However, to a certain extent, Vienna was unique because of its attempt to display the music history of Europe and beyond. Therefore, this article investigates the showcasing of music histor iograph y in the Musikhistorische Abtheilung musico-historical section at Vienna Second, it renders a closer inspection of the interiors that were dedicated to composers.
However, these exhibitionary objects served the function of complementing the bigger picture of demonstrating the cultural progress and innovation of the nations on display, and the illustration of music history was thus not the guiding theme that structured these exhibitions. The following article is concerned with the display of music histor iograph y in the Musikhistorische Abtheilung musico-historical section at Vienna In order to make the great material of the musical development of the West within the Christian calendar clear, it must be structured.
This happens most surely in the closest connection to the organic progression of music as its own art, with reference to the spiritual currents within the historical sections and taking into account the connections that the art of music has entered into in its successive stages with other arts, especially the art of poetry.
In the foreground is the proprietary development of music, because never before had musical art achieved such independence and perfection as in the Christian West. From this point of view, the style periods are structured naturally as they develop from each other. Although Adler includes the music of antiquity, his periodization first style period begins with the Gregorian chant.
Thus, the first period is dominated by liturgical music, which should be apprehended as the basis of all other forms of music that follow thereafter. He also includes Byzantine church music, Russian church music, and the Jewish temple chant.
