the scholarly and scientific study of music. The German term Musikwissenschaft (“science of music”) was first employed by F. Chrysander in 1863 in the preface to his Jahrbücher für musikalischer Wissenschaft (“Yearbook for Musical Knowledge”), in which he argued that musicology should be accepted as a science and that musical studies should aspire to the rigorous methodological standards of the natural sciences. It covers a wide and heterogeneous area of research and is concerned with the study not only of European and other art music but also of all folk and non-Western music. The scope of musicology may be summarized as covering the study of the history and phenomena of music, including (1) form and notation, (2) the lives of composers and performers, (3) the development of musical instruments, (4) music theory (harmony, melody, rhythm, modes, scales, etc.), and (5) aesthetics, acoustics, and physiology of the voice, ear, and hand.

The beginnings of European musicology are found in the works of the theorists of Greek antiquity, who were concerned principally with speculative philosophy and with moral and aesthetic concepts of music. The numerical theories of the Greeks were preserved by later Arab and Christian theorists, and their classification of the modes survived, though in a corrupted form, in medieval Europe.

The innovations of Guido of Arezzo (Guido d'Arezzo) (c. 990–1050), which included the use of the hexachord and the development of musical notation, brought about a radical change in the methods of music teaching; and subsequent theorists became increasingly concerned with the dissemination of the principles of notation and the more practical elements of music theory.

The Renaissance gave rise to the publication of a considerable number of works dealing with the aesthetics, theory, and practice of music. Detailed drawings and descriptions of the construction of musical instruments began with the manuscript treatise of Henri Arnaut de Zwolle (c. 1440); and, in his De inventione et usu musicae (c. 1487; “On the Discovery and Practice of Music”), Johannes Tinctoris gave an account of instruments and their function. The first printed book on musical instruments, Sebastian Virdung's Musica getutscht (1511; “Music Translated into German”), contains woodcuts of instruments and some indications of instrumental practice and technique.

Histories of European music first appeared in the 18th century. They include G.B. Martini's Storia della musica, 3 vol. (1757–81; “History of Music”), an original critical study of the music of antiquity, and De cantu et musica sacra, 2 vol. (1774; “On Song and Sacred Music”), by Martin Gerbert, abbot of St. Blassien. The latter work is a study of sacred music of the European Middle Ages and was used heavily by later scholars.

Modern musicology, with its practical or phenomenological as well as its historical approach to the music of the past, may be said to have started about the middle of the 19th century, when such pioneers as Samuel Wesley and Felix Mendelssohn inaugurated a widespread interest in the performance of the music of earlier composers. The 19th century also saw the publication of the Gesellschaft editions of George Frideric Handel and Johann Sebastian Bach, backed by the new musicological scholarship. After the turn of the century, the research of such scholars as Johannes Wolf resulted in the study of medieval systems of notation and in the transcription and publication of the works of many medieval and Renaissance masters.

The new sciences of psychology and ethnology exerted an influence on musicology, as did the study of the relation between the life and the work of a composer. The subsequent stream of biographies provided, in many cases, an increased insight into the music itself.

Toward the middle of the 20th century, musicology became part of the curriculum of many universities. Increasing specialization within the field resulted in a proliferation of journals and professional societies.