Large dulcians were prominent members of the bass group in music of the sixteenth and seventeenth centuries. This article focuses on the Doppel Fagott and the Fagotcontra as described by Michael Praetorius in his Syntagma musicum.
{"title":"The Giants of the Dulcian Family: An Exploration of the Doppel Fagott and Fagotcontra in the Writings of Michael Praetorius","authors":"W. Verschuren","doi":"10.3986/dmd15.1-2.06","DOIUrl":"https://doi.org/10.3986/dmd15.1-2.06","url":null,"abstract":"Large dulcians were prominent members of the bass group in music of the sixteenth and seventeenth centuries. This article focuses on the Doppel Fagott and the Fagotcontra as described by Michael Praetorius in his Syntagma musicum.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44696935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Michael Praetorius’s De organographia and Theatrum instrumentorum provide valuable clues that contribute to a new understanding of the violin family c. 1619, many surviving examples of which are reduced in size from their sixteenth- and seventeenth-century dimensions. The record of surviving instruments – especially those of the Amati family – alongside metrologic, documentary and iconographic evidence shows that Michael Praetorius describes a large instrument conforming remarkably well to the original dimensions of the basso da braccio (violoncello), as well as furnishing an excellent scale representation of the violin family as it was at the time of these works’ publication and an accurate tuning scheme.
Michael Praetorius的《De organographica》和《Theatrum instrum》提供了宝贵的线索，有助于对1619年小提琴家族的新理解，其中许多幸存的例子的尺寸从16世纪和17世纪的尺寸缩小了。幸存乐器的记录——尤其是阿玛蒂家族的乐器——以及计量学、文献学和图像学证据表明，迈克尔·普拉托里乌斯描述了一种非常符合布拉乔低音（中提琴）原始尺寸的大型乐器，以及这些作品出版时小提琴家族的出色比例表现和准确的调音方案。
{"title":"Reconstructing Lost Instruments: Praetorius’s Syntagma musicum and the Violin Family c. 1619","authors":"M. Zeller","doi":"10.3986/dmd15.1-2.07","DOIUrl":"https://doi.org/10.3986/dmd15.1-2.07","url":null,"abstract":"Michael Praetorius’s De organographia and Theatrum instrumentorum provide valuable clues that contribute to a new understanding of the violin family c. 1619, many surviving examples of which are reduced in size from their sixteenth- and seventeenth-century dimensions. The record of surviving instruments – especially those of the Amati family – alongside metrologic, documentary and iconographic evidence shows that Michael Praetorius describes a large instrument conforming remarkably well to the original dimensions of the basso da braccio (violoncello), as well as furnishing an excellent scale representation of the violin family as it was at the time of these works’ publication and an accurate tuning scheme.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48492258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Based on a corpus of organ sermons, this paper analyses the theological reception of the Syntagma musicum. As early as 1621 Michael Praetorius’s treatise was explored for the first time by a Lutheran pastor. In 1624, it stimulated Conrad Dieterich to include a description of the Ulm organ into his sermon. After the Thirty Years’ War Michael Praetorius’s work became a regular part of the scholarly apparatus of the sermons. Model sermons and homiletic handbooks helped to shape a distinctive musical-theological discourse. As an example of intercultural exchange the transmission of several excerpts from Girolamo Dirutas Il Transilvano translated by Michael Praetorius merits special attention.
本文以一篇管风琴讲道文集为基础，分析了《音乐宪法》的神学接受。早在1621年，一位路德会牧师就首次探讨了迈克尔·普莱托里乌斯的论文。1624年，康拉德·迪特里希在布道中加入了对乌尔姆管风琴的描述。三十年战争后，迈克尔·普雷托里乌斯的著作成为布道的学术工具的常规部分。模范布道和说教手册有助于形成一种独特的音乐神学话语。作为跨文化交流的一个例子，迈克尔·普雷托里乌斯(Michael Praetorius)翻译的《Girolamo Dirutas Il Transilvano》的几个节选值得特别注意。
{"title":"The Syntagma musicum in Lutheran Organ Sermons of the Seventeenth and the Eighteenth Centuries","authors":"Lucinde Braun","doi":"10.3986/dmd15.1-2.09","DOIUrl":"https://doi.org/10.3986/dmd15.1-2.09","url":null,"abstract":"Based on a corpus of organ sermons, this paper analyses the theological reception of the Syntagma musicum. As early as 1621 Michael Praetorius’s treatise was explored for the first time by a Lutheran pastor. In 1624, it stimulated Conrad Dieterich to include a description of the Ulm organ into his sermon. After the Thirty Years’ War Michael Praetorius’s work became a regular part of the scholarly apparatus of the sermons. Model sermons and homiletic handbooks helped to shape a distinctive musical-theological discourse. As an example of intercultural exchange the transmission of several excerpts from Girolamo Dirutas Il Transilvano translated by Michael Praetorius merits special attention.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42828945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents Praetorius’s wide-ranging opinions on performance practice, including what distinguishes a good composition from an inferior one, how performance forces are to be selected and deployed, and which performance practices are acceptable and which are to be avoided. His stance varies from laudatory and supportive to censorious and disapproving. These and other issues are presented in both English and the original German, and offer suggestions on how to orchestrate a polychoral work today, including reference to recorded media.
{"title":"Michael Praetorius’s Variable Opinions on Performance","authors":"Jeffery T. Kite-Powell","doi":"10.3986/dmd15.1-2.02","DOIUrl":"https://doi.org/10.3986/dmd15.1-2.02","url":null,"abstract":"This article presents Praetorius’s wide-ranging opinions on performance practice, including what distinguishes a good composition from an inferior one, how performance forces are to be selected and deployed, and which performance practices are acceptable and which are to be avoided. His stance varies from laudatory and supportive to censorious and disapproving. These and other issues are presented in both English and the original German, and offer suggestions on how to orchestrate a polychoral work today, including reference to recorded media.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44120279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article deals with the question of modes as it is discussed in Gioseffo Zarlino’s Istitutioni harmoniche and Michael Praetorius’s Syntagma musicum. First, Gioseffo Zarlino’s adoption of Heinrich Glarean’s system of twelve modes is presented, along with the changes he introduced. Gioseffo Zarlino’s system is then compared to that of Michael Praetorius.
{"title":"Praetorius Versus Zarlino: The Question of Modes","authors":"Nejc Sukljan","doi":"10.3986/dmd15.1-2.05","DOIUrl":"https://doi.org/10.3986/dmd15.1-2.05","url":null,"abstract":"This article deals with the question of modes as it is discussed in Gioseffo Zarlino’s Istitutioni harmoniche and Michael Praetorius’s Syntagma musicum. First, Gioseffo Zarlino’s adoption of Heinrich Glarean’s system of twelve modes is presented, along with the changes he introduced. Gioseffo Zarlino’s system is then compared to that of Michael Praetorius.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41861336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From the third volume of Michael Praetorius’s Syntagma musicum one receives the impression that, according to its author, only those who were able to compose, play or sing ‘all’italiana’ (in the Italian manner) were considered culturally up-to-date. This treatise can therefore be seen as a mirror reflecting the way in which Italian music was perceived north of the Alps in the second decade of the seventeenth century. The present article, based on a re-reading of the third volume of Syntagma musicum, shows how in the early decades of the seventeenth century the circulation and the assimilation of Italian musical culture and terminology was far-reaching in the German-speaking countries, contributing to the genesis of a pan-European musical style and terminology.
{"title":"Italian Musical Culture and Terminology in the Third Volume of Michael Praetorius’s Syntagma musicum (1619)","authors":"M. Toffetti","doi":"10.3986/dmd15.1-2.04","DOIUrl":"https://doi.org/10.3986/dmd15.1-2.04","url":null,"abstract":"From the third volume of Michael Praetorius’s Syntagma musicum one receives the impression that, according to its author, only those who were able to compose, play or sing ‘all’italiana’ (in the Italian manner) were considered culturally up-to-date. This treatise can therefore be seen as a mirror reflecting the way in which Italian music was perceived north of the Alps in the second decade of the seventeenth century. The present article, based on a re-reading of the third volume of Syntagma musicum, shows how in the early decades of the seventeenth century the circulation and the assimilation of Italian musical culture and terminology was far-reaching in the German-speaking countries, contributing to the genesis of a pan-European musical style and terminology.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45540909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The well-known title page used by Michael Praetorius for several of his publications provides a starting-point for a discussion of the way large-scale music was directed in early seventeenth-century Germany. The practice of depicting composers with rolls of paper is discussed, as is the nature of seventeenth-century time-beating and how it differed from modern conducting.
Michael Praetorius在他的几本出版物中使用了著名的标题页，这为讨论17世纪初德国大型音乐的导演方式提供了一个起点。讨论了用纸卷描绘作曲家的实践，以及17世纪时间节拍的本质以及它与现代指挥的区别。
{"title":"A Title Page of Michael Praetorius","authors":"P. Holman","doi":"10.3986/dmd15.1-2.01","DOIUrl":"https://doi.org/10.3986/dmd15.1-2.01","url":null,"abstract":"The well-known title page used by Michael Praetorius for several of his publications provides a starting-point for a discussion of the way large-scale music was directed in early seventeenth-century Germany. The practice of depicting composers with rolls of paper is discussed, as is the nature of seventeenth-century time-beating and how it differed from modern conducting.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46486807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article summarizes the state of research on early Italian scores up to 1615, developing the hypothesis of a specific connection between two eminent lutenists, Carlo Gesualdo and Simone Molinaro. The latter published in 1613 in score the six books of Gesualdo’s Madrigals and two years later his own (only recently discovered) Madrigali a cinque voci con partitura. Lute tablature could be considered a kind of score in which the vertical alignment of the polyphonic lines is fundamental not only when transcribing vocal music but also in composing for the instrument.
{"title":"“Espone le cose sue partite a tutti per indurli alla meraviglia dell’arte sua”: misli o partiturah polifone glasbe v Italiji do Molinarove izdaje Gesualdovih madrigalov (1613)","authors":"D. Fabris","doi":"10.3986/DMD14.1.04","DOIUrl":"https://doi.org/10.3986/DMD14.1.04","url":null,"abstract":"The article summarizes the state of research on early Italian scores up to 1615, developing the hypothesis of a specific connection between two eminent lutenists, Carlo Gesualdo and Simone Molinaro. The latter published in 1613 in score the six books of Gesualdo’s Madrigals and two years later his own (only recently discovered) Madrigali a cinque voci con partitura. Lute tablature could be considered a kind of score in which the vertical alignment of the polyphonic lines is fundamental not only when transcribing vocal music but also in composing for the instrument.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44926762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Christian Michael Wolff, an organist from Szczecin, is a composer already known for his songs, accompanied sonatas, chorale preludes for organ and a motet, but his orchestral music, comprising three concertos and a sinfonia preserved in manuscripts in Stockholm, have hitherto been overlooked. Close examination reveals these early works, probably composed in the 1740s, to be ambitious, attractive pieces fully deserving modern revival.
来自什切青的管风琴师克里斯蒂安·迈克尔·沃尔夫（Christian Michael Wolff）是一位作曲家，他以歌曲、伴奏奏鸣曲、管风琴合唱前奏曲和汽车曲而闻名，但他的管弦乐，包括三首协奏曲和一首保存在斯德哥尔摩手稿中的交响乐，迄今为止一直被忽视。仔细研究发现，这些早期作品可能创作于17世纪40年代，是雄心勃勃、极具吸引力的作品，完全值得现代复兴。
{"title":"Dragocene daritve iz Pomeranije: trije koncerti in sinfonia Christiana Michaela Wolffa (1707–1789)","authors":"Michael Talbot","doi":"10.3986/DMD14.1.03","DOIUrl":"https://doi.org/10.3986/DMD14.1.03","url":null,"abstract":"Christian Michael Wolff, an organist from Szczecin, is a composer already known for his songs, accompanied sonatas, chorale preludes for organ and a motet, but his orchestral music, comprising three concertos and a sinfonia preserved in manuscripts in Stockholm, have hitherto been overlooked. Close examination reveals these early works, probably composed in the 1740s, to be ambitious, attractive pieces fully deserving modern revival.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48135289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jacobus Handl-Gallus mentions five of his own motets in the “Instructio ad musicos” placed at the beginning of Opus musicum , volume 3, in order to explain what his plan was. A close examination of these motets reveals that the texts themselves do not follow a strict liturgical prescription, which leads to the conclusion that we actually have here settings bearing the personal stamp of the composer. These examples provide useful clues leading one to reconsider the sources for the entire collection. The contents of the Opus musicum may indeed prove far less homogeneous than one might initially infer from their impeccable distribution according to the liturgical calendar.
{"title":"Iskanje virov za Opus musicum Jacobusa Handla: »Instructio ad musicos« in njegov pomen za skladateljev projekt","authors":"Marc Desmet","doi":"10.3986/DMD14.1.06","DOIUrl":"https://doi.org/10.3986/DMD14.1.06","url":null,"abstract":"Jacobus Handl-Gallus mentions five of his own motets in the “Instructio ad musicos” placed at the beginning of Opus musicum , volume 3, in order to explain what his plan was. A close examination of these motets reveals that the texts themselves do not follow a strict liturgical prescription, which leads to the conclusion that we actually have here settings bearing the personal stamp of the composer. These examples provide useful clues leading one to reconsider the sources for the entire collection. The contents of the Opus musicum may indeed prove far less homogeneous than one might initially infer from their impeccable distribution according to the liturgical calendar.","PeriodicalId":38033,"journal":{"name":"De Musica Disserenda","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42660224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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