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MV1ODERN MUSICOLOGY iS the youngest of the disciplines forming the history of ideas, and it took some time for it to establish itself and discover not only the problems it must deal with, but a methodology and a vocabulary of its own. It started by borrowing both method and vocabulary from the sister discipline of the history of art. As a matter of fact, Wo1fflin's theories were made the subject of a systematic conversion for musical use; he was then considered the greatest authority in his field. For a time this method worked well and yielded good results, but gradually it was realized that the criteria of a spatial art are hardly applicable to a temporal art. But musical scholarship suffers even more from popular esthetics of the Romantic age, still strongly entrenched. It is widely believed (even in certain academic circles) that music is the inarticulate outpouring of emotion and is not subject to exegesis. Opposed to this popular esthetics of passive tonal bath stands the entire era from classical antiquity to the end of the Enlightenment, which considered music a science. For a long time music was an intellectual rather than a physical ideal and its scientific and philosophical aspects constantly grew in importance alongside the practical, though in many ways this scientific-philosophical aspect was unrelated to the practical. Music's material, according to this older tradition, consists of tones, but from the infinite number of tones provided by nature only a comparatively few are usable for artistic purposes. These selected tones are gathered through a process of rationalization into tone systems. But of
Paul Henry Láng (Sun,) studied this question.