Despite Prague’s exponential growth in the early twentieth century, its musical communities of Germans and Czechs still operated like small villages, locked in a perpetual struggle over cultural values, long-standing grudges, and personal advancement. Not only did the Czech and German music critics inhabit almost entirely separate musical worlds – rarely, if ever, commenting on the other community’s accomplishments – but each also contained rival factions, most notoriously those of the Czechs at the Prague Conservatory and the emerging Musicology faculty at Charles(-Ferdinand) University. Though these divisions existed before 1900, the appearance of musicologist/critic Zdeněk Nejedlý (1879–1962) on the musical landscape of Prague became a watershed moment that solidified polemic lines of battle over much of the twentieth century. Though less virulent, conditions at the German University paralleled the Czechs’ near obsession in this generation over what constituted Czech or Bohemian music, and who might be included or excluded as its representatives.