抄録
This paper attempts to clarify the relationship between the theory of style of G.
Adler and that of Art History (Kunstwissenschaft) by scrutinizing what Adler adopted
and rejected from Art History in his Der Stil in der Musik (1911) and Methode der
Musikgeschichte (1919). Through this study, it is revealed that his thought is deeply
rooted in Hanslick’s formalism. This paper will reach following results: Firstly, as
a musicologist, Adler rejects W. Worringer’s hypothesis that the origin of art is the
ornamental style and cites E. Hanslick’s well-known formalistic thesis to support
his rejection. Secondly, on the other hand, he adopts ideas of the construction style
(Konstruktionsstil) by A. Göller and the geometric style (geometrischer Stil) by A.
Riegl into his theory of musical style as a necessary condition of art of tone (Tonkunst),
calling the counterpart to them the arithmetic style (arithmetischer Stil). Thirdly,
while the arithmetic style has genealogically the close connection with the term of the
mathematical form (mathematische Form) used by Kant, Adler aims to save music
from its lowest rank around fine arts in terms of the cultural value proposed in Critique
of Judgment, by referencing Hanslick’s autonomous formalism.
