希臘裔德國音樂學家格奧吉亞底斯（Thrasybulos Georgiades, 1907-1977） 於 1950-1970 年代間，提出其「維也納古典樂派」（Wiener Klassiker）語法的 相關討論；其中，他刻意地和對稱、週期、句法交疊（Satzverschränkung） 等概念保持距離，並且發展出幾種概念：「不連續性」（Diskontinuität）、「對 立平衡」（Kontrapost）、「和聲構架」（der harmonische Gerüstbau）、「複格律」 （Polymetrik）和「空節拍」（der leere Takt）。這些概念具有一種讓人無法一 目了然的殊異感，卻也獨樹一格地點出某些獨特的音樂聲響特質，且被二十 世紀後半出版的多本德語西方音樂史書籍引用作為詮釋「維也納古典樂派」 音樂的工具之一。可以說，格氏的維也納古典樂派論述，是理解德語音樂學 界二十世紀中以降，關於古典風格的討論不可或缺的面向之一。 為了理解格奧吉亞底斯的「維也納古典樂派」語法論述，本文將先探討 格氏對劇場和語言的想像，然後依序說明他音樂的「不連續性」、「複格律」、 「對立平衡」、「空節拍」等概念間的關係。尤其「空節拍」的概念引起種種 的爭議辯論，反而點出格氏論述中的哲學式探索痕跡。本文最後要以伽達默 爾（Hans-Georg Gadamer, 1900-2002）的評論來引導出一個觀察：格氏如何潛 在地借用了現象學（Phänomenologie），來作為發展其「維也納古典樂派」語 法論述的工具。

The Greek-born German musicologist Thrasybulos Georgiades (1907- 1977) published during 1950-70s a series of articles which discussed the music language of the composers of the “Viennese Classic.” In these treatises, Georgiades intentionally avoided terms like “symmetry,” “periodicity,” “sentence interleaving” and developed his own concepts such as “discontinuity,” “contrapposto,” “harmonic scaffolding,” “poly-metric” and “empty-measure.” Though they seem incomprehensible and extraordinary at first, these vocabularies did introduce some peculiar sound qualities and were used in several German books on the western music history for interpreting the works of the “Viennese Classic.” Thereby, Georgiades’ “Viennese Classic” becomes an essential text to properly understand the classical style in German musicology in the second half of the 20th century. In order to properly interpret Georgiades’ “Viennese Classic” discourse, this article starts with the discussion on his ideas about theater and language, and then illustrates sequentially the concepts “discontinuity,” “poly-metric,” “contrapposto,” “empty-measure,” and their inter-relations. The concept “empty-measure” is especially controversial because it is closely affiliated to his philosophical investigations. Finally, this article uses Hans-Georg Gadamer’s comment to introduce how Georgiades appropriated and embedded philosophical concepts of phenomenology in his musicological discourse.