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The Giants of the Dulcian Family: An Exploration of the Doppel Fagott and Fagotcontra in the Writings of Michael Praetorius 杜尔西亚家族的巨人——迈克尔·普雷托里作品中的多佩尔·法戈特和法戈孔特拉探析
De Musica Disserenda Pub Date : 2019-10-30 DOI: 10.3986/dmd15.1-2.06
W. Verschuren
{"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}
引用次数: 1
Reconstructing Lost Instruments: Praetorius’s Syntagma musicum and the Violin Family c. 1619 重建失落的乐器：普拉托留的《宪法音乐与小提琴家族》，约1619年
De Musica Disserenda Pub Date : 2019-10-30 DOI: 10.3986/dmd15.1-2.07
M. Zeller
{"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}
引用次数: 0
The Syntagma musicum in Lutheran Organ Sermons of the Seventeenth and the Eighteenth Centuries 十七世纪和十八世纪路德教会管风琴布道中的宪法音乐
De Musica Disserenda Pub Date : 2019-10-30 DOI: 10.3986/dmd15.1-2.09
Lucinde Braun
{"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}
引用次数: 0
Michael Praetorius’s Variable Opinions on Performance Michael Praetorius对业绩的不同看法
De Musica Disserenda Pub Date : 2019-10-30 DOI: 10.3986/dmd15.1-2.02
Jeffery T. Kite-Powell
{"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}
引用次数: 1
Praetorius Versus Zarlino: The Question of Modes Praetorius vs Zarlino:模式问题
De Musica Disserenda Pub Date : 2019-10-30 DOI: 10.3986/dmd15.1-2.05
Nejc Sukljan
{"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}
引用次数: 0
Italian Musical Culture and Terminology in the Third Volume of Michael Praetorius’s Syntagma musicum (1619) 迈克尔·普雷托里乌斯的《音乐宪法》(1619)第三卷中的意大利音乐文化和术语
De Musica Disserenda Pub Date : 2019-10-30 DOI: 10.3986/dmd15.1-2.04
M. Toffetti
{"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}
引用次数: 0
A Title Page of Michael Praetorius Michael Praetorius的扉页
De Musica Disserenda Pub Date : 2019-10-30 DOI: 10.3986/dmd15.1-2.01
P. Holman
{"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}
引用次数: 0
“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) “他向所有人展示他的火柴，让他们了解他的艺术奇迹”：misli o scortuah polypone glasbe v Italiji do Molinarove izdaje Gesualdovih madrigalov（1613）
De Musica Disserenda Pub Date : 2018-12-02 DOI: 10.3986/DMD14.1.04
D. Fabris
{"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}
引用次数: 0
Dragocene daritve iz Pomeranije: trije koncerti in sinfonia Christiana Michaela Wolffa (1707–1789) 波美拉尼亚的珍贵藏品：克里斯蒂安·迈克尔·沃尔夫（1707-1789）的三场音乐会和一首交响乐
De Musica Disserenda Pub Date : 2018-11-28 DOI: 10.3986/DMD14.1.03
Michael Talbot
{"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}
引用次数: 0
Iskanje virov za Opus musicum Jacobusa Handla: »Instructio ad musicos« in njegov pomen za skladateljev projekt
De Musica Disserenda Pub Date : 2018-11-28 DOI: 10.3986/DMD14.1.06
Marc Desmet
{"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}
引用次数: 0
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