Bradler - The Scope, Method, And Aim of Musiclology

7/27/2019 Bradler - The Scope, Method, And Aim of Musiclology

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GUIDO ADLER'S"THESCOPE, METHOD, AND AIMOF MUSICOLOGY" (1885):AN ENGLISHTRANSLATIONWITHANHISTORICO-ANALYTICALCOMMENTARYbyEricaMugglestone

IntroductionIn 1884 a triumviratefAustro-Germanmusichistorians, riedrichChrysander, hilipp Spitta, nd Guido Adler,founded hefirstournalofmusicology,' henewest ledgelingmongst he ciences,2 amely, heVierteljahrsschriftfirMusikwissenschaftMusicologyQuarterly].Thefirst ssue openedwith a paper written y Adler,defining he scope,method nd aim ofthenew science.Thisprovedtobe a potent ormativeinfluenceon the establishment nd developmentof the academicdiscipline f musicology n Europeand elsewhere,notablytheUnitedStatesofAmerica, n influence hat s strongly elt o thepresent ay.Thus, in theNew GroveDictionary fMusic and Musicians 1980: s.v."Musicology," by VincentDuckles, et al.), its importance s madeevident n that t s summarised s thestill xtantmodelofmusicology.It is thepurposeof thispaperto renderAdler's houghtccessible oawider readership y: 1) sketching he historical ontext n which thepaperwas written; ) indicatingtsthemes,metaphorsndassumptions;in a sense, tsmetalanguage; ) providing translationfthe text.Withregard o thefirstwo ofthese spects,commentarys directedsolelyat thepaper nquestion.No attemptsmadetodetermine dler'soverallphilosophy fhistory r thedevelopmentf histhought eyond1885; suchwould be theaim ofa comprehensivessessment fall hiswritings.And with respect to the thirdof the above aspects, intranslatinghetext, arewas taken oadhere s closely s possibletotheoriginalwithregard o its emantic ontent. hus,for xample, hetermTonkunst s translated enerally s 'tonalart',rather hanapplying hetermmusic' n itsstead, norder oretain,f t all possible, ome oftheconnotations hat are implicitn Adler'suse of theterm, s well as to

prevent he mposition fan interpretationhatmightnot be justified.However,withrespectto Adler'ssyntax, twas deemedadvisable tobreak down lengthyentences nd paragraphsnto horter nits, nd toutilise unctuationnd other ypographical ormatingnorder oclarifyAdler'sthoughtnd promote ase ofcomprehension.Wherenecessary,notes elucidateproblemsencounteredn translation. or purposesofclarification,ccasionallytheoriginalGermanword is given n squarebrackets, s are also interpolationsnd alternative ranslations.


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MUGGLESTONE GUIDOADLER'SMUSICOLOGY/ 3enable the researcher o place it withinthe historical rocess,and todetermine hestylisticaws governing he creation fart.From this Adler derives his dichotomous schematisation f thedisciplineof musicology,which he divides into an historical nd asystematicection, achofwhich s discussednterms f ts ubject-areasand itsauxiliary ciences.The aim ofmusicological esearch e sumsupin theclosingmotto s 'thediscovery ftruth nd advancement fthebeautiful'. t is also expressed s one ofdidactics,bothin terms f thecontemporary omposer,the artiste nd the audience.5 ndeed,Adlerperceivesthe role of themusicologist s somewhat akin to that of a'promoternd defender f thefaith', notunusualquasi-religiousointofview in thenineteenthentury,nd in thisrespect e recallstomindSchumann'smaginative onceptoftheDavidsbiindler.Contrary o what s suggestedn the rticle nmusicologyn theNewGrove Dictionary of Music and Musicians (ibid.), Adler's style-orientatedmethodology is not a part of the "cultural-historicalemphasis" hatwas "inpart protest gainstpositivism", or t s essen-tially positivistic in outlook. Collingwood defines positivismas"philosophy cting n the serviceof naturalscience" (1980:126), andstatesthat natural cience, n theview of thepositivists, consisted ftwothings: irst,scertainingacts; econdly, ramingaws." The formerwas "only the first tage of a processwhose second stage was thediscovery f aws",whichweretobe framed through eneralisingromthesefactsby induction". he framingf aws was thegoal ofscientificendeavour.To quoteAdler, he actualfocalpointof ll music-historicalwork" is the"investigationf the aws ofartofdifferenteriods",thistaking"thehighestprecedence"; nd again, "to attainhis main task,namely,the researchof the laws of art of diverseperiodsand theirorganiccombination nd development, he historian f art utilises hesame methodology s thatof the investigator f nature; that is, bypreference, he inductivemethod . the emphasishere lies in theanalogybetweenthemethodology f thescienceofartand thatofthenatural ciences".In orderto show how Adler's thinkingwas shaped by thenaturalsciences, oth nhisuseofmetaphornd as theparadigms fhismethod,it s as well to outlinebriefly evelopmentsnthenatural ciences nthenineteenthentury nd to relate theseto his text.Rapid stridesweremade especially in the sciences of geology, biology, and organicchemistry,nd thefirst wo are mentioned yAdler.The comparativemethod, developed in comparativeanatomicalstudy, haped that ppliedin othernatural ciences.6 he developmentof thescienceof geologyowed muchto such a use made ofpalaeon-tologicalobservation. n 1799 WilliamSmithwas digging anal beds inEngland, ndnoticed hat he ametype ffossilsweretobefound nthesame typeof rockstrata.Usingthisknowledge,he devised a table ofstratigraphicnits, nd builtup a geologicmapofEngland,Wales, andpart of Scotland. At around the same time, Georges Cuvier andAlexandreBrongniartimilarly bserved that fossils re generally he


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4 /1981YEARBOOK ORTRADITIONALMUSICsameincorrespondingeds ofrock,butdifferairlymarkedly rom nebed to another. n thisway they eparated heTertiary trataof northand central rance ntonatural nits ndarranged hese nchronologicalsequence.Palaeontology husprovided vista ntopastaeons,becomingan ally not only of stratigraphy,ut also contributingo biologicalresearch y validating herecognitionfthe ntiquity f ife nearth. nthisway itsupported heconcept fevolution,which n tsturn hangedpalaeontologyfroma practicalrule-of-thumbechnique nto a fully-fledged cience.In establishingmusicologyas an academic discipline,Adler wasattempting o make the studyof the historyof music scientific. ncomparing isownbook,Der Stil nderMusik 1911),withParry's tylein Musical Art, published in the same year, he describedParry'sapproach as "primarilyrtistic", tating hat he himself stressed hescientificide" 1934:172).His own researchxperienceedhimtoregardthepalaeologicaldating fa workofartas thefirsttep nmusicologicalinvestigation.n a sense, thisprocedure s analogous to thepalaeon-tological datingof rockstrata;one is thusstudying hemusical fossilrecordforthe samepurpose,thatofdating.Moreover, the concept of a geological stratum s associated withanother ommonplacenineteenthentury otion,derivedfromJohannGottlieb ichte'sdealistic hilosophy fhistory. ichte laimed hat achperiodofhistory as a character f tsown which sconcretelymbodiedina single dea. In Fichte's ands,theKantiannotionthathistorys theunfoldingf a 'natural' lanwhich scarried utthrough uman gency,becamea logicalsequenceofsuccessive haracteristicideas', which,byvirtueof their ogic,providethedynamics f cause and effect,nd ofhistorical rocesses, he equence uggestingheperiodisationfhistory.As regards iology, hemodern oncept f pecies,which riginatednthe seventeenth entury,was applied in particularby Linnaeus toclassifying lants nd animals.Earlyhypothesesracing ossible inesofcontinuousdescentbetween peciesand generafinally loweredn theconceptofnatural volution.The dynamics f evolutionpermeated henineteenthenturyworld-view,nhistory,nsociology, nd above all,in biology. It is therefore ot surprising hat Adler's metaphoricallanguage s rich n imagesof organicgrowth nd decay, and that hisconceptof musichistorys evolutionist. is style-critical ethod eginswithan anatomicaldissection fa workofart n orderto ascertain tsspecies, ndhisframingfstylisticaws can,ina sense,be equatedwithdetermininghe aws ofmusical natural election'.7

AlthoughAdler'sviews on the artist s creativegenius buildingtemplen thegrove', nd on music s an artform, eflecttandardnine-teenth enturyesthetic oncepts, t should be noted thathis empiricalstyle-criticalethod wed much ocontemporaryrthistorical ritings.As Kuhn states EncyclopaediaBritannica, 4th d., s.v. "Aesthetics"),in1864Hippolyte aine "proposed hat tyles fartshouldbe studiednthesameway as thekinds ofplantsare studiedby the botanist nd assubjectto evolutionary evelopment."n Germany hisapproachwas


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MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 9ignored.To single ut butone instance:HieronymusfMoraviawantedto introducemusicacolorata nthe econd halfofthe hirteenthentury,longbeforemusicwas readyto takeup chromaticism. s a result, heattemptremained isolated, and was, despite its ingeniousness, nimpossible roposition. tmayalso happenthat heorynd practice retobe foundunited noneperson.Thenwemustdecidewhether ereallyoperates n thespirit f his age or in thatofa past epoch. In thefirstinstance, hetaskof nvestigatinghe aws of artoftheperiodconcernedis madeeasier;however, nemust lways,above all,retain heworksofartthemselvest the centre f investigation.The explanationof the various ways in which art is practised, sintimatelyonnectedwith hese aws. Vocal and instrumentalechniqueshave changedwith the progressof art. On occasion the exercise oftechniquehas acted as an influence n theproduction f art. This isparticularly he case with instrumentsn vogue, which have evenoccasionally,on the one hand detracted rom,or on the otherhandextended, creative activity. Frequentlyworks of art place on theperformeremands owhichhecan do justice nlyafter longperiodofstudy. n thebeginningheperformingrtistes etthemselves e guided,in theirrendering, enerallyby their nstinct; raduallythe interpre-tationbecomesclearer ndmoreestablished,nd inthisway a traditiondevelops. Performingrtisteshave takena creativerole, at a specificjuncture, n theproduction f art,namely,withregardto theuse ofornamentation.This feature owed its appearance to natural andunnatural mpulses, nd, in theseventeenthnd first alfof theeigh-teenth enturies, ike a creeperor parasite,threatened o smother rdepleteofnourishmenthehealthy ree.The instrumental ealisation of polyphonic compositions withdifferentnstruments,t thetime fthefloweringf nstrumental usic,was also generally eftto the practisingmusicians,and the rules ofinstrumentationerminatedn theensuingusage. Intimatelyonnectedwiththehistory forchestrations thehistory fmusical nstrumentssregards their construction nd usage-a subsidiarysphere of thehistorical ectionofmusicology.A greatnumberof auxiliary ciences re affiliatedo thissectionofmusicology:(1) general history,with its ancillary sciences, palaeography,chronology, diplomatics, bibliography, library and archivalknowledge;and in thefieldof musicology,musicalpalaeographyand bibliographyre especially mportantncillary ubject-areas;(2) thehistory f literature,nd philology,whichare inextricablyconnectedwithmusicresearch,n thesameway as in vocal worksthemusical tone s inseparable rom heword;(3) history f themimetic rts (orchestics nd dance), whicharelikewiseorganicallyinkedwithmusic;and finally,(4) thebiography fcomposers Tondichter]s well as the tatisticsofmusical ssociations ndart nstitutions.nrecent imes iograph-ical studieshave disproportionatelyushedtheirway intothefore-


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MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 11the abstractionsfrom the various mono- and polyphonictonalstructures.Melik" s either bsolutelymusical, r is connectedwithprosodyand metre,nwhich case itextends heobjectof examina-tionto diction.The formation nd foundationof the highest aws of art lead, ofnecessity, o thecomparison findividualnorms.Theirevaluationandcomparison ead, thus, to the fieldof aesthetics.*The elevationofspecific rinciplesnd rulesto the aforementionedeight emandsthatthe researcher ccupyhimself, n the one hand,withtheworksofart,and on the otherhand,with themindsoftheperceivingubjects.Twogoals, therefore,onfront heresearcher,nd to get to the bottomof

theirreciprocalrelationshipsmustbe the ultimate im of aesthetics.Above all,however,what satstake s therecognitionfthe riteria hatmake a workofart;thosefeatures hat haracterise workas an artisticproduct. s every onalproduct workofart?Generally peaking, nlythose which bear the criteria f thebeautiful n art in themselves redesignated s worksof art. Therefore heprevenientuestionmustbeanswered,what is the beautifulnmusicand how is thisrelated o thegeneralconceptof thebeautifuln art?Throughthisdeterminationlltonalproducts nwhichthesecriteria re notdemonstrable,re at thesame timedesignated s inartistic.One could pose thequestion,however,also in anotherway: musteveryworkofartbe beautiful?Are thosetonalproductswhichdo notcorrespond o thesecriteria f thebeautiful ot also worksofart? Forexample,therequiem itanies n parallelseconds and fourths-as theywerecustomarilyung n Italy,particularlyn theAmbrosian iturgynMilan; are these only pathological manifestations f anguish andcontrition,r are they lreadyworksofart?Theyare, to be sure,thelatter, n the sense thata certain echnical kill s required n ordertoperformhem, utdo they orresponds a result lso to thedemandsofthebeautifulnart?20hesequestions re of thegreatest ignificance,otonly for thedeterminationf thebeautiful n art,but also forothertheses directlyor indirectlyconnected therewith,which in totalconstitute hatcomplexusuallycharacteriseds theaesthetics f tonalart.Some of the most mportant oints re hereextracted:(a) origin nd effect fmusic. s theeffect ecessarily reaterwhenthe meansofexpression ecomes richer nd multifarious?(b) the relationship f tonal art to nature. Are therealso tonalsystems hat re contrary o nature, s Goethemaintained?

(c) therelationship f music to culture, limate, nd thenationaleconomicrelationshipsfa people; for,besides thepurelymusicalfactors, tillothers ffect heprogress f artoutsideof thespecificconstructionallements,he nfluencesfwhichon thedevelopmentofart cannotbe overlooked.* The expression Philosophy fMusic",usedbyFetis odescribe the nvestigationfartistic roducts nd their hanges", uffices either orhistorical orforaestheticmusicology; hisonlymixesup theterms fdifferentcientificields.


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12 / 1981YEARBOOK FOR TRADITIONAL MUSIC(d) the ubdivision ftonal artaccording o thenature f tsorigin,or the ocalitywhere t s practised, r thepurposeswhich tserves;[for xample],church, hamber, oncerthall, theatre, pera,etc.(e) the imits ftonal art withreferenceo itsability o express; hedelimitationfsound materials hatmaybe utilised, s opposed toother ounds or noise;21 hose areas in which t is connected o ordivorcedfrom heother rts.Herewe must lso discussthetransi-tions nto theamorphous nd thefortuitousaccording o Goethe'sdesignation).(f) the ethicaleffects f tonal art, as ethics stands in immediaterelation o music,bothaccording o the older as well as the moremodernphilosophers,whilst some speak of an ethicalbasis formusical feeling. Modern philosophersalso pose the questionconcerning he positionmusic takes in relationto metaphysics,whichcanbe regarded s thetouchstone fall these onsiderations.Beside these scientificuestionsthere re somemusical ssuesof thedaywhichdisturb he ouls ofart-enthusiasticriends f music nd art-hostile ealots,and cleave asunder argemultitudesntoenemy amps;as, for example, the musical tapeworm:22 "when did the apogee ofreligious onal art occur, or what is genuinechurchmusic?"Further-more, theres thequestionof]the trifebout rankbetweenvocal andinstrumentalmusic, which was already stimulatedby Plato andAristotle; r themusico-political uestion: n the musicaldrama,doesthewordorthe onepredominate,rdoes the ctionreign upreme? hesettlementf these nd similar ssues arousesthe nterestfmanywhoareotherwisendifferent,nd theresolution f them ies atentn artandscience.As thethirdmain subsection f thesystematicubdivisionwe mayname musicalpaedagogyand didactics. f thelaws are established nabstracto nd founded n thenatural ciences, hentheymustbe sifted

and put togetherwith a didacticpurpose in mind. Accordingly, hisprovidesthegeneralrudimentsfmusic,whichcomprises hebasis ofmusicalknowledge;forexample,the structuref scales, thenatureofintervals nd variousrhythms,tc.; a theory fharmony, hat s, thetenets oncerninghe ombination fharmonies; he eaching fcounter-point,that s, concerninghe imultaneous rsuccessive ombination ftwo ormore ndependentoices; a theoryofcomposition; nd further-morethedidacticmethods sed invocal and instrumentalraining.The seriesofdisciplines amed s notnecessarilyheonlypossibleoreventhebestarrangementf thedidactic ection.Fortwo centurieshishierarchy as beenvalid, and only n recent imesdoes one regard hetheory fharmony s superfluous,ndeed,even as damaging.Even ifthese nstances re accepted,theprogress fthedisciplinewould notbematerially ltered, s then hebasic tenetswould have tobe subsumedunder hegeneral heory fmusic.A moreexactorganisation ithin heindividualdisciplineswould seem,however, o be urgentlyequired.**** This subjectwill be treatedmorefullyn a specialpaper.


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14 / 1981YEARBOOK FOR TRADITIONAL MUSICTABLE 1

In Tabular Form, n Overviewof theEntireConstruction***ppearsthus:MUSICOLOGYI. HISTORICAL(History fmusicaccording o epochs, peoples,empires,nations,regions,cities, choolsofart, artists).

A. Musical B. Basichistorical C. Historical D. History f musicalpalaeography categoriesGrouping sequenceoflaws. instruments.(notations). ofmusicalforms). 1. As they representedn theworks ofartofeveryepoch.2. As taught y thetheoreticiansf theage in question.3. Ways ofpractisingart.

Auxiliary ciences: GeneralHistorywithPalaeography,Chronology,Diplomatics,Bibliography,ibrary nd ArchivalScience.History fLiteraturend Philology.Liturgical istory.History f MimeticArts nd Dance.Biographies fcomposers, tatistics fmusical ssociations,institutesnd performances.

*** Forpurposesofcomparison, hesynoptic ableaccording oAristidesQuintilianus,whichcontains he mostcomprehensiveverviewof theGreeksystem fmusicaldidactics, s given.SYSTEM OF MUSICI. 9EQPHTIKON (Theoretical r speculative ection)

A. uvaOrv (Physical-scientific)a. caPLO/rTLXr(Arithmetic) b. wvauxr?(Physics)

B. re(vuL6vuSpecial-technical)c. dp/ovuwx?(Harmony) d.(RvOytm(Rhythm)

e. /Ierptj?(Metrics)


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MUGGLESTONE GUIDO ADLER'S MUSICOLOGY / 15

II. SYSTEMATIC(Establishingf thehighestaws in the ndividualbranches f tonalart).A. Investigationndfounding ftheselaws in:1. Harmony tonal).2. Rhythm(temporal).3. MelodyCoherence25 oftonal& temporal.

B. Aesthetics f tonalart.1. Comparison ndevaluationoftheselaws and theirrelation o theperceivingubjects,withrespect o theascertainingfthecriteria f themusically eautiful.2. The complexofdirectlynd indirectlyrelated uestions.

C. Musicalpaedagogics nddidactics Thecompilation ftheselawswithrespect oteaching urposes).1. Scales.2. Theoryofharmony.3. Counterpoint.4. Theoryofcomposition.5. Orchestration.6. Vocal &instrumentaleachingmethods.

D. "Musicology"(Examinationndcomparisonforethnographicpurposes).

Auxiliary ciences: Acoustics nd mathematics.Physiologytonesensation).Psychologytoneperception, one-judgement,one-feeling).Logic (musicalthinking).Grammar,metrics,nd poetry.Paedagogics.Aesthetics,tc.

II. IlPAKTIKON- fAIAETTIKON (Didactic rpracticalection)C. Xpjrxdv (Theory fcomposition) D. Qa irgtXvxdverformanceraxis)f. yjtXoroda(Melodiccomposition)

g. 5v6pOorolda(Rhythmiccompositionor appliedrhythm)

h.ro(lqats(Poetics) i.6p?apvteX(Instrumentalperformance)k.AtxrJ(Singing) l. Oroxptrtx-q(Dramaticaction)


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16/1981YEARBOOK ORTRADITIONALMUSIChowever,he will have to proceedwitha litle morecautionbecause,whilstmanyphilologists ave succeeded plendidlynd haveveered offthepathof ife, veryhistorian fart,on the ontrary,must isten othelifepulseofthe artistic orms nd would notwishtokillthemwithhisprobe.To attain his main task,namely,theresearch f thelaws of artofdiverseperiodsand theirorganiccombination nd development, hehistorian fart utilises he amemethodologys thatof the nvestigatorof nature; thatis, by preferencehe inductivemethod. From severalexampleshe extracts hatwhich s common nd separates hoseaspectswhichdiffer,nd utilises lso the method fabstractionnwhich,fromgivenconcrete onceptions, articular ections re neglected nd otherspreferred.he setting p ofhypothesessalso not nconceivable.A moredetailedexplication f theforegoings reserved or special paper; theemphasishere ies nthe nalogybetween hemethodologyfthe cienceofart and thatofthenatural ciences.The setting p ofthehighestaws ofartand their ractical tilisationinmusicalpaedagogicsrevealthe cience nunmediated ontactwith heactual lifeof art. The scienceattains tsgoal to itsfullest xtent nlywhen tremainsnliving ontactwith rt.Artand thescienceofartdonotexist nseparate ompartments,heboundaries f which resharplydrawn;rathert s farmoreone and the amefield, nd onlytheway inwhicheach is treated iffers.The artist uildshistemplenthegrove, nthegrovewherefragranceis newlyrevived,time and again, fromfreely rowingflowers.Thetheoreticianfarttills he arth;he educates hedisciples ohis ife's askand accompaniesthe nspired reator s a lifelong ompanion.Shouldthescholarof art observe that matters re not turning ut in thebestinterestsfart,thenhedirectstontotheproper ourse. fthebuildingsalreadyerected,then thehistorian f art protects nd defends t andrepairs hedamagedportions. hould itbecomequitedilapidated, henhe buttressest n order opreservetforfuture enerations.Withtheseoperations,however, the true friend does not contenthimself.Hearrangesand organisesthe whole, and in thisway makes it moreaccessibleto thepublic.Should tbe stormed rbrought own,thenhesurroundst orwithdrawsta certain istance, nd saves it n thiswayforperiodsthatwill once again show theproper ppreciation fit.One of his loveliest asks,however, s to keepfresh he ivingflowergardenof theearthly ingdom yarousing nd furtheringhenecessaryinterest. nfortunately, ostof thewriters n art have endeavoured owithdraw rom hisexaltedduty.Ultimately hey re theguardiansoforder.They codify, s has been shown, thecorrectpracticethat hasbecome aw; however, heymust-or ratherhould-also keep t flexiblewithregard o life's xigencies.Whentheartist bandons theregionofhis forefathersnorder o conquera newterritory,hen hehistorian fartdoes not allow the old to becomedeserted nd desolate,but at thesametime akesuponhimselfhedual taskofassisting,withhisarmy fhelpers, he rtistn theoccupation oftheterritory]y ending hand n


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MUGGLESTONE GUIDO ADLER'SMUSICOLOGY/17makingthenewlyacquired soil arable, and setting p theequipmentneeded to construct new work. His experiences erveto advise theyoungbuilder. Should the atter, hrough verconfidence,efuse uchhelpful articipation,henhe will either ailaltogethero complete hebuilding,23 r the buildingwill soon collapse because it stands onunstableground nd is unable towithstand he windand weather.Fromthecradle to thegrave theresearcher f art accompaniestheartist; he piritualhildren fthe atter, hetruth fhis ife's ourse,willbe shielded nd defended y thehistorian f artbeyondthegrave.Asindependence f udgementnthecase of thedeceased artist s easy, t sobligatory o retainthe same attitude lso withrespectto the livingartist.Voltaire's xpression sondoitdesegardsaux vivants,on ne doitaux morts ue la verites"24mplies, espite tsapparent ourteousness,greater anger,namely, hat, ustas one showsparticular onsiderationtowards one person,towards notherone acts just as inconsiderately,and so allows oneselfto be guidedby predeterminedympathiesndantipathies,whose distortionstainmany page inthehistoryfwritersabout art. As a result,the most important asic tenetshould be:"Concerning he iving s thedead, nothing ut thetruth."Besidesthepursuit f its absoluteendeavours-as a consequenceofwhich tregards tself s an end in itself, otconcerningtself bout itswiderpractical tilisation-the ciencewillthen ontributeo thepropercomprehensionnd evaluationofthevariousepochsofart, nd on thatbasis,tothemost mportantesult f ts nvestigations,he stablishmentofthe upremeaws within he ndividual ranches fart.And, inviewof theconfusion n thecontemporarytate of thearts and theevidentvacillation nartistic roduction,twillcontributelso to the mprove-ment fthepresentituation fart. t has beenasserted hat he ncipientexpansionof thescience of art is a certain ignof thedecline of art.However, it has been explained above that the creation of art isimpossiblewithout knowledgeof art. Should it actuallyoccur thatreflectionndresearch ake theupperhand,then hiswouldfor hetimebeingmerely emonstrate hathistoricalppreciation ad strengthened.This has, however, ongbeenrecognised s highly dvantageous o theapperception fworksofart.Ifthe cience fartkeepswithintsnatural oundsanduniteswith heartists n specifictasks, as, forexample, in restoring,rranging ndperformingistoricalworks,then t s impossible or t to eopardise heproduction fart,quiteapartfrom hefact hat genuine reative owerallows itself o be guidedand educatedbutnotsuppressed.Above all,however,thescience tselfmustgrow n strength;tmust imit tself nterms ftheproper valuationofthetasks mmediatelythand,and soattainmastery.In the ntroductiono theJahrbiichernfairmusikalischeWissenschaft[YearbooksforMusical Science] (Leipzig: Breitkopf Hirtel, 1863),Chrysanderwrote:One shouldneverforego heconviction hat, hatwhich is createdby the spirit, ittleby little n


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18 /1981YEARBOOK ORTRADITIONALMUSICnatural evelopment, ill, nthe ourseofgaininginsight,gainbe unified.Concerning hisfieldofknowledge specially,he commented urther:The main cause of doubt generallyadduced,namely,thatmusical scienceshould ever attaintheheight r nner erfectionfthat fthegraphicarts-because musicin its essence s too elusivethanthat n itsfield science ould evolvewhichcould meetthehighest emands-is an illusion.And, as if it had beenwritten o elucidate theforegoing, section nSpitta'sFestrede n "Artand theScience ofArt",givenon March21,

1883,at theRoyalAcademyofthe Arts nBerlindeclares:The scienceof art, fewbranchesexcepted, tillgrappleswithall thedifficultiesf thebeginner.Withoutthebackingof a firm radition, luctu-ating n its method nd often uestionable n itsresults, t is considered, ven amongst cholars,moreas an adjunctto other cientificisciplines,because t acks thepowertostandon itsownfeet.As it has not only a philosophical,but also aphysical-mathematical,ndevenan historicalndphilosophical ide, treaches, nfact, ntovariousother ndependent ields fscience, nd it is onlyits object of research hat enables it to claim aplace for tself nderthesun. Furthermore,ntilnow it has scarcelybeen attemptednywhere obringto publicrecognition,within he world ofscience nd society t large,theunificationfthediverse directions f the science of art into anindependent hole.Nevertheless,hiswillhave tooccur in the shortor long term. The researchmaterial s too rich and important, he prere-quisitesfor heresearcher'successful vercomingof theseproblemsare too unique, than that itcouldnotbe assumedthat he cience fartwouldachieve a recognisedplace amongst its sistersciences.But,howeverthatmaybe, it is certainthat here great scientific asks lie ahead, thesolutions owhichmust nd willbe found.

May thepresent ttempt owards unitary ieldtheory fmusicologycontribute owardsmeeting heseneeds!Every tepthat eads tothis oal,every eed that ushesuscloser o t,signifies rogressn our human nsight. he moresincere hewill, themore effectiveheconsequence;the morecomprehensiveheexpertise,the more meaningfulthe product; the more who share in theundertaking, he more profoundthe effect result],whichbears thehighest alue: Discoveryof theTrue and Advancement ftheBeautiful.


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Bradler - The Scope, Method, And Aim of Musiclology

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