Pub Date : 2023-09-18DOI: 10.30965/27727629-20230009
Silke Leopold
Abstract This paper attempts to show how, at the turn of the 16th and 17th centuries, not only the relationship between text and music changed, but also and above all how the perception of language and speech established itself as a constituting medium for the musical invention. During the 16th century, when the content of the text guided the musical invention and polyphony created an emotional distance to the message of the text, it was still considered possible to compose in different textual and musical idioms (e.g. Orlando di Lasso’s Viersprachendruck ). Later, musicians – composers as well as singers – concentrated increasingly on their respective mother tongues and the musical forms of expression available for these, especially in connection with the new instrumentally accompanied solo singing. The musical forms were closely related to the metrics of the respective language, but also to the idea of character stereotypes that were musically articulated in the different airs. Contemporaries were already aware of the difficulty of translating vocal music into another language. And so the first half of the 17th century is marked by a linguistic and musical differentiation of all the vocal forms that are subsumed under the name Lied .
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Pub Date : 2023-09-18DOI: 10.30965/27727629-20230012
Frédérique Renno
Abstract Far-reaching changes in poetry and music emerge at the turn of the 16th and 17th centuries. Poetry and Lied can hardly be separated around 1600, as the lyric poetry of this period is generally singable and decisively influenced by the secular Lied . The significant contribution of the Lied to aesthetic change and to the modernisation and Europeanisation of German-language lyric poetry (themes, motifs, metrics, forms, sentence structures) will be worked out on the basis of some 5 200 songs in about 340 printed song collections between 1567 and 1642. Against the background of this broad corpus of sources, the interdisciplinary study analyses individual songs and song collections from the German-speaking world in terms of both musicology and literary studies. In addition to social and sociological aspects, dimensions of novelty are addressed as well as the relationship between theory, poetics and practice, cultural transfer processes, and questions about continuities and dynamics of literary and musical phenomena. The case studies as well as the theoretical and poetic statements on the Lied show how two conceptions of the Lied are profiled: In becoming independent, both song concepts are valorised in literature and music. In this way, the secular German-language Lied contributes to the modernisation and Europeanisation of German literature.
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Pub Date : 2023-09-18DOI: 10.30965/27727629-20230008
Astrid Dröse
Abstract This article outlines the status, tasks, and desiderata of research on the song of the early modern period. The starting point of the contribution is Adorno’s rejection of the Lied from an ideology-critical and autonomy-aesthetic point of view. In the post-war period, this had consequences for research on the Lied as well as for the social treatment of this form. On the other hand, national-philological perspectives continued to dominate for a long time; at the same time, the song ( Lied ) was not only neglected in research, but also the singing of songs became suspect and was increasingly rejected in music didactics. Only new discussions, first about terminology ( Musikalische Lyrik , Danuser 2004), have made the song attractive again. Recent research has focused on aspects such as translation, mobility, social history, and praxeology. Using examples of early modern song authors like Heinrich Müller, Heinrich Albert, Martin Opitz, and especially Johann Rist, this essay presents these new perspectives.
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Pub Date : 2023-09-18DOI: 10.30965/27727629-20230010
Andrea Hofmann
Abstract Using the song “Sie ist mir lieb, die werte Magd” by Martin Luther (1535) and psalm songs from the hymnal of the Leipzig pastor Cornelius Becker (1602) as examples, this article asks about the image of the ‘church’ in Lutheran songs of the Reformation and the Confessional Age and how this image in particular developed in the 16th and 17th centuries. What Luther and Becker have in common is that their songs aimed to create a sense of belonging and an awareness of one’s own identity within the singing Protestant community. Church songs, whose themes could also be about the church, thus served not least to build up the church in the spirit of the Reformation.
本文以马丁·路德(1535)的歌曲“Sie ist mir lieb, die werte Magd”和莱比锡牧师科尼利厄斯·贝克尔(1602)的赞美诗为例，探讨了宗教改革和忏悔时代路德教会歌曲中的“教会”形象，以及这种形象在16世纪和17世纪的发展情况。路德和贝克尔的共同点是，他们的歌曲旨在创造一种归属感，并在歌唱的新教社区中意识到自己的身份。教会歌曲，其主题也可以是关于教会的，因此，在宗教改革的精神下，它们不仅有助于建立教会。
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Pub Date : 2023-09-18DOI: 10.30965/27727629-20230013
Jörg Robert, Moritz Strohschneider
Abstract This article deals with the numerous psalm songs that Martin Opitz composed between 1626 and 1638 to melodies from the Geneva Psalter. It discusses them in the context of the great tradition of Protestant psalm songs which had flourished since the Reformation and considers their role for Opitz’s poetics and linguistic reflection (‘Spracharbeit’). In the first part, the essay presents Opitz’s translation work on the Psalter showing that the poet wanted to create a normative example of German-language sacred poetry. We then reconstruct Opitz’s poetics on the basis of his songs on Psalm 6, linking it to the European tradition of the psalm song as well as to theological and dogmatic issues.
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Pub Date : 2023-09-18DOI: 10.30965/27727629-20230011
Michael Chizzali
Abstract Recently, there has been a marked increase in the interest in contrafacta among scholars in terms of sources, contexts, and technique, as well as in regard to systematic and terminological approaches. Focusing on the collections of contrafacta published in the second half of the 16th century by Georg Baumann the Elder in Erfurt, the article investigates the relevance underlaying music with new texts can have for historiography. Considering the importance of Italian secular repertory for Baumann’s prints with contrafacta on the one hand, and the wide range of re-texting strategies which – as the contributions of the Lutheran theologian and neo-Latin poet Ludwig Helmbold show – could exceed the pragmatic and pattern-oriented production of contrafacta on the other, the idea and meaning of two concepts prominent in Early Modern History are re-evaluated: Humanism and model-based thinking (the latter, not surprisingly, associated with Fernand Braudel’s famed modèle italien ).
近年来，学者们对契约学的研究在来源、语境、技术以及系统和术语方法等方面都有了明显的兴趣。本文以16世纪下半叶埃尔福特的老乔治·鲍曼(Georg Baumann the Elder)出版的《契约文集》为研究对象，探讨了音乐与新文本之间的关联对史学的影响。一方面，考虑到意大利世俗的保留作品对鲍曼的《契约》版画的重要性，以及广泛的重新文本策略——作为路德神学家和新拉丁诗人路德维希·赫尔姆博尔德的贡献——可以超越《契约》的实用主义和模式取向的生产，另一方面，在早期近代史中突出的两个概念的思想和意义被重新评估:人文主义和基于模型的思维(后者，毫不奇怪，与费尔南德·布罗代尔著名的意大利模型有关)。
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Pub Date : 2023-09-18DOI: 10.30965/27727629-20230015
Bernhard Pattis
Abstract The cantata genre is one of the most important intermedial art forms in European cultural history. Originating in Italy, it has also been used productively in music and literature in Germany since the late 17th and early 18th centuries. Since Erdmann Neumeister, who was the first to formulate a poetics of the (madrigal) cantata, numerous cantata poems have been written, which – even before they are potentially set to music – are literary artifacts in their own right. It is therefore surprising that the genre of the cantata has been researched almost exclusively by musicologists, and that there has been a lack of literary studies, and consequently, interdisciplinary approaches, which would be necessary for a systematic understanding of the cantata as a musical-literary hybrid genre. This article is intended as a contribution to an interdisciplinary study of the cantata. It examines the cantata text “Ich will den Kreuzweg gerne gehen”, written by Erdmann Neumeister and set to music by Georg Philipp Telemann, according to literary-textual and musical criteria, paying particular attention to the mechanisms and dynamics of the interaction between text and music.
摘要康塔塔是欧洲文化史上最重要的中间艺术形式之一。起源于意大利，自17世纪末和18世纪初以来，它在德国的音乐和文学中也被大量使用。自从厄德曼·诺迈斯特(Erdmann Neumeister)第一个提出(牧歌式)康塔塔的诗学以来，大量的康塔塔诗歌被写了出来，甚至在它们可能被谱成音乐之前，它们本身就是文学作品。因此，令人惊讶的是，康塔塔的研究几乎完全是由音乐学家进行的，而缺乏文学研究，因此缺乏跨学科的方法，这对于系统地理解康塔塔作为一种音乐-文学混合类型是必要的。本文旨在对康塔塔的跨学科研究作出贡献。它考察了由Erdmann Neumeister撰写并由Georg Philipp Telemann根据文学文本和音乐标准设置为音乐的康塔塔文本“Ich will den Kreuzweg gerne gehen”，特别关注文本与音乐之间相互作用的机制和动态。
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Pub Date : 2023-09-18DOI: 10.30965/27727629-20230014
Julia Amslinger, Nathalie Emmenegger
Abstract Swiss literature between Niklaus Manuel as an example of a 16th century poet and Albrecht von Haller as a writer of the Age of Enlightenment has been little researched – despite the fact that a large body of literature dealing with a particularly ‘Swiss’ language, culture, and poetry can be linked to the political status of the sovereign confederation in the 17th century. This article presents the book Teutsche Gedichte by the Zurich author Johann Wilhelm Simler in the context of its creation as well as its reception. The work was first published in 1648, the year of the separation of the Confederate cantons from the Holy Roman Empire of the German Nation and at the end of the Thirty Years’ War. Due to its resounding success, it was reprinted three times until 1688. In addition to various epigrams, doctrinal and occasional poems, the collection consists mainly of sacred and secular songs, printed in four-part notation. The melodies were written by various composers. As well as working with musicians, Simler also collaborated closely with the Zurich engraver Conrad Meyer. We would like to highlight Simler’s work as a cultural broker in the cultural scene of his city and for Swiss poetry in the German-speaking world.
16世纪诗人尼克劳斯·曼努埃尔(Niklaus Manuel)和启蒙时代作家阿尔布雷希特·冯·哈勒(Albrecht von Haller)之间的瑞士文学很少被研究——尽管事实上，大量涉及“瑞士”语言、文化和诗歌的文学作品可以与17世纪主权联邦的政治地位联系在一起。本文介绍了苏黎世作家约翰·威廉·西姆勒在其创作和接受的背景下的《德意志人生》一书。这部作品首次出版于1648年，这一年是联邦各州从德意志民族的神圣罗马帝国分离出来的一年，也是三十年战争结束的一年。由于它的巨大成功，直到1688年，它被重印了三次。除了各种警句，教义和偶尔的诗歌，收集主要包括神圣和世俗的歌曲，印刷在四部分记谱法。这些旋律是由不同的作曲家创作的。除了与音乐家合作外，西姆勒还与苏黎世雕刻家康拉德·迈耶(Conrad Meyer)密切合作。我们想强调西姆勒作为他所在城市文化场景的文化经纪人和瑞士诗歌在德语世界的工作。
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This article treats aspects of the accompaniment technique in six of Fritz Kreisler’s most widely played miniatures: Liebesfreud, Liebesleid, Schön Rosmarin, Caprice Viennois, Tambourin Chinoise and Syncopation. The works are analysed both from a formal point of view and from an accompanist’s point of view, who has to also know in detail the soloist’s score in order to reveal certain meanders and agogic details of the musical discourse and in order to support and perfectly co-ordinate rhythmically and dynamically with the violinist’s intentions. To this end, several personal grounds related to the vision of interpretation and the problematics of the accompaniment technique are presented with solutions and suggestions of exercises of the imagination. Additionally, each analysed title is followed by a YouTube link, through which the respective track can be listened to as played by violinist Florin Croitoru, accompanied by the undersigned.
{"title":"Six miniatures for violin and piano composed by Fritz Kreisler. Formal analysis and aspects of the accompaniment technique","authors":"CLEMENTINA RISTEA-CIUCU","doi":"10.35218/ajm-2023-0013","DOIUrl":"https://doi.org/10.35218/ajm-2023-0013","url":null,"abstract":"This article treats aspects of the accompaniment technique in six of Fritz Kreisler’s most widely played miniatures: Liebesfreud, Liebesleid, Schön Rosmarin, Caprice Viennois, Tambourin Chinoise and Syncopation. The works are analysed both from a formal point of view and from an accompanist’s point of view, who has to also know in detail the soloist’s score in order to reveal certain meanders and agogic details of the musical discourse and in order to support and perfectly co-ordinate rhythmically and dynamically with the violinist’s intentions. To this end, several personal grounds related to the vision of interpretation and the problematics of the accompaniment technique are presented with solutions and suggestions of exercises of the imagination. Additionally, each analysed title is followed by a YouTube link, through which the respective track can be listened to as played by violinist Florin Croitoru, accompanied by the undersigned.","PeriodicalId":80558,"journal":{"name":"Artes de Mexico","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135803054","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 idea of writing a history book today regardless of the period under consideration also involves taking a challenging and complex approach. Beyond the well-known route, which involves documentation on the subject, discovery, selection, comparison, and systematization of scientifically-accredited sources, the author is obliged to confront the document, the testimonies of some protagonists of the respective era in order to provide the receiver with an image as close as possible to the historical truth. [...]
{"title":"Duet pe partitura timpului. Convorbiri cu Ioan Morna [Duet on the score of time. Conversations with Ioan Morna]1 by Alex Vasiliu","authors":"LOREDANA IATESEN","doi":"10.35218/ajm-2023-0017","DOIUrl":"https://doi.org/10.35218/ajm-2023-0017","url":null,"abstract":"The idea of writing a history book today regardless of the period under consideration also involves taking a challenging and complex approach. Beyond the well-known route, which involves documentation on the subject, discovery, selection, comparison, and systematization of scientifically-accredited sources, the author is obliged to confront the document, the testimonies of some protagonists of the respective era in order to provide the receiver with an image as close as possible to the historical truth. [...]","PeriodicalId":80558,"journal":{"name":"Artes de Mexico","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135803041","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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