History of European Ideas 40 (3):1-21 (2014)

Abstract
‘Among the fine arts, I clearly see something to say only about architecture, sculpture, painting. As for music, dance […], I see nothing’. Tocqueville's observation in the Rubish for the second volume of Democracy in America is not only startling, but theoretically important: it ratifies the liberal separation between musical life and political constitution. This, however, should give us cause to wonder. While in America, Tocqueville and Beaumont had multiple occasions to hear music in public festivals and private spaces. Though other European and highbrow observers also declared American music to be ‘in its infancy’, music nonetheless played a significant part in antebellum social and political life. Nor was Tocqueville insensitive to sound in his relation to others. Indeed, Tocqueville perhaps saw in the demise of music as the art of ‘making harmony’ a symptom of the democratic era. However, like Montesquieu, Tocqueville refused to consider music a constitutive principle of democratic regimes—including in the context of Ancient Greek political theory. In doing so, Tocqueville sharply dissociated himself from republican political theory, but failed to raise the question of music's contribution to the culture and exercise of freedom in the modern era
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DOI 10.1080/01916599.2013.821816
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References found in this work BETA

Introduction.Anthony Palmer - 2003 - Revue Internationale de Philosophie 1:3-4.
Article.[author unknown] - 2003 - Educational Studies 29 (4):411-425.

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Rethinking Harmony in International Relations.Damien Mahiet - forthcoming - Sage Publications: Journal of International Political Theory.
Rethinking Harmony in International Relations.Damien Mahiet - 2019 - Journal of International Political Theory:175508821986882.

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