al concetto matematico-musicale del Medioevo. Come e noto, alla musica nel Medioevo era attribuito un carattere peculiare ereditato dalla cultura greca, radicalmente diverso dal concetto di musica moderno. Vengono poi analizzate le tre note categorie di musica formulate da Boezio (la musica mundana, la musica humana e la musica instrumentalis) e confrontate con le tre cantiche della Commedia, facendo riferimento ai diversi saggi che hanno trattato questo argomento. Nel Paradiso il punto di vista privilegiato per osservare l'armonia delle sfere e il cielo del Sole. L'analogia dell'universo dantesco con le scale celesti discusse nel De Institutione musica di Boezio potrebbe rappresentare una spiegazione del panorama che si apre nel cielo del Sole. Boezio e Isidoro sono presenti insieme ad altri teologi e filosofi nel cielo del Sole, dove viene descritta la danza trinitaria eseguita dai tre cerchi che ne rappresentano il simbolo. Anche al di fuori del campo della musica, vari studiosi hanno riconosciuto l'influenza dei loro trattati nelle opere di Dante. Per questa ragione si tratteranno qui alcuni passi delle Etymologiae di Isidoro, aggiungendovi una considerazione sulle Institutiones di Cassiodoro, a cui Isidoro stesso fece riferimento per compiere il suo lavoro enciclopedico. Dante, da parte sua, non scrisse alcun trattato sulla musica, ma ne parlo, per esempio nel Convivio, in cui la musica viene paragonata al cielo del Marte. Il poeta scrive che la musica si fonda sulla legge dell'armonia, e che "in essa scienza massimamente e bella". La sua conoscenza sulla musica e la sua familiarita con l'ambiente musicale del tempo si riconosce soprattutto nei versi del Paradiso che rappresentano la danza e la musica polifonica dei beati. L'esame prosegue, dopo la breve ma necessaria spiegazione sulla scala musicale greca, attraverso la presentazione delle scale celesti di Nicomaco e di Cicerone, prendendo spunto dalle citazioni dantesche presenti nei principali studi finora pubblicati in Italia. Dapprima, riguardo a Cicerone, si citera Il sogno di Scipione, il Commento al sogno di Scipione di Macrobio ed infine il De Institutione musica di Boezio. In merito a Nicomaco verranno trattati il suo Manuale di armonia e Institutione di Boezio. Benche lo studio della simbologia e la struttura numerica della Commedia abbia avuto esiti piuttosto significativi negli ultimi decenni, il tema dell'armonia cosmica delle sfere, pur avendo un aspetto numerico anch'esso, non ha ricevuto altrettanta attenzione. Nel canto X del Paradiso, Dante invita il lettore a contemplare la bellezza del cielo e l'armonia delle sfere. Se guardiamo il disegno dell'universo che aveva in mente Dante dal punto di vista della musica del suo tempo, ci si offre una visione fantasiosa, ma nello stesso tempo estremamente 'poetica', alla quale l'astronomia del

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This study deals with an analogy between architecture and music by taking a case of the transition from Romanesque to Gothic of European medieval ages. The aim of this study is to regard both of them as combinations of small parts, and to point out how each element is united. During the medieval ages, architecture has expanded from Romanesque style to Gothic style, and music has changed from monophony such as Gregorian Chant to polyphony which was derived from them. Both architecture and music have the aspect that they have changed from simply additional structure to both additioal and devisional one.

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This study deals with an analogy between architecture and music by taking the unit of measurement in the Italian Renaissance method. The aim of this study is to consider how the unit of measurement correlates with various parts that compose architectural and musical works. Concerning the unit of measurement, 'modulus' in architecture is analogous to 'tactus' in music. Vignola and Diruta measure all parts of architectural and musical works with these units of measurement. Therefore, all measurements are indicated by numbers.

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