Studies on the beginning of the sociology of music. Russian and Soviet sources, 1900-1930.

它自己的学科音乐社会学的诞生可以追溯到20世纪初，来自德国和法国的方法（P. Bekker， M. Weber， J. Combarieu）。到目前为止，这段时间还没有完全恢复。一些法国的资料来源（C. Bellaigue）没有公开，以及意识形态政治上受到压制的俄罗斯来源的书面材料。1900年至1930年间，俄罗斯音乐学中出现了各种各样的理论方法，如系统地进入音乐史，接受和传播理论，早期的社会化概念，将音乐作品理解为生产过程或对判断的讨论。此外，包括实地调查和实验研究在内的实证研究，从一开始就是俄罗斯音乐社会学活动的一部分。重点是，这是世界上最早的音乐社会学实证研究。在斯大林文化政策的背景下，一般社会学的缩减剥夺了所谓的“短跑社会学家”的工作基础。在这段时间里，一些研究项目被中断，一些在其他期限下继续进行。官方对早期音乐社会学思想的接受受到压制。多方位的理论研究和独特的实证材料对欧洲公众是保密的。对20世纪初文化景观的分析显示出一种不同寻常的创新潜力。这种潜力也可以在俄罗斯和苏联音乐学中监测。在最近的出版物之后，很明显，沙皇俄国和早期苏联在文化和科学上是紧密相连的。历史音乐事件的重建证实了俄苏传统的存在。现在是时候分析和解释以前未被观察到的资源，重点关注俄罗斯和早期苏联的文化和科学史，此外还有助于音乐社会学的历史。音乐社会学早期历史的现状可以得到实质性的纠正。

The birth of its own discipline sociology of music is dated to the beginning of the 20th century and approaches from Germany and France (P. Bekker, M. Weber, J. Combarieu). This time was not completely regenerated so far. Some of the French sources (C. Bellaigue) are not opened as well as the ideological-politically suppressed written material of Russian provenance. A huge variety of theoretical approaches, such as the systematic entrance to the history of music, the reception and communicational theory(-ies), the early concepts of socialization, the understanding of the musical work as a production process or discussion on the judgments, can be proved between 1900 and 1930 in Russian musicology. Furthermore, empirical studies, that included both field research and experimentation, were from the beginning part of Russian music-sociological activities. The point is these are the earliest empirical studies of sociology of music worldwide.The reduction of the general sociology in the context of Stalins cultural policy deprived the so-called dash-sociologists of their working-base. In this time, several research projects were interrupted, some under other over terms were continued. The official reception of early music-sociological thinking was suppressed. The multi-faceted theoretical studies and the unique empirical material were withheld from the European public.The analysis of the cultural landscape of the early 20th century indicates an unusually innovative potential. This potential can also be monitored within the Russian and Soviet musicology. After recent publications, it has become clear, that the Tsarist Russia and the early Soviet Union were culturally and scientifically very closely connected. The reconstruction of the historical music event confirmed the presence of Russian-Soviet tradition. It is about time to analyze and to interpret previously unobserved sources with focus on cultural and scientific history of Russia and the early Soviet Union, and besides contribute to the history of the sociology of music. The current picture of the early history of the sociology of music could be substantially corrected.