Seite - 206 - in Guido Adlers Erbe - Restitution und Erinnerung an der Universität Wien

© 2017, V&R unipress GmbH, Göttingen ISBN Print: 9783847107217 – ISBN E-Lib: 9783737007214 waysasintellectualhistorianshavecometoexpect,butmoreoftenthannot it is theunexpectedthat is striking.Firstofall, lookingmorecloselyat the scholars whohadstudiedwithGuidoAdleror takentheirdoctoratesat theUniversityof Vienna, we determined that there probablywere insufficient numbers to rep- resentatruegenealogical influence. It isprobable,moreover, thatseveralof the AmericanscholarswhohadstudiedinViennabeforereturningtomusicological careerswereat least as influential as the immigrantmusicologists. Second, the frequently black-and-white picture of exiled scholars leaving a musical and academicworldthatcontainedthecoretraditionsandcanonsofthepasttostart again, whether “driven into paradise” or dispersed across the desert of the United States,4 rather inadequately portrays the full spectrumofAdler’s heri- tage.The influences thatemerge fromthe literatureandexperienceswediscuss belowcoalesce aroundanumberof recurrent topo"or themes,which together form a counterpoint from the influences of many scholars, Europeans and Americans alike. These themes themselves unfold in the course of the con- versation,andwehavecalledattentiontothembygiving titles to the individual sectionsinwhichtheydominatetheconversation.Amongthosethatrecurmost frequently,hencerepresentingthemostsignificantinfluences,arethefollowing: the formationof a comprehensivemusicology; the role of the JewishQuestion, Jewish scholars andheritage in theCentralEuropean intellectual tradition; the centralityofWesternartmusic; themusicologistasaparticipant inmusical life; performanceandcritical editionsasmusicological endeavors; themusicologist asmusical omnivore, with an interest in everything; the recognitionof ethno- musicology and Americanmusic studies, but their continued presence at the margins. When questions about European influences on North America enter the historyof ideas, it isusually toassess therelations–andthetensions–between what is given fromEurope to theUnitedStates, andhow the inheritanceof the oldengendersthenew.WhereaswemighthavebegunourreflectionsonAdlerin Americawithsuchaperspective inmind,wedidnotarriveataconclusionthat conforms to the flowof influences in a single direction. In the early twentieth centuryandafterWorldWarII,Americanuniversitiesdidnotattempttomodel themselves upon European institutions. By the time Europeanmusicologists, including those from theCentral European traditions so frequently associated withtheinfluencesofGuidoAdler inAustria,hadarrivedinNorthAmerica, the academicstudyofmusichadmanytraditionsofitsownthatweresuitableforthe expansion of the field. GuidoAdlermayhave espoused a comprehensivemu- 4 See, e.g., Driven into Paradise. TheMusicalMigration fromNazi Germany to the United States. Ed. byReinholdBrinkmannundChristophWolff. Berkeley:University ofCalifornia Press1999. PhilipV.Bohlman/BrunoNettl206 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0