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Musical Quarterly
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STYLE-CRITICISM
By GUIDO ADLER
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Style-Criticism 173
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174 The Musical Quarterly
sParry also chose this point of departure. But he was not the first to recognize
style-species, as a recent historian has erroneously asserted.
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Style-Criticism 175
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176 The Musical Quarterly
Let us not be alarmed by the vastness of the task still to be
accomplished, by the multitude of problems still awaiting solution.
We have only just begun our work; generations will be occupied
in carrying it out. Style-criticism has been accepted by a fair
number of scholars. Numerous books and articles based on its
principles are being published in every country where a musicology
deserving of the name is cultivated. On an average, the German
university offers a dozen lecture- and recitation-courses described
as "style-critical." Other courses, without specific reference to
"style" or "style-criticism," are presumably conducted in the
same way.
Whether the style-critical method of musical history can be
applied to other fields of musicological research is a question re-
quiring special investigation. The field of musicology is unlimited.
Let us conscientiously put our own house in order, define our
terminology, still far from uniform, and clarify our concepts, with-
out allowing our method to become stereotyped, without restrict-
ing freedom of movement.
The individuality of the scholar must develop as the true
artist's does. The right to present things in an individual way is
fundamental in the scholarly fraternity. The scientific writer
can and should have his own style. And in publishing the monu-
ments of musical history, the editor or editors who have charge of
the work on one master, one school, one form, will continue to
make their own rules, as they have made them in the past, though
in so doing they may not always be furthering the objectives of
musical history.
To further these and other human objectives there should and
must be international cotiperation. In attaining it, style-criticism
will play its part. Let us look to the future.
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