Abstract
THE PROBLEM of the relationship of the history of music to psychology could not have been raised as long as psychology concerned itself only with the perception of musical elements, only with a psychology of musical sounds, and not of music. A breakthrough in the established train of thinking was made in 1930 by Ernest Kurth.' His method of handling vastly differing musical styles, as exemplified by Bach, Wagner, or, say, Bruckner, revealed the existence of a road of cooperation between the two interacting musicological disciplines, interacting though operating on widely differing premises. This article is about the methodological problems contemporary research in the history of music brings into play when the illumination of the psychological aspect of the examined issues is attempted: I have in mind the conclusions of the music historian
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