Възгледите на Гвидо Адлер за музикален стил и неговите превъплъщения (върху фрагменти от Част първа „Стилови принципи“, Раздел първи и втори на „Стилът в музиката. Книга I: Принципи и видове на музикалния стил“)
Guido Adler’s Views on Musical Style and Its Reincarnations (Based on Fragments from Part One “Stylistic Principles”, Section One and Two of “Style in Music. Book One: Principles and Types of Musical Style”)

Summary/Abstract: A fragment of Guido Adler’s work “Style in Music” is presented in this article. Its structure comprises translations with some comments made in accordance with the method of qualitative content analysis. In his work, Adler presents a complete conception of musical style and defines it as the manner in which an author conveys his own moods and thoughts. Adler suggests a method for the style to be studied in its musical and historical aspects, i.e., from its emergence and further development all the way up to its substitution by a new one. Consideration has been given not only to renowned, “great” representatives, but also to “minor and average authors” associated with a particular style. Adler pays special attention to the composer’s technique as a style-forming factor and underlines that technique in itself can never shape the style. It is rather a “partner” in the whole process. In Adler’s opinion, the nature of a style (frequently connected also with the author’s character) should be determined with great precaution as in a certain age there are authors whose style is described by characteristic attributes (e.g., elegant, classy, high, etc.) which in other ages turn into terms describing the style of a whole age or trend. This is precisely the thing that should be taken into consideration to avoid confusions and historically incorrect identifications. In Adler’s opinion, the sole correct method to study distant styles in history requires the researcher’s total immersion in the age being studied. Thus, as early as the beginning of the 20th c., Guido Adler adopts the anthropological approach to musical phenomena as a musical and historical method.

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