Diachronně synchronní kontinuum-diskontinuum jako východisko, metoda i cíl : Fukačovy hudební historiografie aneb definice není nikdy definitivní

Jiří Fukač, representing the new Czech musicological generation as the young researcher (1959), lexicographer, reviewer (1961) and especially as the author of the textbook On studying musicology (1964, O studiu hudební vědy), refused Q. Adler's narrow separation of systematic and historic musicology. He systematically paved the way for "historizing" the traditional and modern musicology disciplines. His concept of music historiography was applied on sociology and aesthetics, on aspects of semiotics, terminology, thinking, stratification, hearing, reception, communication and education. So as he adopted the basic Josef Pekař's historiographical factors (1928, geographic location, neighboring cultures, the history of its own, a coincidence), so by his categories of paradigma, syntagma, diachronic synchronous continuum-discontinum and white spots left behind valuable methodology not only for music but also for the history of art disciplines and, naturally, even for the general history.