Guido Adler's "The Scope, Method, and Aim of Musicology" (1885): An English Translation

with an Historico-Analytical Commentary

Author(s): Erica Mugglestone and Guido Adler
Reviewed work(s):
Source: Yearbook for Traditional Music, Vol. 13 (1981), pp. 1-21
Published by: International Council for Traditional Music
Stable URL: http://www.jstor.org/stable/768355 .
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 GUIDO ADLER'S "THE SCOPE, METHOD, AND AIM
OF MUSICOLOGY" (1885):AN ENGLISH
TRANSLATIONWITH AN HISTORICO-ANALYTICAL
COMMENTARY
by Erica Mugglestone

Introduction
In 1884 a triumvirate of Austro-Germanmusic historians,Friedrich
Chrysander,PhilippSpitta,and Guido Adler,foundedthefirstjournal
of musicology,'thenewestfledgeling amongstthesciences,2namely,the
VierteljahrsschriftffirMusikwissenschaft [MusicologyQuarterly].The
firstissue opened with a paper writtenby Adler, definingthe scope,
methodand aim of thenew science.This provedto be a potentformative
influence on the establishmentand development of the academic
disciplineof musicologyin Europe and elsewhere,notably the United
States of America,an influencethatis stronglyfeltto thepresentday.
Thus, in theNew Grove Dictionaryof Music and Musicians (1980: s.v.
"Musicology," by Vincent Duckles, et al.), its importanceis made
evidentin thatit is summarisedas thestillextantmodel of musicology.
It is thepurposeof thispaper to renderAdler'sthoughtaccessibleto a
wider readershipby: 1) sketchingthe historicalcontextin which the
paper was written;2) indicatingits themes,metaphorsand assumptions;
in a sense, its metalanguage;3) providinga translationof the text.
Withregardto thefirsttwo of theseaspects,commentaryis directed
solelyat thepaper in question.No attemptis made to determineAdler's
overallphilosophyof historyor thedevelopmentof his thoughtbeyond
1885; such would be the aim of a comprehensiveassessmentof all his
writings.And with respect to the third of the above aspects, in
translating thetext,carewas takento adhereas closelyas possibleto the
originalwithregardto itssemanticcontent.Thus, forexample,theterm
Tonkunstis translatedgenerallyas 'tonal art', ratherthanapplyingthe
term'music'in itsstead, in orderto retain,ifat all possible,some of the
connotationsthatare implicitin Adler's use of the term,as well as to
preventthe impositionof an interpretation thatmightnot be justified.
However, with respectto Adler's syntax,it was deemed advisable to
break down lengthysentencesand paragraphsintoshorterunits,and to
utilisepunctuationand othertypographical formating in orderto clarify
Adler's thoughtand promoteease of comprehension.Wherenecessary,
notes elucidate problemsencounteredin translation.For purposes of
clarification,occasionallythe originalGermanword is given in square
brackets,as are also interpolations and alternativetranslations.
2 / 1981 YEARBOOK FOR TRADITIONAL MUSIC

HistoricalContext
Guido Adlerwas bornat Eibenschiitzin Moravia (thenstillpartof the
Austro-Hungarian Empire,now known as Ivancice in Czechoslovakia)
in 1855. Nine yearslaterthefamilymoved to Vienna afterthedeath of
his father,and in his teenshe studiedtheoryof musicand composition
underBrucknerand Dessoffat the Vienna Conservatory.He intended
takingup a legal career,and studiedlaw at the Universityof Vienna,
even servingbrieflyat the Vienna Handelsgericht[Court of Trade or
Commerce],but decided to pursuehis interestin musichistory.In 1880
he was awarded a doctoratewith a dissertationon thebasic historical
categoriesof Westernliturgicalmusic up to 1600. Two years later he
completedhis Habilitation[accreditation as a university lecturer]witha
dissertationon thehistoryof harmony.
In 1882 Adlerwas appointedas a Privatdozent[unsalariedlecturer]of
musichistoryat theUniversity ofVienna,becominga professorofmusic
historyat Prague in 1885, the year of publication of the paper in
question.Threeyearslaterhe returnedto theUniversity of Viennaas an
Ordinarius[professor] ofmusichistory.3 Herehe foundedtheInstitute of
Music Historyas a centrefor musicologicalresearch,which became a
model forthesubsequentestablishment of similardepartments in other
universities.He remainedthereuntilhis retirement in 1927.
Throughoutthenineteenth century,Germanyand Austriahad led the
restof Europein establishingmodernmusicalscholarship.As Hanslick's
successorin Vienna,Adleroccupiedan importantmusicaland academic
position,and his careercoincidedwith the most productiveperiod in
Austro-Germanmusicology.Nevertheless,at the time of his appoint-
ment,withinthe Austro-Germanuniversitiesthe historyof music had
lagged behind the other arts in becoming establishedas an entity
independentof generalhistoriography. Adlerwas veryconsciousof the
fledgelingstatusof the in
discipline academia, especiallyvis-a-visthefine
arts,and his paper mustbe read in termsof thisspecificcontext.4

Themes,Metaphorsand Assumptions
The sequenceof thoughtin Adler'spaper maybe summarisedin terms
of the threeaspects of musicologynamed in its title,thatis, its scope,
method,and aim. He beginswitha briefoutlineof thehistoricaldevelop-
mentof thescienceof music,fromits inceptionas a self-consciousart,
throughsuccessivestages-such as thepragmaticsofabstractingrulesof
procedure in composition, or the development of notational
symbols-to its modern culminationin a study of the works of art
themselves.
EssentiallyAdlerlimitsthestudyofmusicto thatofmusicperceivedas
an artform;and as suchitis confinedto a studyofEuropean,Occidental
music. The focus is on music viewed solely as a product. The
methodologyto be appliedis thatof analysis,and he studiestheworkof
art in termsof notation,structure(form),and what he calls mood-
substance/aestheticcontent,in orderto date it historicallyby means of
the determination of its species. The datingof a work is necessaryto
MUGGLESTONE GUIDO ADLER'SMUSICOLOGY/ 3

enable the researcherto place it withinthe historicalprocess, and to

determinethestylisticlaws governingthecreationof art.
From this Adler derives his dichotomous schematisationof the
discipline of musicology,which he divides into an historicaland a
systematicsection,each ofwhichis discussedin termsofitssubject-areas
and itsauxiliarysciences.The aim of musicologicalresearchhe sumsup
in the closingmottoas 'the discoveryof truthand advancementof the
beautiful'.It is also expressedas one of didactics,both in termsof the
contemporarycomposer, the artisteand the audience.5Indeed, Adler
perceivesthe role of the musicologistas somewhatakin to that of a
'promoterand defenderof thefaith',a not unusualquasi-religiouspoint
of view in thenineteenth century,and in thisrespecthe recallsto mind
Schumann'simaginativeconceptof the Davidsbiindler.
Contraryto what is suggestedin thearticleon musicologyin theNew
Grove Dictionary of Music and Musicians (ibid.), Adler's style-
orientated methodology is not a part of the "cultural-historical
emphasis"thatwas "in parta protestagainstpositivism",forit is essen-
tially positivistic in outlook. Collingwood defines positivism as
"philosophyacting in the service of natural science" (1980:126), and
states thatnaturalscience,in the view of the positivists,"consistedof
two things:first,ascertaining facts;secondly,framinglaws." The former
was "only the firststage of a process whose second stage was the
discoveryof laws", whichwere to be framed"throughgeneralising from
thesefactsby induction".The framingof laws was thegoal of scientific
endeavour.To quote Adler,the"actualfocalpointofall music-historical
work" is the "investigationof thelaws of art of differentperiods",this
taking"the highestprecedence";and again, "to attain his main task,
namely, the researchof the laws of art of diverse periods and their
organiccombinationand development,the historianof art utilisesthe
same methodologyas that of the investigatorof nature; that is, by
preference,the inductivemethod . . the emphasis here lies in the
analogy betweenthe methodologyof the scienceof art and thatof the
naturalsciences".
In order to show how Adler's thinkingwas shaped by the natural
sciences,bothin hisuse ofmetaphorand as theparadigmsofhismethod,
it is as well to outlinebrieflydevelopmentsin thenaturalsciencesin the
nineteenthcenturyand to relate these to his text. Rapid strideswere
made especially in the sciences of geology, biology, and organic
chemistry, and thefirsttwo are mentionedby Adler.
The comparative method, developed in comparative anatomical
study,shaped thatapplied in othernaturalsciences.6The development
of the science of geology owed much to such a use made of palaeon-
tologicalobservation.In 1799 WilliamSmithwas diggingcanal beds in
England,and noticedthatthesame typeoffossilswereto be foundin the
same type of rock strata. Using thisknowledge,he devised a table of
stratigraphic units,and builtup a geologicmap of England,Wales, and
part of Scotland. At around the same time, Georges Cuvier and
AlexandreBrongniartsimilarlyobserved that fossilsare generallythe
4 / 1981YEARBOOKFORTRADITIONALMUSIC

same in corresponding beds of rock,but differfairlymarkedlyfromone

bed to another.In thisway theyseparatedtheTertiarystrataof north
and centralFranceintonaturalunitsand arrangedthesein chronological
sequence.Palaeontologythusprovideda vistaintopast aeons, becoming
an ally not only of stratigraphy, but also contributingto biological
researchby validatingtherecognitionof theantiquityof lifeon earth.In
thisway itsupportedtheconceptof evolution,whichin itsturnchanged
palaeontologyfroma practicalrule-of-thumb techniqueinto a fully-
fledgedscience.
In establishingmusicology as an academic discipline,Adler was
attemptingto make the study of the historyof music scientific.In
comparinghis own book, Der Stilin derMusik (1911),withParry'sStyle
in Musical Art, published in the same year, he described Parry's
approach as "primarilyartistic",statingthat he himself"stressedthe
scientific
side" (1934:172). His own researchexperienceled himto regard
thepalaeologicaldatingof a workof artas thefirststepin musicological
investigation.In a sense, thisprocedureis analogous to the palaeon-
tological datingof rock strata; one is thus studyingthe musical fossil
recordforthesame purpose,thatof dating.
Moreover, the concept of a geological stratumis associated with
anothercommonplacenineteenth centurynotion,derivedfromJohann
GottliebFichte'sidealisticphilosophyofhistory.Fichteclaimedthateach
periodofhistoryhas a characterofitsown whichis concretelyembodied
in a singleidea. In Fichte'shands, theKantiannotionthathistoryis the
unfoldingofa 'natural'plan whichis carriedout throughhumanagency,
became a logical sequence of successivecharacteristic 'ideas', which,by
virtueof theirlogic, provide the dynamicsof cause and effect,and of
historicalprocesses,thesequencesuggesting theperiodisationofhistory.
As regardsbiology,themodernconceptofspecies,whichoriginatedin
the seventeenthcentury,was applied in particularby Linnaeus to
classifyingplantsand animals.Earlyhypothesestracingpossiblelinesof
continuousdescentbetweenspecies and generafinallyfloweredin the
conceptof naturalevolution.The dynamicsof evolutionpermeatedthe
nineteenth centuryworld-view,in history,in sociology,and above all,
in biology. It is thereforenot surprisingthat Adler's metaphorical
language is rich in images of organicgrowthand decay, and that his
conceptof musichistoryis evolutionist.His style-critical methodbegins
withan anatomicaldissectionof a work of art in orderto ascertainits
species,and his framingof stylistic laws can, in a sense,be equated with
determining thelaws of musical'naturalselection'.7
AlthoughAdler's views on the artistas creativegenius 'buildinga
templein thegrove',and on musicas an artform,reflectstandardnine-
teenthcenturyaestheticconcepts,it should be noted thathis empirical
methodowed muchto contemporary
style-critical arthistoricalwritings.
As Kuhn states (EncyclopaediaBritannica,14thed., s.v. "Aesthetics"),
in 1864 HippolyteTaine "proposedthatstylesofartshouldbe studiedin
the same way as the kindsof plantsare studiedby thebotanistand as
subject to evolutionarydevelopment."In Germanythisapproach was
MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 5

adopted by such art historiansas Burckhardtand Wdlfflin.The history

of stylesin the visual arts came to be termedKunstwissenschaft (the
scienceof art),and was bothhistoricaland theoreticalin approach. The
discipline sought to grasp underlyingtrendsand principlesrunning
throughepochs, ratherthanstudyingindividualsand theirworks. It has
been pointedout thatAdlershoweda deep awarenessofdevelopmentsin
thefieldof art history,regardingthe sciencesof art and musicas sister
sciences,so that to speak of a 'tonal art' insteadof music was, in his
view, both logical and justifiable.

THE SCOPE, METHOD AND AIM OF MUSICOLOGY

Guido Adler

Musicology originatedsimultaneouslywith the art of organising

tones."As long as naturalsong breaksforthfromthe throatfreelyand
withoutreflection;as long as the tonal productswell up, unclear and
unorganised,so longalso therecan be no questionofa tonalart.Only in
that momentwhen a tone is comparedand measuredaccordingto its
pitch-at firstthis is done by ear, thenwith instruments thatmeasure
pitch-; at thatmomentwhen one takesaccountof theorganicrelation-
ships between several tones and tonal phrases bound into a unified
whole, and the imaginationorganisestheirproductin such a way that
theymay be assumed to be based on primitive-aesthetic norms,only
thencan one speak of a musicalknowledgeas well as an art ofworking
with tonal material.
All peoples ofwhomit can be said thattheyhave a tonalart,also have
a tonal science, even if not always a developed musicologicalsystem.
The moreadvanced thefirst,themoredevelopedis thesecond.The tasks
of musicologyvary accordingto the state of developmentof the tonal
art. In the beginningthe science endeavoursespecially to determine,
defineand explain the tonal material.This accountsforthe importance
of the musical canon amongstthe Greeks,that is, the teachingof the
mathematicaldeterminationof intervals,and the rankingof scientia
musicaewitharithmetic, geometry,and astronomyby manymediaeval
writers.Withina shorttimethedemands[on thescience]increase;music
is classedamongsttheliberalarts,and theyoungstudentof tonalartand
tonal science is presentedwith a complex systemof musical maxims
whichhave been abstractedfromparticulartonalproducts.The symbols
fortonesare developed,and theirpitchand durationare measuredand
regulated more accurately. Indeed, for a time tonal production is
muzzledand curbedby theserulesand measures,untilit again paves for
itselfa pathway; and once more the demands on the science alter. It
shouldclarifytherelationshipbetweenmusicalartand theartof poetry,
and should delimitthefieldappropriateto tonal art. The genuine,true
artist carries on working unconcernedly;the scholar of art now
confrontstheinvestigation of theproductsof art. The modernscienceof
6 / 1981 YEARBOOK FOR TRADITIONAL MUSIC

art will base its researchabove all on theworks of art. Whichare then
thosefactorsor featureswhichwill guide thescientific examinationof a
tonal work?
If a work of art is underconsideration,it mustfirstof all be defined
palaeologically. If it is not writtenin our notation,9it must be
transcribed.Alreadyin thisprocesssignificant criteriaforthedetermina-
tionof thetimeof originof theworkmaybe gained. Then thestructural
nature of the work of art is examined. We begin with the rhythmic
features:has a time signaturebeen affixed,and if so, which; which
temporal relationshipsare to be found in the parts; how are these
groupedand what are thecharacteristics of theirperiodicrecurrence?10
One could justas well beginwithtonality,namely,thetonalnatureof
individualvoices and onlythenthatofthewhole-as was customaryfor
a timein theMiddle Ages, but is today,withjustice,no longerthecase.
The individualpartsare examinedwithrespectto cadences,transitions,
and accidentals,and placed in relation to the whole. Thereafterthe
polyphonicconstruction mustbe clarified:also therange [ambitus]and
distribution of thevoices; theimitationofthemesand motivesdepending
on theirentriesat different pitch-levels,and thedifferent time-intervals
of their succession; whether themes are augmented or diminished,
invertedor placed in oppositionto each other;further, themanagement
of consonancesand dissonances,theirpreparationand resolutionor free
entry.The way in which the individualvoices move in termsof one
anotheris thenpursued; the relationshipbetweenmain and subsidiary
voices, the adoption of a cantus firmus,the way it is employedand
broken down into segments,and the way in which the themesand
motivesare carriedthrough,are consideredand determined.
Should thecompositionhave a text,thenthisis criticallyexamined;at
firstonly as poetry,then in referenceto the way it has been set or
combinedwiththemelody.Here one mustgo intotheaccentuation,and
theprosodiccharacteristics in relationto themusical-rhythmic elements.
The treatment of the textoffersfurtherimportantclues with respectto
theevaluationof thework.
If the compositionis purelyinstrumental, thentheway in which the
instrumentor instrumentsare handled, must be gone into. The
instrumentation mustbe examined,thatis, theway in whichtheinstru-
mentalsound-groupsand -bodies" are unitedand separated,contrasted
and blended. Togetherwith this, the realisation[Ausfiihrung]-better
still,the pragmaticsinvolvedin performanceor realisation[Aus- oder
Auffiihrbarkeit]-can be considered;thefingering on theinstruments to
be used in this instance,the mannerof performance,the intensityof
volumeof soundat different points,thedistribution of the[instrumental]
voice types,etc.
When the main featuresare establishedand special particularshave
been ascertainedaccordingto theindividualnatureofthework,thenone
can addressthequestion,to whichspecies12of artdoes thepiecebelong,
namely,to whichspeciesaccordingto theperceptionof theperiodwhen
theworkof art originated,and in our view. Withthiswe approach-for
MUGGLESTONE GUIDO ADLER'SMUSICOLOGY/ 7

us-the importantdefinitivedecision about the period of originof the

work, and herewe can distinguish:
(a) theperiodin whichit was created;eithertheepoch generally,or
morespecificallytheschool, or finallyit can be attributed directlyto
a particularartist,and in the latter case furtherto a particular
creativeperiodof thecomposer[des Tonsetzersoder Tondichters].13
The older thework, the harderit is to affixan altogetheraccurate
date to theperiod of origin.
(b) it can also happen that a work originatedat a timeto which,
accordingto itsnature,it no longerbelongs;it can bear thestampof
a past artisticepoch. One can comparethecoursesofartisticepochs
withgeologicalstrata,even if only on a verydiminishedscale. Just
as the earth'scrustwas fashionedout of formationsbelongingto
different epochs, so also thetotalpictureof an age revealsa distinc-
tiveartisticcharacter.In such a case we mustdistinguish,therefore,
between the period of actual originand that to which the work
belongs by its nature. And even then, one will notice particular
features in the work which betray that, despite the outward
analogous characteristics, it yet does not wholly correspondto the
spirit of the age to which it belongs by virtueof its structureand
texture.One says thenthatthework is createdin themannerof this
or thatperiod or school, thisor thatcomposer.14

The determination of themood-substance[des Stimmungsgehaltes] the

aestheticcontent,may be seen as the touchstoneof criticalreflection.
Frequently,of course,thiscountsas thesole point,thealpha and omega
of criticalanalysis. Scientifically
speaking,thisaspect can be perceived
only when the other determinationshave been made. Here too one
attemptsto grasp firstof all the specificallymusical mood-substance.
However,in mostcases itwillbe a futileeffort to tryto translatethisinto
words, and even when a poeticsubject,whetheras textor only as idea,
served the composer [Tondichter]as the basis of the work of art, it
would be a courageous undertakingto articulate scientificallythe
analogy, as regards theiridentityand theirdifferences, between the
mood-substancesappropriateto both parts,i.e., word and tone. This is
likely to be relativelyeasier in musical-dramaticworks in which the
action offersa firmerbasis [forsuch apperception].
These are, in generaloutline,the objects of investigationin musico-
logicalresearch.Fromthisthesystemof thisscienceis to be constructed.
It consequentlysubdivides15 into an historicand a systematicsection.
The historyof music organisesitself16accordingto epochs-large and
small-or accordingto peoples, territories,17regions,cities,and schools
of art; the summing-upis eitherchronologicalor regional,or chrono-
logical and regional. In the final and highestinstance,however, the
historyof music looks at artisticcreationsas such, in theirmutual
concatenationand theirreciprocalinfluence,withoutspecial consider-
ation given to the lifeand effectof individualartistswho have partici-
pated in thissteadydevelopment.
8 / 1981YEARBOOKFOR TRADITIONALMUSIC

The subjectsof thehistoricalsectionare as follows:

(1) theknowledgeof notations.As alreadymentioned,themusical
symbolsstand in intimaterelationto the art itself.The mediaeval
notationsymbolsespecially,determineand stipulatetheproduction,
so that one can already achieve an historical categorisa-
tion-perhaps thechief--ofEuropean,Occidentalmusic,according
to thediversityofnotationalsymbols,intotheepoch of theneumes,
the epoch of mensuralnotation,and thatof metricdenotation;"'a
division that roughlyapproximatesthe subdivisioninto Roman,
Gothic, and Renaissance epochs as applied in the field of archi-
tecture.
(2) the summing-upof historicalgroups [categories],usuallycalled
musicalforms.The tonal productsof a particularperiod mutually
have, on theone hand, featuresin common,and on theotherhand,
differentfeatureswhich are suited to placing them in distinct
categories.The motet,frottola,villanella,madrigal,praeambulam,
ricercar,sonata, suite, symphony (in the modern sense), etc.,
belong,as regardstheirdevelopment,to specificperiods,and in this
way excellentinsights[viewpoints]may be gained towards an
overall [iibersichtlichen]art-historicalevaluation. It is probablynot
necessary to mention here how frequentlynames and terminology
are arbitrarily shiftedand misused.
(3) the investigationof the laws of art of different periods,which
takes the highestprecedence;this is the actual focal point of all
music-historical work. The mostsatisfying taskof thescholarof art
is to demonstrate and establishhow, proceedingfromthebeginnings
of simple melody, the structureof works of art graduallygrows;
how, proceedingfromthesimplestthesis,theartisticnormslatentin
the tonal productsbecome more and more complicated;how tonal
systemspass away withdisappearingcultures;how, littleby little,a
chain of cells attachesitselfto a limband so growsorganically;how
elementsstandingoutside the mainstreamof progressivedevelop-
mentperishbecause theyare notviable. One can say thatthelaws of
art changewiththegenerations;as manifoldas thechangesare, art
attainsdifferent stageswhich,withreference to thebeautyattainable
withintheirlimitations,cannotbe overstepped.
In the explicationof the laws of art of a particularperiod, one must
distinguish betweenthoseprinciplesthatare discernedin thepracticeof
artand thosethatare taughtas theory,because thetheoreticians, forthe
most part, only followin thefootstepsof historyat a certaindistance,
and whilelifepulseson, theyreflecton whatis past. Only withregardto
this aspect can the division into theoreticaland practical music be
approved. In theactual strictsenseof theword, thereis no such thingas
theoreticalmusic,but rathera theoryof music. As theoryis usuallyin
conflictwithcontemporary practice,one hitupon thenot veryapt term
'theoretical music', to which many French music researchersin
particular,clingstillto thisday.
It has seldomoccurredthata theoretician has pulledahead of history,
and then it was usually a blunderwhich the art practicesof the day
MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 9

ignored.To singleout but one instance:HieronymusofMoravia wanted

to introducemusicacoloratain thesecondhalfof thethirteenth century,
long beforemusicwas ready to take up chromaticism.As a result,the
attempt remained isolated, and was, despite its ingeniousness,an
impossibleproposition.It may also happen thattheoryand practiceare
to be foundunitedin one person.Then we mustdecidewhetherhe really
operatesin the spiritof his age or in thatof a past epoch. In the first
instance,thetaskof investigating thelaws of artof theperiodconcerned
is made easier; however,one mustalways, above all, retaintheworksof
art themselvesat the centreof investigation.
The explanation of the various ways in which art is practised,is
intimately connectedwiththeselaws. Vocal and instrumental techniques
have changed with the progressof art. On occasion the exerciseof
techniquehas acted as an influenceon the productionof art. This is
particularlythe case with instrumentsin vogue, which have even
occasionally, on the one hand detractedfrom,or on the otherhand
extended, creative activity. Frequentlyworks of art place on the
performer demandsto whichhe can do justiceonlyaftera long periodof
study.In thebeginningtheperforming artisteslet themselvesbe guided,
in theirrendering,generallyby theirinstinct;graduallythe interpre-
tationbecomes clearerand moreestablished,and in thisway a tradition
develops. Performing artisteshave taken a creativerole, at a specific
juncture,in the productionof art, namely,with regardto the use of
ornamentation.This feature owed its appearance to natural and
unnaturalimpulses,and, in the seventeenthand firsthalf of the eigh-
teenthcenturies,like a creeperor parasite, threatenedto smotheror
depleteof nourishment thehealthytree.
The instrumentalrealisation of polyphonic compositions with
different instruments,at thetimeof thefloweringof instrumental music,
was also generallyleft to the practisingmusicians,and the rules of
instrumentation germinatedin the ensuingusage. Intimatelyconnected
withthehistoryof orchestration is thehistoryof musicalinstruments as
regards their constructionand usage-a subsidiary sphere of the
historicalsectionof musicology.
A great numberof auxiliarysciencesare affiliatedto thissectionof
musicology:
(1) general history, with its ancillary sciences, palaeography,
chronology, diplomatics, bibliography, library and archival
knowledge; and in the fieldof musicology,musical palaeography
and bibliographyare especiallyimportantancillarysubject-areas;
(2) the historyof literature,and philology,which are inextricably
connectedwith music research,in thesame way as in vocal works
the musical tone is inseparablefromtheword;
(3) historyof the mimeticarts (orchesticsand dance), which are
likewiseorganicallylinkedwithmusic; and finally,
(4) thebiographyof composers[Tondichter]as well as thestatistics
ofmusicalassociationsand artinstitutions. In recenttimesbiograph-
ical studieshave disproportionately pushed theirway into thefore-
10 / 1981YEARBOOKFORTRADITIONALMUSIC

front of scholarly attention and have even been regarded as

musicologyXar' ,19 whereas theyconstitutein realityonly
an ancillaryfieldofo'yv
musicology-even thoughan importantone, to
be sure. In thisfield,besides theproductsof art of thecomposerin
question,only those aspects should be examinedwhichstand in a
director indirectrelationshipto the artistictemperament [Artung]
-a guidelineobservedby some excellentbiographies.Such aspects
include the physicalnatureof the artist,his education,the models
whichhe studiedand whose stylehe has absorbed,theinfluenceof
the environmenton his artisticoutlook, the artisticposition he
occupies,thoseeventswhichhave profoundlyaffectedhisemotional
life,the way in which he composes, his attitudetowardsthe other
arts,as well as, finally,his ethicaland culturalstandpoints.
The second main subdivisionin musicologyis thatof the systematic
section. This restson the historicalsection,and may be divided into
threeparts:
(a) a music-theoretical section,whichis reallyspeculative,
(b) a music-aesthetical section,and
(c) a music-paedagogicalsection.
In this subdivisionthose laws of art which have emergedfromthe
historicaldevelopmentas the highest-I say highestand not latest,as
thesetwo conceptsdo not always entirelycoincide-are systematically
organised,and are either:
(a) clarifiedand foundedas such, or
(b) [viewed]withregardto thebeautifulin art, thecriteriaofwhich
are beingdetermined,or finally
(c) [explicated]withreferenceto a paedagogical-didacticpurpose.
The objectsofinvestigation ofcriticalresearchdetermineherethesub-
divisioninto:
(1) rhythm, thatis, thesumming-up and clarification
ofall therules,
normsand laws affecting thetemporalpropertiesof musicalworks;
theabsolutemusicalrhythm in relationto thedynamicsof all bodies
and themetreand prosodyof languages.
(2) harmony,thatis, thesumming-upand clarification of the tonal
propertiesof successive tonal series, and contemporaryways of
connecting tones and tonal progressions; the formation and
foundationof the tone system,thatis, the unifiedoverviewof the
tonal materialof each culturalepoch.
(3) melody, that is, the resultsderivingfromboth of the afore-
mentioned subdivisions yield the investigationof the internal
relationships, thereciprocity of therhythmic and harmonicelements
of theworksofart. One could call thissection"Melik",whichit has
already sometimesbeen termed(even if not, to the best of my
knowledge,with thisprecisesignification). It explainsthepeculiar-
ities of monophonic,homophonicand polyphonicmusic, and so
attains,throughthemediumofthematicstudy--thatis, thescientific
investigation of thesignificance and rankof musicalideas in a work
of art-the considerationof theso-calledmusicalart forms,thatis,
MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 11

the abstractionsfrom the various mono- and polyphonic tonal

structures."Melik"is eitherabsolutelymusical,or is connectedwith
prosodyand metre,in whichcase it extendsthe object of examina-
tion to diction.
The formationand foundationof the highestlaws of art lead, of
necessity,to thecomparisonof individualnorms.Theirevaluationand
comparison lead, thus, to the field of aesthetics.*The elevation of
specificprinciplesand rulesto theaforementioned heightdemandsthat
the researcheroccupy himself,on the one hand, withtheworks of art,
and on the otherhand, with the mindsof theperceivingsubjects.Two
goals, therefore,confrontthe researcher,and to get to the bottom of
theirreciprocalrelationshipsmust be the ultimateaim of aesthetics.
Above all, however,what is at stakeis therecognitionof thecriteriathat
make a work of art; thosefeaturesthatcharacterisea workas an artistic
product.Is everytonalproducta work of art?Generallyspeaking,only
those which bear the criteriaof the beautifulin art in themselvesare
designatedas works of art. Thereforethe prevenientquestionmustbe
answered,what is thebeautifulin musicand how is thisrelatedto the
generalconceptof the beautifulin art? Throughthisdetermination all
tonal productsin which thesecriteriaare not demonstrable,are at the
same timedesignatedas inartistic.
One could pose the question, however, also in anotherway: must
everywork of art be beautiful?Are those tonal productswhichdo not
correspondto thesecriteriaof the beautifulnot also works of art? For
example, the requiemlitaniesin parallel seconds and fourths-as they
were customarilysung in Italy,particularlyin theAmbrosianliturgyin
Milan; are these only pathological manifestationsof anguish and
contrition,or are theyalreadyworks of art? They are, to be sure, the
latter,in the sense thata certaintechnicalskill is requiredin order to
performthem,but do theycorrespondas a resultalso to thedemandsof
thebeautifulin art?20These questionsare of thegreatestsignificance,
not
only for the determinationof the beautifulin art, but also for other
theses directly or indirectlyconnected therewith,which in total
constitutethatcomplexusually characterisedas the aestheticsof tonal
art.
Some of themostimportantpointsare hereextracted:
(a) originand effectof music. Is theeffectnecessarilygreaterwhen
themeans of expressionbecomes richerand multifarious?
(b) the relationshipof tonal art to nature. Are there also tonal
systemsthatare contraryto nature,as Goethe maintained?
(c) the relationshipof music to culture,climate,and the national
economicrelationshipsof a people; for,besides thepurelymusical
factors,stillothersaffectthe progressof art outsideof the specific
constructional elements,theinfluencesofwhichon thedevelopment
of art cannotbe overlooked.
* The expression"Philosophyof Music", used by Fetisto describe"theinvestigationof
artisticproductsand theirchanges",sufficesneitherfor historicalnor for aesthetic
musicology;thisonly mixesup the termsof different scientificfields.
12 / 1981 YEARBOOK FOR TRADITIONAL MUSIC

(d) thesubdivisionof tonalart accordingto thenatureof its origin,

or thelocalitywhereit is practised,or thepurposeswhichit serves;
[forexample],church,chamber,concerthall, theatre,opera, etc.
(e) thelimitsof tonal artwithreferenceto its abilityto express;the
delimitationof sound materialsthatmay be utilised,as opposed to
othersounds or noise;21those areas in which it is connectedto or
divorcedfromthe otherarts. Here we mustalso discuss the transi-
tionsinto theamorphousand thefortuitous(accordingto Goethe's
designation).
(f) the ethical effectsof tonal art, as ethics stands in immediate
relationto music,both accordingto the older as well as the more
modern philosophers,whilst some speak of an ethical basis for
musical feeling. Modern philosophers also pose the question
concerningthe position music takes in relation to metaphysics,
whichcan be regardedas thetouchstoneof all theseconsiderations.
Beside thesescientificquestionsthereare some musical issues of the
day whichdisturbthesouls of art-enthusiastic friendsof musicand art-
hostilezealots, and cleave asunderlarge multitudesinto enemycamps;
as, for example, the musical tapeworm:22 "when did the apogee of
religioustonal art occur, or what is genuinechurchmusic?" Further-
more, [thereis thequestionof] thestrifeabout rankbetweenvocal and
instrumentalmusic, which was already stimulated by Plato and
Aristotle;or the musico-politicalquestion: in the musical drama, does
theword or thetonepredominate,or does theactionreignsupreme?The
settlement of theseand similarissues arouses the interestof manywho
are otherwiseindifferent, and theresolutionof themlies latentin artand
science.
As the thirdmain subsectionof the systematicsubdivisionwe may
name musical paedagogy and didactics. If the laws are establishedin
abstractoand foundedin thenaturalsciences,thentheymustbe sifted
and put togetherwith a didactic purpose in mind. Accordingly,this
providesthe generalrudimentsof music,which comprisesthebasis of
musical knowledge;for example, the structureof scales, the natureof
intervalsand various rhythms,etc.; a theoryof harmony,thatis, the
tenetsconcerningthecombinationofharmonies;theteachingofcounter-
point,thatis, concerningthesimultaneousor successivecombinationof
two or moreindependentvoices; a theory of composition;and further-
more thedidacticmethodsused in vocal and instrumental training.
The seriesof disciplinesnamed is not necessarilytheonly possibleor
even thebest arrangement of thedidacticsection.For two centuriesthis
hierarchyhas been valid, and only in recenttimesdoes one regardthe
theoryof harmonyas superfluous,indeed, even as damaging.Even if
theseinstancesare accepted,theprogressof thedisciplinewould not be
materiallyaltered,as thenthebasic tenetswould have to be subsumed
underthegeneraltheoryof music.A moreexactorganisationwithinthe
individualdisciplineswould seem, however,to be urgentlyrequired.**

** This subjectwill be treatedmorefullyin a special paper.

MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 13

The relationshipof this paedagogical subdivision to the abstract

scientificone can be generallyexpressedas thesystemof didacticsbeing
satisfiedto selectthenormsand rulesnecessaryforlearningtheart,and
to presentthe propositionslaid down and establishedby the science,
withoutgoing into researchand deepersubstantiation(generallybased
on the natural sciences). It teaches, for example, the prohibitionof
consecutivefifths when writingstrictlyto rule,but harmonyseeks also
to account for the groundsunderlyingthisprohibitionand enquiresof
historytheperiod of its introduction, bringingintocorrelationwiththis
prohibitionthefactthatat one timeno one paid attentionto thisaspect
-indeed, [whichone may describeas] thedownrightprimaryharmonic
way ofcombiningsequencesoffifths.It pursuesthegraduallimitationof
the prohibition'sapplication,and then,having resolvedtheprevenient
historicalquestion,turnsto the investigationof its connectionwith the
physiologicalnatureof the ear, consideringthe grounds-perhaps the
dependence upon the alterationof the partials-and thus reaches a
detaileddetermination as to whichcases justifytheuse oftheprohibition
of consecutivefifths,and in which cases it is superfluous,or is not
observedby morefree-wheeling practice.In thisway scientificresearch
fashionsthebasis on which the disciplineis taught.
A new and very rewardingadjacent fieldof studyto the systematic
subdivisionis 'musicology',thatis, comparativemusicology.This takes
as itstaskthecomparingof tonalproducts,in particularthefolksongsof
variouspeoples,countries,and territories, withan ethnographic purpose
in mind, grouping and orderingthese according to the variety of
[differences] in theircharacteristics.
The auxiliarysciencesof systematicmusicologyare:
-acousticswithits associated field,mathematics;
-physiology,particularlyin thoseareas concerningaural sensation;
-psychology, particularlyin those areas concerningthe mental
conceptualisationof tones and interval relationships,and the
practical counterpart thereof, namely, the theory of musical
thinking,which may be regardedas a part of generallogic;
-grammar,metreand poetics;
-and, as an ancillaryfieldto the musical paedagogical subdivision,
generalpaedagogics.
Manifold otherareas of knowledgemay also be touchedupon, and
stand partiallyin the interchangeof ideas; areas which it is considered
unnecessaryto mention(see Table I).
The methodologyof musicologicalresearchdependson thenatureof
the subject under investigation. In palaeographical matters, the
researcherapplies every means usually characterisedas a method of
researchin thehistoricalauxiliarysciences.He followsall paths thatthe
manuscriptresearcherand the palaeographerhave levelled,but in the
fieldof [musical]notationhe musttreadcertainbypathslyinga littleto
one side of thebroad mainstream.Here experiencewillbe theteacher.In
philologicaland literaryhistoricalmatters,themusicresearcherutilises
anew every pathway that the science in question has laid out. Here,
 14 / 1981 YEARBOOK FOR TRADITIONAL MUSIC

TABLE 1

appears thus:
In Tabular Form,an Overview of the EntireConstruction***
MUSICOLOGY

I. HISTORICAL
(Historyof musicaccordingto epochs, peoples, empires,nations,regions,
cities,schools of art, artists).
A. Musical B. Basic historical C. Historical D. Historyof musical
palaeography categories(Grouping sequence of laws. instruments.
(notations). of musicalforms). 1. As theyare
presentedin the
works of art of every
epoch.
2. As taughtby the
theoreticians of the
age in question.
3. Ways of practising
art.

Auxiliarysciences: GeneralHistorywithPalaeography,Chronology,Diplomatics,
Bibliography,Libraryand ArchivalScience.
Historyof Literatureand Philology.
LiturgicalHistory.
Historyof MimeticArtsand Dance.
Biographiesof composers,Statisticsof musicalassociations,
institutes
and performances.

*** For
purposesof comparison,thesynoptictable accordingto Aristides
Quintilianus,whichcontainsthemostcomprehensiveoverviewof theGreek
systemof musicaldidactics,is given.
SYSTEM OF MUSIC

I. 9EQPHTIKON (Theoreticalor speculativesection)

A. dv (Physical-scientific)
uvaOr B. re(vuL6vu(Special-technical)

a. caPLO/rTLXr b. wvauxr? c. dp/ovuwx?d. e.

/Ierptj?
(Arithmetic) (Physics) (RvOytm
(Harmony) (Rhythm) (Metrics)
 MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 15

II. SYSTEMATIC
(Establishingof thehighestlaws in theindividualbranchesof tonal art).

A. Investigationand B. Aestheticsof tonal C. Musical D. "Musicology"

foundingof these art. paedagogicsand (Examinationand
laws in: 1. Comparisonand didactics(The comparisonfor
1. Harmony(tonal). evaluationof these compilationof these ethnographic
2. Rhythm laws and their laws withrespectto purposes).
(temporal). relationto the teachingpurposes).
3. Melody perceivingsubjects, 1. Scales.
Coherence25 of tonal withrespectto the 2. Theoryof
& temporal. ascertainingof the harmony.
criteriaof the 3. Counterpoint.
musicallybeautiful. 4. Theoryof
2. The complexof composition.
directlyand indirectly 5. Orchestration.
relatedquestions. 6. Vocal &
instrumental teaching
methods.

Auxiliarysciences: Acousticsand mathematics.

Physiology(tone sensation).
Psychology(tone perception,tone-judgement,
tone-feeling).
Logic (musicalthinking).
Grammar,metrics,and poetry.
Paedagogics.
Aesthetics,etc.

II. IlPAKTIKON- fAIAETTIKON (Didacticor practicalsection)

C. Xpjrxdv (Theoryofcomposition) D. Qa irgtXvxdv

Performance
praxis)

f. yjtXoroda h. ro(lqats i. 6p?apvteXk.

g. 5v6pOorolda
(Poetics)(Instrumental AtxrJ l. Oroxptrtx-q
(Melodic (Rhythmic (Singing) (Dramatic
composition) composition performance) action)
or applied
rhythm)
16 / 1981YEARBOOKFORTRADITIONALMUSIC

however, he will have to proceed with a litle more caution because,

whilstmanyphilologistshave succeededsplendidlyand have veeredoff
thepath of life,everyhistorianof art,on thecontrary,mustlistento the
lifepulse of theartisticformsand would not wish to kill themwithhis
probe.
To attain his main task, namely,the researchof the laws of art of
diverse periods and theirorganic combinationand development,the
historianof artutilisesthesame methodologyas thatof theinvestigator
of nature; that is, by preferencethe inductivemethod. From several
exampleshe extractsthatwhichis commonand separatesthoseaspects
whichdiffer,and utilisesalso themethodof abstractionin which,from
givenconcreteconceptions,particularsectionsare neglectedand others
preferred. The settingup ofhypothesesis also notinconceivable.A more
detailedexplicationof theforegoingis reservedfora special paper; the
emphasisherelies in theanalogybetweenthemethodologyofthescience
of art and thatof the naturalsciences.
The settingup of thehighestlaws of art and theirpracticalutilisation
in musicalpaedagogicsrevealthesciencein unmediatedcontactwiththe
actual life of art. The science attainsits goal to its fullestextentonly
when it remainsin livingcontactwithart. Artand thescienceof art do
not existin separatecompartments, theboundariesof whichare sharply
drawn; ratherit is farmoreone and thesame field,and onlytheway in
whicheach is treateddiffers.
The artistbuilds his templein thegrove,in thegrovewherefragrance
is newly revived, time and again, fromfreelygrowingflowers.The
theoreticianof arttillstheearth;he educatesthedisciplesto hislife'stask
and accompanies the inspiredcreatoras a lifelongcompanion. Should
the scholar of art observe that mattersare not turningout in the best
interestsofart,thenhe directsit onto thepropercourse. Ifthebuildingis
already erected,then the historianof art protectsand defendsit and
repairsthe damaged portions.Should it become quite dilapidated,then
he buttressesit in orderto preserveit forfuturegenerations.Withthese
operations, however, the true frienddoes not content himself.He
arranges and organises the whole, and in this way makes it more
accessibleto thepublic. Should it be stormedor broughtdown, thenhe
surroundsit or withdrawsit a certaindistance,and saves it in thisway
forperiodsthatwill once again show the properappreciationof it.
One of his loveliesttasks,however,is to keep freshthelivingflower
gardenof theearthlykingdomby arousingand furthering thenecessary
interest.Unfortunately, mostof thewriterson art have endeavouredto
withdrawfromthisexaltedduty. Ultimatelytheyare the guardiansof
order. They codify,as has been shown, the correctpracticethathas
becomelaw; however,theymust-or rathershould-also keepitflexible
with regardto life'sexigencies.When the artistabandons the regionof
his forefathers in orderto conquera new territory, thenthehistorianof
art does not allow the old to become desertedand desolate, but at the
same timetakesupon himselfthedual taskof assisting,withhis armyof
helpers,theartistin theoccupation[oftheterritory] by lendinga hand in
MUGGLESTONE GUIDO ADLER'SMUSICOLOGY/ 17

making the newly acquired soil arable, and settingup the equipment
needed to constructa new work. His experiencesserve to advise the
young builder. Should the latter,throughoverconfidence, refusesuch
helpfulparticipation, thenhe will eitherfail to
altogether completethe
building,23or the building will soon collapse because it stands on
unstablegroundand is unable to withstandthewind and weather.
From the cradle to the grave the researcherof art accompanies the
artist;thespiritualchildrenofthelatter,thetruthofhislife'scourse,will
be shieldedand defendedby the historianof art beyond thegrave. As
independenceof judgementin thecase of thedeceased artistis easy, it is
obligatoryto retain the same attitudealso with respectto the living
artist.Voltaire'sexpression"son doit des egards aux vivants,on ne doit
aux mortsque la verites"24 implies,despiteitsapparentcourteousness,a
greaterdanger,namely,that,just as one shows particularconsideration
towards one person, towardsanotherone acts just as inconsiderately,
and so allows oneselfto be guided by predetermined sympathiesand
antipathies,whose distortions stainmanya page in thehistoryofwriters
about art. As a result, the most importantbasic tenet should be:
"Concerningthelivingas the dead, nothingbut the truth."
Besides the pursuitof its absolute endeavours-as a consequenceof
whichit regardsitselfas an end in itself,not concerningitselfabout its
widerpracticalutilisation-thesciencewill thencontributeto theproper
comprehensionand evaluationof thevariousepochs of art,and on that
basis, to themostimportantresultofitsinvestigations, theestablishment
of thesupremelaws withintheindividualbranchesof art. And, in view
of the confusionin the contemporarystate of the arts and the evident
vacillationin artisticproduction,it will contributealso to theimprove-
mentof thepresentsituationofart. It has been assertedthattheincipient
expansion of the science of art is a certainsign of the decline of art.
However, it has been explained above that the creation of art is
impossiblewithouta knowledgeof art. Should it actually occur that
reflection and researchtake theupperhand, thenthiswould forthetime
beingmerelydemonstratethathistoricalappreciationhad strengthened.
This has, however,long been recognisedas highlyadvantageousto the
apperceptionof works of art.
If thescienceofartkeepswithinitsnaturalboundsand uniteswiththe
artistsin specifictasks, as, for example, in restoring,arrangingand
performing historicalworks,thenit is impossibleforit to jeopardisethe
of
production art,quiteapartfromthefactthata genuinecreativepower
allows itselfto be guided and educatedbut not suppressed.Above all,
however,the scienceitselfmustgrow in strength;it mustlimititselfin
termsof theproperevaluationof thetasksimmediately at hand, and so
attainmastery.
In the Introductionto theJahrbiichern fairmusikalischeWissenschaft
[Yearbooks for Musical Science] (Leipzig: Breitkopf& Hirtel, 1863),
Chrysanderwrote:
One should neverforegotheconvictionthat,that
which is created by the spirit,littleby littlein
18 / 1981YEARBOOKFORTRADITIONALMUSIC

naturaldevelopment,will,in thecourseofgaining
insight,again be unified.
Concerningthisfieldof knowledgeespecially,he commentedfurther:
The main cause of doubt generally adduced,
namely, that musical science should ever attain
theheightor innerperfection ofthatofthegraphic
arts-because music in its essence is too elusive
thanthatin its fielda sciencecould evolve which
could meetthehighestdemands-is an illusion.
And, as if it had been writtento elucidatethe foregoing,a sectionin
Spitta'sFestredeon "Art and the Science of Art",given on March 21,
1883, at theRoyal Academy of theArtsin Berlindeclares:
The science of art, few branchesexcepted,still
grappleswith all the difficulties of the beginner.
Withoutthe backing of a firmtradition,fluctu-
ating in its methodand oftenquestionablein its
results,it is considered,even amongstscholars,
more as an adjunctto otherscientific disciplines,
because itlacks thepowerto standon itsown feet.
As it has not only a philosophical,but also a
physical-mathematical, and even an historicaland
philosophicalside, it reaches,in fact,intovarious
otherindependentfieldsof science,and it is only
its object of researchthat enables it to claim a
place foritselfunderthe sun. Furthermore, until
now it has scarcelybeen attemptedanywhereto
bring to public recognition,withinthe world of
scienceand societyat large,theunificationof the
diverse directionsof the science of art into an
independentwhole. Nevertheless, thiswillhave to
occur in the short or long term. The research
material is too rich and important,the prere-
quisitesfortheresearcher's successfulovercoming
of these problems are too unique, than that it
could notbe assumedthatthescienceofartwould
achieve a recognised place amongst its sister
sciences. But, howeverthatmay be, it is certain
that here great scientifictasks lie ahead, the
solutionsto whichmustand will be found.
May the presentattempttowardsa unitaryfieldtheoryof musicology
contributetowardsmeetingtheseneeds!
Everystepthatleads to thisgoal, everydeed thatpushesus closerto it,
signifiesprogressin our human insight.The more sincerethe will, the
more effectivethe consequence;the more comprehensivethe expertise,
the more meaningfulthe product; the more who share in the
undertaking,the more profoundthe effect[result],which bears the
highestvalue: Discoveryof theTrue and Advancementof theBeautiful.
MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 19

The authorgratefullyacknowledgestheconsiderablehelp givenin thepreparationof this

paper by ProfessorDieter Christensenof Columbia University.

NOTES

1. The termMusikwissenschaft had been in existencesince the second quarterof the

nineteenthcentury, and was fairly established by mid-century.Nevertheless,
Chrysanderstill used the older term'musikalischeWissenschaft' in the titleof the
journalhe foundedin 1863. By usingthetermin itstitle,thenew journalsettheseal of
approval on itsacceptanceas thedesignationfortheemergingacademicdiscipline.It
is in thissense thatit was thefirstto do so.
2. The Englishword 'science'is used throughout in itsoriginalsenseof 'anysystematised
body of knowledge'.
3. This was, in fact, the second chair of musicologyto be foundedin the German-
speakingworld. The firstwas establisheda year earlierat Strassburg[Strasbourg],
whereJakobsthaltook up theappointment.
4. It is no accident that the term Kunst [art], and its derivativeand compound
formations,outweighby a factorof two the termMusik and its derivativeand
compoundformations.Adlerconsistently relatesthescienceofmusicto thescienceof
art in general.
5. This can be perceivedmore clearlyin Adler's inaugurallectureof 1898, where the
mottonow reads: 'throughunderstanding of art, to have an effecton art'.
6. The comparativemethodwas the ubiquitoustool of scholarshipin the nineteenth
century,and was applied in fieldsotherthanthephysicaland naturalsciencesas well,
forexample,in linguisticsand religion.
7. Stylisticlaws reveala processofselection.As muchof Adler'smetaphoricallanguage
suggeststhathe perceivedhistory,and musicas an art,in termsofa livingorganism,
it is not unreasonableto speak of thisprocessof selectionas in some way 'natural'.
The essentialoriginalityin Darwin's theoryof evolution lay in his attributingto
naturetheprocessofselectionby meansof theconceptofsurvivalof thefittest, which
is itselfa metaphoricalview of nature,conceivingit as havingsome kindof mind.In
speaking of the investigationof stylisticlaws, Adler's imagery is thoroughly
Darwinian. It is not thecomposerwho selects;the musicalformsthemselvesgrow,
like chains of cells, or die because theyare not fitto survive.
8. AlthoughAdler used the word Tonkunst,in the contextof the openinghistorical
outlineof thedevelopmentof thescienceof music,it seemedappropriateto translate
theword in termsof thiscontext.However, theopeningsentencemaybe interpreted
as meaning that the concept of 'tonal art' is a modern one, synchronicwith the
developmentof musicology.
9. Adler was referring to pre-nineteenth centurysystemsof notation.The twentieth
centuryhas witnesseda proliferation of notationalsystems.
10. The verb periodisirthas no Englishequivalent.The conceptof periodicityinvolves
regularand irregularrecurrence,hence theformatof the translation.
11. The Germanword Klang has theconnotationof timbre,but is an indefinite concept
which is best translatedas 'sound', even thoughthe lattertermlacks such a conno-
tation.
12. The word Gattungwas similarlytranslatedby Strunkas 'species'-see Adler (1934).
This interpretation is impliedby his imagery.
13. The word Tondichteris used as a synonymfor'composer'.Adlermay have had the
'sisterscience' of literaryhistoryin mind, or have been using a commonplace
Romanticnotion of the composeras poet. The termTonsetzerpresentsdifficulties.
Did he mean a 'compositorof tones',or a personwho sets words to music?
14. The word used is Meisterin the sense of a 'mastercraftsman'.
15. Adler uses the word zerffillt, meaning'to fall into more than one part', implyinga
'natural'division.
16. The verbgliedertindicatesthat,in Adler'sview, thehistoryofmusicacts likea living
organismin theprocessof organisation.
20 / 1981 YEARBOOK FOR TRADITIONAL MUSIC

17. In theattachedtable,thetermTerritorien is replacedwiththetermReichen,meaning

'empires',thusindicatingAdler'sunderlyingthought.
18. The word used is Taktbezeichnung.
19. The phrasemeans 'par excellence'.
20. In themuscialtheoryof tonalmusic,secondsand fourthsare dissonant,thelatterif
heardbetweenthebass and an uppervoice; therefore, motionin parallelsecondsand
fourthswas anathematic.
21. The Germanlanguageis particularly richin wordsfordifferent kindsof sounds. The
words used hereare Klang, Schall, and Gerliusch.
22. Adler uses the word Bandwurmmetaphorically,indicatingthat these questions
persist.They are like thetapewormin havinga beginning(head), but no end in sight
as theykeep growinga tail.
23. The phrase'unterDach bringen ', meaningliterally'to bringundertheroof',indicates
a late stagein theconstruction
of stoneor brickbuildings,wheretheouterwalls have
to be completedto theheightat whichtheywill supporttherafters beforetheroofis
put on. In wooden framehouses, theroofis supportedby theskeletalframework, and
is put on beforethewalls are clad.
24. 'One owes respectto theliving,and nothingbut the truthto thedead'.
25. Adler uses the term Cohdirenzwhich has the meaning of a 'natural or logical
connection'.This word is closer to his thoughtthanthatof 'correlation'-as used in
the translationof the table given in the New Grove Dictionary of Music and
Musicians (1980: s.v. "Musicology")- which suggests relationshipsof a more
arbitrarynature.

PUBLICATIONS CONSULTED

Adams, F.D.
1938 The Birthand Developmentof the Geological Sciences. Baltimore:The
Williams& WilkinsCo.
Adler,Guido
1885 "Umfang,Methode und Ziel der Musikwissenschaft."
Vierteljahrsschrift
1: 5-20.
fiirMusikwissenschaft

1898 "Musikund Musikwissenschaft."

Jahrbuch
derMusikbibliothek
Peters5:
29-39.

1934 Musical Quarterly20 (2): 172-176.

"Style-Criticism."

1935 Wollen und wirken: aus dem Leben eines Musikhistorikers,

Vienna,
Leipzig: Universal.
Carner,Mosco
1944 "A Pioneer of Musicology: Guido Adler." In Of Men and Music, pp.
14-16. London: JosephWilliamsLtd.
Collingwood,R.G.
1946 The Idea of History,Oxford: OxfordUniversityPress; OUP paperback
1956; reprinted., 1980.
EncyclopaediaBritannica,14thed. (1973).
S.v. "Aesthetics,"by Helmut Kuhn; "Comparative Anatomy," by
FlorenceMoog; "Darwin,"by Sir Gavin de Beer; "Darwinism,"by Loren
Corey Eiseley; "Evolution,"by Sewall Wright;"Geology," by Chester
Ray Longwell; "Science, Historyof," by C. Stevens; "Philosophy,"by
WilliamHenryWalsh.
Engel,H.
1950 "Die Entwicklungder Musikwissenschaft, 1900-1950."Neue Zeitschrift
fiirMusik 111: 16-22.
MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 21

Ficker,Rudolfvon
1946 "Guido Adlerund die WienerSchulederMusikwissenschaft." Osterreich-
ische Musikzeitschrift1 (6): 185-187.
Fischer,W.
1924-5 "Guido Adlers Methode der Musikgeschichte."Zeitschriftfiir Musik-
wissenschaft7: 500-503.
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Studienzur Musikgeschichte:FestschriftfiirGuido Adler zum 75 Geburtstag:
1930 Vienna: Universal.