This final and sixth chapter is about the division of culture by the spatial metaphors of high and low forms of cultural criticism. This includes the differences of aesthetic criteria and different music for the sociology of music. The dissimilarities in music arise not because they are made differently, but because they exhibite different properties and characteristics. Today's musical culture reflects a diversity that seems to mark a perfect union of self-determination. Music, despite its apparently subjective nature, is rooted in the same social objectivity. That this statement seems odd...

This final and sixth chapter is about the division of culture by the spatial metaphors of high and low forms of cultural criticism. This includes the differences of aesthetic criteria and different music for the sociology of music. The dissimilarities in music arise not because they are made differently, but because they exhibite different properties and characteristics. Today's musical culture reflects a diversity that seems to mark a perfect union of self-determination. Music, despite its apparently subjective nature, is rooted in the same social objectivity. That this statement seems odd today is perhaps a sign of the degree to which, in cultural matters, the educational system confirms rather than questions the relativism of everyday life.