The key-principle is the main pillar of the theory and the practice of musical composition, as developed by the Western culture from the Renaissance up to the end of XIXth century. Its crysis and refusal by the theorists and composers of the “modern music” (Arnold Schönberg, Igor Stravinski, Ferruccio Busoni and their fellowers) inaugurate a period of intense experimentation and research, lasting until today. Opposite to this loss of centre, Weber’s attitude is twofold. From the one side he cannot accept it quietly, because of the danger of an irrationalistic decay, while, from the other, he recognizes in the modern music the signs of a deep distress, which pervades the “civilization” at all and not only single personalities. So in his Rational and sociological foundations of music Weber defends the key-principle and the tonal harmony, as a value that conveniently reflects the character and the historical dignity of Western culture and music. But at the same time he doesn’t condemn the modern music as anarchical or degenerate, because of the rationalistic rigour, mastering the efforts of its conceivers.
