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Often, Max Weber's contribution to the sociology of music is rejected as unimportant. By contrast, this paper endorses Weber's writings as a promising starting point for a contemporary individualistic research program and as an invitation to perceive the peculiarities of the European musical heritage and of the unique European inclination to innovate. In the general Weberian sociology of development and especially in the work on the rise of capitalism it is argued that on the one hand European musical developments depend on European cultural unity and the role of the church, and on the other hand on inter-societal competition within politically fragmented Europe.