Abstract
In 1884 a triumvirate of Austro-German music historians, Friedrich Chrysander, Philipp Spitta, and Guido Adler, founded the first journal of musicology,1 the newest fledgeling amongst the sciences,2 namely, the Vierteljahrsschrift für Musikwissenschaft [Musicology Quarterly]. The first issue opened with a paper written by Adler, defining the scope, method and aim of the new science. This proved to be a potent formative influence on the establishment and development of the academic discipline of musicology in Europe and elsewhere, notably the United States of America, an influence that is strongly felt to the present day. Thus, in the New Grove Dictionary of Music and Musicians (1980: s.v. “Musicology,” by Vincent Duckles, et al.), its importance is made evident in that it is summarised as the still extant model of musicology.
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