National musical monuments as historiography: Rethinking of a methodology for western music history

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Through my research on the principles for collection priorities of musical monuments, it has been found that many series have a tendency to make a connection between the collected works and composers and the famous German musicians, namely the "normal" music history. These national series characterize almost no new musical school and no particular genre. Countries which have a historical, political relationship with the German-speaking regions (Czech , Slovenia, Switzerland, etc.) have intensively this tendency. Their strong antipathy came unexpectedly to acceptance to the German-centric music history.Therefore, it was found that the methodology for the systematic music publication since the 19th century spread from the German-speaking areas and was standardized, but this methodology as the foundations for the discipline could not free from the characteristic German criterion and such historical view.