ABSTRACT
A question to be raised here is what a complete sociology of music, as distinct from a mere introduction, ought to look like. Its conception would have to differ from a systematics designed to develop or present, in strict continuity, something which in itself is discontinuous and not uniform. Nor could a method bent on a dubious completeness be expected to fit the phenomena as a schema of external order. Rather, a finished musical sociology should take its bearings from the social structures that leave their imprint on music, and on what we call musical life in the most general sense.
