primary source material is translated from Dutch and German into English in the main text, but the original material is provided in footnotes. Although the result is a large volume whose footnotes occasionally take up a third of the page, this decision makes it possible for readers to quote the original versions of much material that will likely not be easily available again. Smith refuses to sum up Lohr’s extensive achievements in the final pages, and one can almost see Lohr nodding in approval with the humble text that describes her death. Smith makes a strong case for this almost-forgotten pioneer, and this biography should help Lohr receive more attention in the English-language literature. Lohr is not mentioned in Harry Haskell’s The Early Music Revival: A History (New York: Thames and Hudson, 1988), and currently does not yet have her own entry in Grove Music Online. It is the hope that this substantial volume might rectify this situation.
主要来源材料在正文中从荷兰语和德语翻译成英语，但原始材料在脚注中提供。尽管结果是一大卷的脚注偶尔会占据三分之一的篇幅，但这一决定使读者有可能引用许多可能不容易再次获得的材料的原始版本。Smith拒绝在最后几页总结Lohr的广泛成就，人们几乎可以看到Lohr用描述她的死亡的谦逊文字点头表示赞同。史密斯为这位几乎被遗忘的先驱提出了强有力的理由，这本传记应该有助于洛尔在英语文学中获得更多的关注。Harry Haskell的《早期音乐复兴：历史》（The Early Music Revival:A History）（纽约：泰晤士和哈德逊出版社，1988年）中没有提到Lohr，目前她还没有在Grove Music Online上发表自己的作品。希望这一庞大的数量能够纠正这种情况。
{"title":"The Sweet Penance of Music: Musical Life in Colonial Santiago de Chile by Alejandro Vera (review)","authors":"Hannah Snavely","doi":"10.1353/fam.2021.0012","DOIUrl":"https://doi.org/10.1353/fam.2021.0012","url":null,"abstract":"primary source material is translated from Dutch and German into English in the main text, but the original material is provided in footnotes. Although the result is a large volume whose footnotes occasionally take up a third of the page, this decision makes it possible for readers to quote the original versions of much material that will likely not be easily available again. Smith refuses to sum up Lohr’s extensive achievements in the final pages, and one can almost see Lohr nodding in approval with the humble text that describes her death. Smith makes a strong case for this almost-forgotten pioneer, and this biography should help Lohr receive more attention in the English-language literature. Lohr is not mentioned in Harry Haskell’s The Early Music Revival: A History (New York: Thames and Hudson, 1988), and currently does not yet have her own entry in Grove Music Online. It is the hope that this substantial volume might rectify this situation.","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/fam.2021.0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42313542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Boundaries of Early Music is an important and extensive biography of a little-known, but extremely influential musician. This book is not only an important contribution to the literature about the early music movement, but is essential reading for an understanding of the creation of two important Swiss institutions, the Schola Cantorum Basiliensis and the Basel Chamber Orchestra. Anne Smith has assembled an impressive array of source material that includes unpublished family photographs, music compositions, and correspondence. This allows the reader to place Ina Lohr in context, and to give us an understanding of her world, her character, and her achievements. Ina Lohr, born in Amsterdam to welleducated parents, is said to have ‘sang before she spoke’. Her parents provided a rich intellectual and cultural environment for their children, and it was assumed that Lohr would become a professional violinist. After completing secondary school, Lohr was felled by a serious illness before being able to continue her music studies at the progressive Amsterdam Muziek-Lyceum, where there was a desire to link music study with ‘philosophical and religious reflection’. This environment and the people she met during her studies influenced the rest of Lohr’s musical life. While traveling to Switzerland for a vacation after her final exams in 1929, Lohr’s precarious health forced her to stop in Basel. While she was recuperating, her string quartet was performed by a local ensemble at a house concert attended by Felix Weingartner, director of the Basel Symphony Orchestra and Conservatoire. Impressed by the work, and perhaps, as Lohr suggested, intrigued by the novelty of a female composer, Weingartner invited her to study composition in Basel. This offer changed the trajectory of Lohr’s life. After her study in Basel, Lohr became the assistant to Paul Sacher, director of the Basel Chamber Orchestra, and the two worked together for more than fifty years. Sacher claimed that Lohr was an ‘invaluable aid’, especially with the programming of early music. She also provided performance practice information, marked the scores and parts for Sacher, and advised him about soloists. Lohr also worked on the contemporary music that the chamber orchestra performed by composers such as Nadia Boulanger, Igor Stravinsky, Arthur Honegger, Paul Hindemith, and Béla Bartók. Simultaneously, she continued her own work composing and performing religious music, alongside supporting amateur music-making. With the founding of the Schola Cantorum Basiliensis (SCB) in 1933, Lohr ‘served in an advisory capacity’ during the creation of the school. The SCB was dedicated to the study and performance of pre-Classical repertoire and, almost a hundred years later, is still ranked as one of the most important early music conservatoires. Considered ‘the main pedagogical motor of the school’, Lohr taught Gregorian chant, recorder, ensemble, and thorough bass. She was happy working with amateurs as well a
{"title":"Ina Lohr (1903–1983): Transcending the Boundaries of Early Music by Anne Smith (review)","authors":"M. Mitchell","doi":"10.1353/fam.2021.0011","DOIUrl":"https://doi.org/10.1353/fam.2021.0011","url":null,"abstract":"Boundaries of Early Music is an important and extensive biography of a little-known, but extremely influential musician. This book is not only an important contribution to the literature about the early music movement, but is essential reading for an understanding of the creation of two important Swiss institutions, the Schola Cantorum Basiliensis and the Basel Chamber Orchestra. Anne Smith has assembled an impressive array of source material that includes unpublished family photographs, music compositions, and correspondence. This allows the reader to place Ina Lohr in context, and to give us an understanding of her world, her character, and her achievements. Ina Lohr, born in Amsterdam to welleducated parents, is said to have ‘sang before she spoke’. Her parents provided a rich intellectual and cultural environment for their children, and it was assumed that Lohr would become a professional violinist. After completing secondary school, Lohr was felled by a serious illness before being able to continue her music studies at the progressive Amsterdam Muziek-Lyceum, where there was a desire to link music study with ‘philosophical and religious reflection’. This environment and the people she met during her studies influenced the rest of Lohr’s musical life. While traveling to Switzerland for a vacation after her final exams in 1929, Lohr’s precarious health forced her to stop in Basel. While she was recuperating, her string quartet was performed by a local ensemble at a house concert attended by Felix Weingartner, director of the Basel Symphony Orchestra and Conservatoire. Impressed by the work, and perhaps, as Lohr suggested, intrigued by the novelty of a female composer, Weingartner invited her to study composition in Basel. This offer changed the trajectory of Lohr’s life. After her study in Basel, Lohr became the assistant to Paul Sacher, director of the Basel Chamber Orchestra, and the two worked together for more than fifty years. Sacher claimed that Lohr was an ‘invaluable aid’, especially with the programming of early music. She also provided performance practice information, marked the scores and parts for Sacher, and advised him about soloists. Lohr also worked on the contemporary music that the chamber orchestra performed by composers such as Nadia Boulanger, Igor Stravinsky, Arthur Honegger, Paul Hindemith, and Béla Bartók. Simultaneously, she continued her own work composing and performing religious music, alongside supporting amateur music-making. With the founding of the Schola Cantorum Basiliensis (SCB) in 1933, Lohr ‘served in an advisory capacity’ during the creation of the school. The SCB was dedicated to the study and performance of pre-Classical repertoire and, almost a hundred years later, is still ranked as one of the most important early music conservatoires. Considered ‘the main pedagogical motor of the school’, Lohr taught Gregorian chant, recorder, ensemble, and thorough bass. She was happy working with amateurs as well a","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/fam.2021.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44821350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
English Abstract:Although Francisco Andreví Castellá is not a household name outside of Spain, he looms large in the history of nineteenth-century music in Spain, as he does in that country's present-day musicological activities. Moreover, Andreví, who served at a number of important musical institutions, including the royal chapel of Ferdinand VII, was a prolific composer. My catalogue accounts for no fewer than 369 works, with these reaching us in 515 copies spread mainly in archives throughout Spain, but also in France. This article serves as a preview of the catalogue and offers brief bibliographical and biographical sketches.French Abstract:Bien que Francisco Andreví Castellá ne soit pas un nom connu en dehors de l'Espagne, il occupe une place importante dans l'histoire de la musique du XIXe siècle en Espagne, ainsi que dans les activités musicologiques actuelles de ce pays. De plus, Andreví, qui a occupé des fonctions dans plusieurs institutions musicales importantes, dont la chapelle royale de Ferdinand VII, était un compositeur prolifique. Mon catalogue ne recense pas moins de 369 œuvres, qui nous sont parvenues en 515 exemplaires répartis principalement dans les diverses archives d'Espagne, mais aussi de France. Cet article constitue un aperçu du catalogue et propose de brèves esquisses bibliographiques et biographiques.German Abstract:Auch wenn der Name Francisco Andreví Castellá außerhalb Spaniens nicht geläufig ist, handelt es sich bei ihm doch um eine wichtige Persönlichkeit des spanischen Musiklebens des 19. Jahrhunderts sowie der heutigen spanischen Musikwissenschaft. Darüber hinaus war Andreví ein überaus produktiver Komponist und an einer Reihe wichtiger Musikinstitutionen beschäftigt-unter anderem an der königlichen Kapelle von Ferdinand VII. Ein von der Autorin erstelltes Verzeichnis umfasst nicht weniger als 369 Werke, die in 515 hauptsächlich über Spanien, aber auch in Frankreich verteilten Exemplaren überliefert sind. Dieser Artikel dient als Vorschau auf das Werkverzeichnis und wird durch bibliografische wie auch biografische Informationen ergänzt.
尽管弗朗西斯科Andrev i castellas在西班牙以外不是一个家庭的名字，但他在19世纪的西班牙音乐史上有很大的影响力，因为他在这个国家目前的音乐活动中所做的。诗Andrev 06 who龙兵at a楼景音乐的重要机构,包括the royal chapel of费迪南德七,委任was a prolific作曲。My较少than 369号目录accounts for works with us in these reaching spread 515个拷贝速度”档案的主要卖点,but also in France。This as a preview的公馆篇of the目录和规划将简报- 99和传记小品。英语摘要:尽管弗朗西斯科andrevi castella在西班牙以外的地方并不为人所知，但他在19世纪的西班牙音乐史上占有重要的地位，也在这个国家当前的音乐学活动中占有重要的地位。此外，andrevi是一位多产的作曲家，他曾在几个重要的音乐机构任职，包括费迪南德七世的皇家教堂。我的目录中有不少于369件作品，515件，主要分布在西班牙和法国的各个档案馆。这篇文章提供了目录的概述，并提供了简短的书目和传记大纲。德国摘要:Auch wenn der Name Francisco andrevi castella außerhalb Spaniens nicht gel - fig ist, handelt es sich bei ihm doch um eine wichtige peronlichkeit des 19。= =地理= =根据美国人口普查，该镇的土地面积为。Darüber hinaus war Andrev 06 einüberaus produktiver Komponist and an einer Reihe wichtiger Musikinstitutionen贝诉ftigt-unter anderem k in an der niglichen Kapelle费迪南德·冯·七。Ein von der Autorin erstelltes Verzeichnis不同nicht weniger 369 Werke,法院chlich uber die in 515 haupts Spanien aber他们in德意志verteilten Exemplarenüberliefert信德省。kel客户als Vorschau angegebenen auf Werkverzeichnis und das wird durch bibliografische wie他们biografische公司上述erg ' m not on nzt。
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This article presents the music inventory of the French Court at the time of the Napoleonic Kingdom of Italy (1805–1814) with Milan as capital, currently kept in the State Archives of Milan among the inventories of the properties already owned by the French court of Beauharnais. The detailed list includes sacred music for the court chapel, music for the academies—that is for concerts given at court—music particular to Prince Eugène and the compositions performed during Napoleon's coronation in Milan (26 May 1805). Most of the compositions in the inventory are currently preserved in two libraries: the Milan Conservatoire and the Bayerische Staatsbibliothek in Munich (known as 'Sammlung Leuchtenberg, Eugène Herzog von', 1781–1824), where Eugène retired to with his family with his father-in-law, King of Bavaria, after the fall of the Kingdom of Italy. This study of the collection has made possible to establish that:
a large part of the sacred music (in the collection) was the work of Bonifazio Asioli, former chapel master and also master of the royal Napoleonic court of Milan, as well as first director and maestro of composition of the Conservatoire founded by Eugène;
that the Milanese nucleus constitutes the basic heritage of the Conservatoire Library;
the tastes of the court were strongly oriented towards Neapolitan theatre music (Pergolesi, Cimarosa, Guglielmi);
these tastes and this heritage strongly influenced the didactics of music, as can be seen in Asioli's Trattato di Armonia (1813), composed for the students of the Milan Conservatoire and dedicated to Eugène de Beauharnais.
French Abstract:
Le présent article décrit l'inventaire musical de la Cour de France à l'époque du Royaume napoléonien d'Italie (1805–1814) dont Milan était la capitale, et actuellement conservé aux Archives d'État de Milan parmi les différents inventaires des biens appartenant à la Cour de France des Beauharnais. La liste détaillée comprend la musique sacrée pour la chapelle de la cour, la musique pour les académies–c'est-à-dire pour les concerts donnés à la cour–la musique particulière du prince Eugène et les compositions exécutées lors du couronnement de Napoléon à Milan (26 mai 1805). La plupart des compositions recensées sont actuellement conservées dans deux bibliothèques : le Conservatoire de Milan et la Bayerische Staatsbibliothek de Munich (connue sous le nom de «Sammlung Leuchtenberg, Eugène Herzog von», 1781–1824), où Eugène s'est retiré avec sa famille auprès de son beau-père, le roi de Bavière, après la chute du royaume d'Italie. Cette étude de la collection a permis d'établir que :
une grande partie de la musique sacrée (au sein de ce fonds) éta
阿西奥利斯·特拉塔托·迪·阿莫尼亚（Asiolis Trattato di Armonia），1813年，为米兰音乐学院（Milan Conservatory）的学生编撰，献给尤涅·德·博哈尔奈（Eugène de Beauharnais）。
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{"title":"Eubie Blake: Rags, Rhythm, and Race by Richard Carlin and Ken Bloom (review)","authors":"Aaron J. West","doi":"10.1353/fam.2021.0016","DOIUrl":"https://doi.org/10.1353/fam.2021.0016","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/fam.2021.0016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47709347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
to expect this book to square this particular circle, but it should nevertheless be noted that it highlights more questions and problems than it solves. Nonetheless, there is a wealth of useful material here for anyone wishing to grapple with these issues and, for that reason alone, this volume should be required reading for all trainee music teachers. It is also strongly recommended for all current practitioners and educational policymakers, so it is particularly regrettable that, at £110, it may prove discouragingly expensive—unless, of course, they have access to an institutional library or Oxford Handbooks Online (for the e-book version). This is a shame, as it deserves to be widely read and reflected upon.
{"title":"Restoring the Synagogue Soundtrack: Jewish Religious Music in Nineteenth Century America by Judah M. Cohen (review)","authors":"Alon Schab","doi":"10.1353/fam.2021.0015","DOIUrl":"https://doi.org/10.1353/fam.2021.0015","url":null,"abstract":"to expect this book to square this particular circle, but it should nevertheless be noted that it highlights more questions and problems than it solves. Nonetheless, there is a wealth of useful material here for anyone wishing to grapple with these issues and, for that reason alone, this volume should be required reading for all trainee music teachers. It is also strongly recommended for all current practitioners and educational policymakers, so it is particularly regrettable that, at £110, it may prove discouragingly expensive—unless, of course, they have access to an institutional library or Oxford Handbooks Online (for the e-book version). This is a shame, as it deserves to be widely read and reflected upon.","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/fam.2021.0015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42481260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Teaching Piano Pedagogy: A Guidebook for Training Effective Teachers by Courtney Crappell (review)","authors":"E. Hodgkinson","doi":"10.1353/fam.2021.0005","DOIUrl":"https://doi.org/10.1353/fam.2021.0005","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/fam.2021.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41579841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Johann Mattheson's Pièces de clavecin and Das neu-eröffnete Orchestre: Mattheson's Universal Style in Theory and Practice by Margaret Seares (review)","authors":"M. Gardner","doi":"10.1353/fam.2021.0004","DOIUrl":"https://doi.org/10.1353/fam.2021.0004","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/fam.2021.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48518707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
English Abstract:This article discusses an aspect of the Reformation not often explored—the impact of religious change on the music of a court chapel. The Reformation was a powerful movement that affected the royal duchy of Württemberg in a fundamental way. Ulrich VI, the hereditary duke, converted to the Lutheran faith in 1523 and enthusiastically embraced the tenets of Lutheranism. Luther's theological teachings were followed by significant changes to the liturgy, making it necessary to create new liturgical music. The temperament of its duke was well-suited to this endeavour, and it fueled the development of a significant repertory. He was a volatile figure who was passionately devoted to his Hofkapelle. He spent large amounts of money recruiting musicians and securing existing pieces that his scribe copied for the choir.Twenty-one choir books, containing 250 sacred pieces were assembled after 1538. Of that number, seventeen books contain 170 traditional Catholic pieces—motets, ordinaries, magnificats, and hymns—and four choir books contain eighty Lutheran works for the Mass and Vespers. Even though both Ulrich and Peuschel had converted, Peuschel continued to copy Catholic works simultaneously with Lutheran pieces. In 1543 to 1545, he copied a collection of Lutheran propers and responsories from varied sources, plus pieces that were composed 'in-house'. The answer to why the court chapel was provided with so much music that represented both faiths is perhaps embedded in the mix of Ulrich's desire for notoriety and the difficulty of producing new music appropriate for a fledging church.French Abstract:Cet article aborde un aspect peu exploré de la Réforme, à savoir l'impact des changements religieux sur la musique de la chapelle d'une cour. La Réforme fut un mouvement puissant qui a affecté le duché royal du Wurtemberg de manière radicale. Ulrich VI, le duc héritier, se convertit à la foi luthérienne en 1523 et embrasse avec enthousiasme les principes du Luthéranisme. Les enseignements théologiques de Luther ont été suivis de changements importants pour la liturgie, ce qui a rendu nécessaire la création d'une nouvelle musique liturgique. Le tempérament du duc était propice à cette évolution et a favorisé le développement d'un répertoire important. Personnage instable passionnément dévoué à sa Hofkapelle. il dépensait des sommes considérables pour recruter des musiciens et acquérir des œuvres musicales déjà existantes que son copiste transcrivait pour le chœur.Vingt et un livres de chœur, contenant 250 pièces sacrées, ont été compilés après 1538. Sur ce nombre, dix-sept livres contiennent 170 pièces catholiques traditionnelles – motets, ordinaires, magnificats et hymnes – et quatre livres de chœur rassemblent quatre-vingt œuvres luthériennes pour la Messe et les Vêpres. Bien qu'Ulrich et Peuschel se soient tous deux convertis, Peuschel a continué à copier des œuvres catholiques simultanément à des pièces luthériennes. En 1543–1545, il a copié u
{"title":"The Musical Activities at the Court of Ulrich VI, Duke of Württemberg Before and During the Early Reformation","authors":"K. English","doi":"10.1353/fam.2021.0001","DOIUrl":"https://doi.org/10.1353/fam.2021.0001","url":null,"abstract":"English Abstract:This article discusses an aspect of the Reformation not often explored—the impact of religious change on the music of a court chapel. The Reformation was a powerful movement that affected the royal duchy of Württemberg in a fundamental way. Ulrich VI, the hereditary duke, converted to the Lutheran faith in 1523 and enthusiastically embraced the tenets of Lutheranism. Luther's theological teachings were followed by significant changes to the liturgy, making it necessary to create new liturgical music. The temperament of its duke was well-suited to this endeavour, and it fueled the development of a significant repertory. He was a volatile figure who was passionately devoted to his Hofkapelle. He spent large amounts of money recruiting musicians and securing existing pieces that his scribe copied for the choir.Twenty-one choir books, containing 250 sacred pieces were assembled after 1538. Of that number, seventeen books contain 170 traditional Catholic pieces—motets, ordinaries, magnificats, and hymns—and four choir books contain eighty Lutheran works for the Mass and Vespers. Even though both Ulrich and Peuschel had converted, Peuschel continued to copy Catholic works simultaneously with Lutheran pieces. In 1543 to 1545, he copied a collection of Lutheran propers and responsories from varied sources, plus pieces that were composed 'in-house'. The answer to why the court chapel was provided with so much music that represented both faiths is perhaps embedded in the mix of Ulrich's desire for notoriety and the difficulty of producing new music appropriate for a fledging church.French Abstract:Cet article aborde un aspect peu exploré de la Réforme, à savoir l'impact des changements religieux sur la musique de la chapelle d'une cour. La Réforme fut un mouvement puissant qui a affecté le duché royal du Wurtemberg de manière radicale. Ulrich VI, le duc héritier, se convertit à la foi luthérienne en 1523 et embrasse avec enthousiasme les principes du Luthéranisme. Les enseignements théologiques de Luther ont été suivis de changements importants pour la liturgie, ce qui a rendu nécessaire la création d'une nouvelle musique liturgique. Le tempérament du duc était propice à cette évolution et a favorisé le développement d'un répertoire important. Personnage instable passionnément dévoué à sa Hofkapelle. il dépensait des sommes considérables pour recruter des musiciens et acquérir des œuvres musicales déjà existantes que son copiste transcrivait pour le chœur.Vingt et un livres de chœur, contenant 250 pièces sacrées, ont été compilés après 1538. Sur ce nombre, dix-sept livres contiennent 170 pièces catholiques traditionnelles – motets, ordinaires, magnificats et hymnes – et quatre livres de chœur rassemblent quatre-vingt œuvres luthériennes pour la Messe et les Vêpres. Bien qu'Ulrich et Peuschel se soient tous deux convertis, Peuschel a continué à copier des œuvres catholiques simultanément à des pièces luthériennes. En 1543–1545, il a copié u","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/fam.2021.0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43849913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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