The Scope, Method and Aim of Musicology
The Scope, Method and Aim of Musicology
The Scope, Method and Aim of Musicology
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GUIDO ADLER'S "THE SCOPE, METHOD, AND AIM
OF MUSICOLOGY" (1885): AN ENGLISH
TRANSLATION WITH AN HISTORICO-ANALYTICAL
COMMENTARY
by Erica Mugglestone
Introduction
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2 / 1981 YEARBOOK FOR TRADITIONAL MUSIC
Historical Context
Guido Adler was born at Eibenschiitz in Moravia (then still part of the
Austro-Hungarian Empire, now known as Ivancice in Czechoslovakia)
in 1855. Nine years later the family moved to Vienna after the death of
his father, and in his teens he studied theory of music and composition
under Bruckner and Dessoff at the Vienna Conservatory. He intended
taking up a legal career, and studied law at the University of Vienna,
even serving briefly at the Vienna Handelsgericht [Court of Trade or
Commerce], but decided to pursue his interest in music history. In 1880
he was awarded a doctorate with a dissertation on the basic historical
categories of Western liturgical music up to 1600. Two years later he
completed his Habilitation [accreditation as a university lecturer] with a
dissertation on the history of harmony.
In 1882 Adler was appointed as a Privatdozent [unsalaried lecturer] of
music history at the University of Vienna, becoming a professor of music
history at Prague in 1885, the year of publication of the paper in
question. Three years later he returned to the University of Vienna as an
Ordinarius [professor] of music history.3 Here he founded the Institute of
Music History as a centre for musicological research, which became a
model for the subsequent establishment of similar departments in other
universities. He remained there until his retirement in 1927.
Throughout the nineteenth century, Germany and Austria had led the
rest of Europe in establishing modern musical scholarship. As Hanslick's
successor in Vienna, Adler occupied an important musical and academic
position, and his career coincided with the most productive period in
Austro-German musicology. Nevertheless, at the time of his appoint-
ment, within the Austro-German universities the history of music had
lagged behind the other arts in becoming established as an entity
independent of general historiography. Adler was very conscious of the
fledgeling status of the discipline in academia, especially vis-a-vis the fine
arts, and his paper must be read in terms of this specific context.4
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MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 3
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4 / 1981 YEARBOOK FOR TRADITIONAL MUSIC
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MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 5
Guido Adler
All peoples of whom it can be said that they have a tonal art, also have
a tonal science, even if not always a developed musicological system.
The more advanced the first, the more developed is the second. The tasks
of musicology vary according to the state of development of the tonal
art. In the beginning the science endeavours especially to determine,
define and explain the tonal material. This accounts for the importance
of the musical canon amongst the Greeks, that is, the teaching of the
mathematical determination of intervals, and the ranking of scientia
musicae with arithmetic, geometry, and astronomy by many mediaeval
writers. Within a short time the demands [on the science] increase; music
is classed amongst the liberal arts, and the young student of tonal art and
tonal science is presented with a complex system of musical maxims
which have been abstracted from particular tonal products. The symbols
for tones are developed, and their pitch and duration are measured and
regulated more accurately. Indeed, for a time tonal production is
muzzled and curbed by these rules and measures, until it again paves for
itself a pathway; and once more the demands on the science alter. It
should clarify the relationship between musical art and the art of poetry,
and should delimit the field appropriate to tonal art. The genuine, true
artist carries on working unconcernedly; the scholar of art now
confronts the investigation of the products of art. The modern science of
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6 / 1981 YEARBOOK FOR TRADITIONAL MUSIC
art will base its research above all on the works of art. Which are then
those factors or features which will guide the scientific examination of a
tonal work?
If a work of art is under consideration, it must first of all be defined
palaeologically. If it is not written in our notation,9 it must be
transcribed. Already in this process significant criteria for the determina-
tion of the time of origin of the work may be gained. Then the structural
nature of the work of art is examined. We begin with the rhythmic
features: has a time signature been affixed, and if so, which; which
temporal relationships are to be found in the parts; how are these
grouped and what are the characteristics of their periodic recurrence?10
One could just as well begin with tonality, namely, the tonal nature of
individual voices and only then that of the whole-as was customary for
a time in the Middle Ages, but is today, with justice, no longer the case.
The individual parts are examined with respect to cadences, transitions,
and accidentals, and placed in relation to the whole. Thereafter the
polyphonic construction must be clarified: also the range [ambitus] and
distribution of the voices; the imitation of themes and motives depending
on their entries at different pitch-levels, and the different time-intervals
of their succession; whether themes are augmented or diminished,
inverted or placed in opposition to each other; further, the management
of consonances and dissonances, their preparation and resolution or free
entry. The way in which the individual voices move in terms of one
another is then pursued; the relationship between main and subsidiary
voices, the adoption of a cantus firmus, the way it is employed and
broken down into segments, and the way in which the themes and
motives are carried through, are considered and determined.
Should the composition have a text, then this is critically examined; at
first only as poetry, then in reference to the way it has been set or
combined with the melody. Here one must go into the accentuation, and
the prosodic characteristics in relation to the musical-rhythmic elements.
The treatment of the text offers further important clues with respect to
the evaluation of the work.
If the composition is purely instrumental, then the way in which the
instrument or instruments are handled, must be gone into. The
instrumentation must be examined, that is, the way in which the instru-
mental sound-groups and -bodies" are united and separated, contrasted
and blended. Together with this, the realisation [Ausfiihrung]-better
still, the pragmatics involved in performance or realisation [Aus- oder
Auffiihrbarkeit]-can be considered; the fingering on the instruments to
be used in this instance, the manner of performance, the intensity of
volume of sound at different points, the distribution of the [instrumental]
voice types, etc.
When the main features are established and special particulars have
been ascertained according to the individual nature of the work, then one
can address the question, to which species12 of art does the piece belong,
namely, to which species according to the perception of the period when
the work of art originated, and in our view. With this we approach-for
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MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 7
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8 / 1981 YEARBOOK FOR TRADITIONAL MUSIC
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MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 9
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10 / 1981 YEARBOOK FOR TRADITIONAL MUSIC
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MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 11
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12 / 1981 YEARBOOK FOR TRADITIONAL MUSIC
(d) the subdivision of tonal art according to the nature of its orig
or the locality where it is practised, or the purposes which it serv
[for example], church, chamber, concert hall, theatre, opera,
(e) the limits of tonal art with reference to its ability to express;
delimitation of sound materials that may be utilised, as oppos
other sounds or noise;21 those areas in which it is connected t
divorced from the other arts. Here we must also discuss the transi-
tions into the amorphous and the fortuitous (according to Goethe's
designation).
(f) the ethical effects of tonal art, as ethics stands in immediate
relation to music, both according to 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
concerning the position music takes in relation to metaphysics,
which can be regarded as the touchstone of all these considerations.
Beside these scientific questions there are some musical issues of the
day which disturb the souls of art-enthusiastic friends of music and art-
hostile zealots, and cleave asunder large multitudes into enemy camps;
as, for example, the musical tapeworm:22 "when did the apogee of
religious tonal art occur, or what is genuine church music?" Further-
more, [there is the question of] the strife about rank between vocal and
instrumental music, which was already stimulated by Plato and
Aristotle; or the musico-political question: in the musical drama, does
the word or the tone predominate, or does the action reign supreme? The
settlement of these and similar issues arouses the interest of many who
are otherwise indifferent, and the resolution of them lies latent in art and
science.
As the third main subsection of the systematic subdivision we may
name musical paedagogy and didactics. If the laws are established in
abstracto and founded in the natural sciences, then they must be sifted
and put together with a didactic purpose in mind. Accordingly, this
provides the general rudiments of music, which comprises the basis of
musical knowledge; for example, the structure of scales, the nature of
intervals and various rhythms, etc.; a theory of harmony, that is, the
tenets concerning the combination of harmonies; the teaching of counter-
point, that is, concerning the simultaneous or successive combination of
two or more independent voices; a theory of composition; and further-
more the didactic methods used in vocal and instrumental training.
The series of disciplines named is not necessarily the only possible or
even the best arrangement of the didactic section. For two centuries this
hierarchy has been valid, and only in recent times does one regard the
theory of harmony as superfluous, indeed, even as damaging. Even if
these instances are accepted, the progress of the discipline would not be
materially altered, as then the basic tenets would have to be subsumed
under the general theory of music. A more exact organisation within the
individual disciplines would seem, however, to be urgently required.**
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MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 13
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14 / 1981 YEARBOOK FOR TRADITIONAL MUSIC
TABLE 1
I. HISTORICAL
(History of music according to epochs, peoples, empires, nations
cities, schools of art, artists).
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MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 15
II. SYSTEMATIC
(Establishing of the highest laws in the individual branches of
B. Aesthetics of tonal
A. Investigation and C. Musical D. "Musicology"
founding of these art. paedagogics and (Examination and
laws in: 1. Comparison and didactics (The comparison for
1. Harmony (tonal). evaluation of these compilation of these ethnographic
2. Rhythm laws and their laws with respect to purposes).
(temporal). relation to the teaching purposes).
3. Melody perceiving subjects, 1. Scales.
Coherence25 of tonal with respect to the 2. Theory of
& temporal. ascertaining of the harmony.
criteria of the 3. Counterpoint.
musically beautiful. 4. Theory of
2. The complex of composition.
directly and indirectly 5. Orchestration.
related questions. 6. Vocal &
instrumental teaching
methods.
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16 / 1981 YEARBOOK FOR TRADITIONAL MUSIC
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MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 17
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18 / 1981 YEARBOOK FOR TRADITIONAL MUSIC
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MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 19
NOTES
1. The term Musikwissenschaft had been in existence since the second quarter of t
nineteenth century, and was fairly established by mid-century. Nevertheles
Chrysander still used the older term 'musikalische Wissenschaft' in the title of t
journal he founded in 1863. By using the term in its title, the new journal set the seal o
approval on its acceptance as the designation for the emerging academic discipline.
is in this sense that it was the first to do so.
2. The English word 'science' is used throughout in its original sense of 'any systematised
body of knowledge'.
3. This was, in fact, the second chair of musicology to be founded in the German-
speaking world. The first was established a year earlier at Strassburg [Strasbourg],
where Jakobsthal took up the appointment.
4. It is no accident that the term Kunst [art], and its derivative and compound
formations, outweigh by a factor of two the term Musik and its derivative and
compound formations. Adler consistently relates the science of music to the science of
art in general.
5. This can be perceived more clearly in Adler's inaugural lecture of 1898, where the
motto now reads: 'through understanding of art, to have an effect on art'.
6. The comparative method was the ubiquitous tool of scholarship in the nineteenth
century, and was applied in fields other than the physical and natural sciences as well,
for example, in linguistics and religion.
7. Stylistic laws reveal a process of selection. As much of Adler's metaphorical language
suggests that he perceived history, and music as an art, in terms of a living organism,
it is not unreasonable to speak of this process of selection as in some way 'natural'.
The essential originality in Darwin's theory of evolution lay in his attributing to
nature the process of selection by means of the concept of survival of the fittest, which
is itself a metaphorical view of nature, conceiving it as having some kind of mind. In
speaking of the investigation of stylistic laws, Adler's imagery is thoroughly
Darwinian. It is not the composer who selects; the musical forms themselves grow,
like chains of cells, or die because they are not fit to survive.
8. Although Adler used the word Tonkunst, in the context of the opening historical
outline of the development of the science of music, it seemed appropriate to translate
the word in terms of this context. However, the opening sentence may be interpreted
as meaning that the concept of 'tonal art' is a modern one, synchronic with the
development of musicology.
9. Adler was referring to pre-nineteenth century systems of notation. The twentieth
century has witnessed a proliferation of notational systems.
10. The verb periodisirt has no English equivalent. The concept of periodicity involves
regular and irregular recurrence, hence the format of the translation.
11. The German word Klang has the connotation of timbre, but is an indefinite concept
which is best translated as 'sound', even though the latter term lacks such a conno-
tation.
12. The word Gattung was similarly translated by Strunk as 'species'-see Adler (1934).
This interpretation is implied by his imagery.
13. The word Tondichter is used as a synonym for 'composer'. Adler may have had the
'sister science' of literary history in mind, or have been using a commonplace
Romantic notion of the composer as poet. The term Tonsetzer presents difficulties.
Did he mean a 'compositor of tones', or a person who sets words to music?
14. The word used is Meister in the sense of a 'master craftsman'.
15. Adler uses the word zerffillt, meaning 'to fall into more than one part', implying a
'natural' division.
16. The verb gliedert indicates that, in Adler's view, the history of music acts like a living
organism in the process of organisation.
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20 / 1981 YEARBOOK FOR TRADITIONAL MUSIC
17. In the attached table, the term Territorien is replaced with the term Reichen, mean
'empires', thus indicating Adler's underlying thought.
18. The word used is Taktbezeichnung.
19. The phrase means 'par excellence'.
20. In the muscial theory of tonal music, seconds and fourths are dissonant, the latter
heard between the bass and an upper voice; therefore, motion in parallel seconds an
fourths was anathematic.
21. The German language is particularly rich in words for different kinds of sounds. The
words used here are Klang, Schall, and Gerliusch.
22. Adler uses the word Bandwurm metaphorically, indicating that these questions
persist. They are like the tapeworm in having a beginning (head), but no end in sight
as they keep growing a tail.
23. The phrase 'unter Dach bringen ', meaning literally 'to bring under the roof', indicates
a late stage in the construction of stone or brick buildings, where the outer walls have
to be completed to the height at which they will support the rafters before the roof is
put on. In wooden framehouses, the roof is supported by the skeletal framework, and
is put on before the walls are clad.
24. 'One owes respect to the living, and nothing but the truth to the dead'.
25. Adler uses the term Cohdirenz which has the meaning of a 'natural or logical
connection'. This word is closer to his thought than that of 'correlation'-as used in
the translation of the table given in the New Grove Dictionary of Music and
Musicians (1980: s.v. "Musicology")- which suggests relationships of a more
arbitrary nature.
PUBLICATIONS CONSULTED
Adams, F.D.
1938 The Birth and Development of the Geological Sciences. Baltimo
Williams & Wilkins Co.
Adler, Guido
1885 "Umfang, Methode und Ziel der Musikwissenschaft." Vierteljahrsschrift
fiir Musikwissenschaft 1: 5-20.
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: Joseph Williams Ltd.
Collingwood, R.G.
1946 The Idea of History, Oxford: Oxford University Press; OUP paperback
1956; reprint ed., 1980.
Encyclopaedia Britannica, 14th ed. (1973).
S.v. "Aesthetics," by Helmut Kuhn; "Comparative Anatomy," by
Florence Moog; "Darwin," by Sir Gavin de Beer; "Darwinism," by Loren
Corey Eiseley; "Evolution," by Sewall Wright; "Geology," by Chester
Ray Longwell; "Science, History of," by C. Stevens; "Philosophy," by
William Henry Walsh.
Engel, H.
1950 "Die Entwicklung der Musikwissenschaft, 1900-1950." Neue Zeitschrift
fiir Musik 111: 16-22.
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MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 21
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