Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
By
DOCTOR OF PHILOSOPHY
in
We a c c e p t t h i s thesis as c o n f o r m i n g
to the r e q u i r e d standard
April, 1983
The U n i v e r s i t y of B r i t i s h Columbia
1956 Main Mall
Vancouver, Canada
V6T 1Y3
DE-6 (3/81)
Abstract
l e d g e . The s e v e n t e e n t h - c e n t u r y t r i p a r t i t e c l a s s i f i c a t i o n of
is u s e d as an o r g a n i z i n g p r i n c i p l e to allow h i s statements
view.
iv
Table of Contents
Page Number
Abstract i i
List of Tables v
List of Figures vi
A N o t e on Quotations, viii
Introduction 1
C h a p t e r One: Musica T h e o r e t i c a 23
C h a p t e r Two: Musica P r a c t i c a 58
Conclusion 163
Notes 175
Appendix 20 9
V
L i s t o f Tables
Page Number
L i s t of Figures
Page Number
F i g u r e I: Staden's M u s i c a l A i d 44
vii
AA Ars Apophthegmatica
D Diana
FG Frauenzimmer G e s p r a c h s p i e l e (Modern P a g i n a t i o n )
HS Hertzbewegliche Sonntagsandachten
NJ N a t h a n und Jotham
A N o t e on Quotations
Literary Quotations:
- diacritical "e" r e p l a c e d by U m l a u t
- s u p e r i o r dash i n d i c a t i n g gemination o r o m i s s i o n of a
f i n a l l e t t e r (komen, un, e t c . ) r e p l a c e d by word in full
- A n t i q u a t y p e f a c e has b e e n u n d e r l i n e d f o r p u r p o s e s of
differentiation.
Musical Quotations:
U n l e s s t h e o r i g i n a l i s r e q u i r e d f o r t h e d i s c u s s i o n , modern
transcriptions' o f m u s i c a l examples a r e g i v e n .
1
Introduction
from o t h e r s o u r c e s , a l t h o u g h a c e r t a i n amount i s o r i g i n a l ,
as i s t h e c a s e i n t h e P o e t i s c h e r T r i c h t e r , and Frauenzimmer
self.
in stories and a n e c d o t e s , o r f o r d r a w i n g a n a l o g i e s w i t h a l l
A n g e l i c a von Keuschew-itz/ e i n e A d e l i c h e J u n g f r a u
Reymund D i s c r e t i n / e i n g e r e i s t - und b e l e s e n e r S t u d e n t
J u l i a von F r e u d e n s t e i n / e i n e k l u g e M a t r o n
V e s p a s i a n von L u s t g a u / e i n a l t e r Hofmann
Cassandra Schflnlebin/ eine Adeliche Jungfrau
Degenwert von Ruhmeck/ e i n v e r s t a n d i g e r und g e l e h r t e r
Soldat. (FG,I,22).
t h e mouths o f s i x c h a r a c t e r s , H a r s d o r f f e r i s n o t o n l y a b l e
s c a t t e r e d t h r o u g h o u t t h e F r a u e n z i m m e r G e s p r a c h s p i e l e , and
of musical matter.
name i n a s t a n d a r d e i g h t e e n t h - c e n t u r y m u s i c a l r e f e r e n c e
4
work--one w h i c h does n o t m e n t i o n Seelewig. Although Hars-
their countrymen."
7
Aside from r e f e r e n c e s made i n p a s s i n g , Harsdflrffer
in 1910 w h i c h d e a l s w i t h t h e m u s i c o l o g i c a l significance of
o f Von d e r W e l t Eitelkeit. ^ 1
The i m p o r t a n c e of this essay
Short History. ^ 1
Haar h i m s e l f published an English trans-
e s s a y g i v i n g much u s e f u l i n f o r m a t i o n on t h e s c h o l a r l y b a c k -
17
g r o u n d o f t h i s work by H a r s d o r f f e r . T h i s i n t u r n prompted
a r e b u t t a l by P e t e r K e l l e r t o a s t a t e m e n t made by Haar on
the nature of the c o l l a b o r a t i o n between H a r s d f l r f f e r and
18
f e a t u r e s o f t h e work, examines i t s r e l a t i o n s h i p t o o t h e r
D i c t i o n a r y o f M u s i c and M u s i c i a n s , one o f t h e s t a n d a r d
the i n t r o d u c t o r y s e c t i o n t o p a r t f o u r o f t h e Frauenzimmer
had been h e a r d , a l t h o u g h i t c a n n o t be t a k e n as c o n v i n c i n g
23
depth.
of theological or i n t e l l e c t u a l s t a n d a r d s as t h e b a s i s of
w i t h contempt i n another.
From a c r e a t i v e as w e l l as a c r i t i c a l p o i n t o f view,
in full-time o c c u p a t i o n s , o f t e n as p r e a c h e r s , p r o f e s s o r s , o r
13
a s u b j e c t w h i c h i n many o f i t s a s p e c t s i s v i t a l l y connected
of them i n d e p e n d e n t l y , t h e e s s e n c e of h i s understanding of
or r e s t a t i n g t h e i d e a s g i v e n , he n o t o n l y h e l p e d i n setting
made i n f o r m a t i o n a v a i l a b l e on a l l s o r t s o f s u b j e c t s , in-
literary works.
things. Harsdflrffer s 1
e x t e n s i v e r e a d i n g on a g r e a t many
for granted.
the day.
Beredste irren"(FG,VI,401).
Harsdorffer s 1
r e a d e r s were a l s o aware o f p r i n t i n g errors
in h i s w o r k s , as was t h e c a s e w i t h L u d w i g v o n A n h a l t who
el ri s h e r o f t h e F r a u e n z i m m e r G e s p r a c hbekommen/
s p i e l e p o iinnt dem
s o ubte:y"Hat
dem
a s c e r t a i n what H a r s d f l r f f e r i n f a c t meant t o c o n v e y , r a t h e r
terms w i l l be s u p p l i e d as an a i d to a s c e r t a i n i n g Harsdorf-
Harsdflrffer s 1
familiarity with a l a r g e number o f musical
in T h e o r e t i c a l ^ , P r a c t i c a m und P o e t i c a m a b g e t h e i l e t wird,"
t h e c a t e g o r i e s o f w o r l d l y m u s i c , m u s i c a mundana, w h i c h was
the s e v e n t e e n t h - c e n t u r y : w r i t e r s
o f t h e t i m e were a l s o d i v i -
4
d i n g m u s i c i n t o two c l a s s e s : n o t a t i o n and s i n g i n g , elemen-
t a r y and h a r m o n i c ,
5 r
o r C h o r a l i s [ _ a l l n o t e s have t h e same
i o n o f an e x p e r t c o n t e m p o r a r y w i t h H a r s d f l r f f e r , and were i n
a t hand, t h e d i v i s i o n s p r o v i d e d by H e r b s t p r o v e t h e most
array of b e l i e f s and i d e a s a b o u t m u s i c as a r e f l e c t i o n o f
beliefs, as w e l l as t o t h e d i s c o v e r y o f t h e f i r s t known
i n t o works c o n c e r n i n g m u s i c a l t h e o r y o f t h e t i m e , a n d e v e n
when p a s s i n g i t on t o h i s r e a d e r .
worden"(FG,V,399).
a w i l l i n g n e s s to incorporate an e m p i r i c a l l y based i n t e r p r e -
t h e L a s t Judgement, a n d H a r s d o r f f e r s p e a k s o f t h i s concert
seventeenth-century c o n c e p t i o n o f music h i s t o r y s h a r e d by
Harsdflrffer.
MUSICA salve!" 1 1
s t r u m e n t s i n common u s e i n t h e s e v e n t e e n t h - c e n t u r y , and a l -
on h e a r s a y , h o w e v e r , s i n c e he was f a m i l i a r w i t h t h e i r techni-
cal performance.
a g e s , b u t a l s o on e x a m i n i n g evidence found i n o r i g i n a l
34
be detected. Harsdflrffer s 1
contact with the I t a l i a n aca-
Harsdorffer s 1
view o f the o r i g i n s and history o f music on
is accessible t o man d u r i n g h i s s o j o u r n on e a r t h o n l y as an
actually were.
macy o f t h e G r e e k s i n an h i s t o r i c o - a r t i s t i c c o n t e x t , he i s
a l s o i n c l u d e d d i s q u i s i t i o n s on whether i t e x i s t e d a t all.
T i n c t o r i s , a f i f t e e n t h - c e n t u r y Flemish t h e o r i s t , f o r example,
g r e a t i n t e r e s t to H a r s d o r f f e r , so much so t h a t he used i t
Die Ordnung Der Ton und seine Eigenschaft Der Planet Die Tugenden
ment o f modes i s g i v e n a s :
Score Libretto
Dorius Dorius
Phrygius Phrygius
Aeolius Aeolius
Lydius Mixtolydius
Mixtolydius Lydius
Ionicus Ionicus
Hyperaeolius " » o d e r b d u r , " and " S p u r i u s
t
oder der
v e r w o r f e n e H . "20
in the f i r s t h a l f o f t h e s e v e n t e e n t h - c e n t u r y - w a s by no means
a g r e e d upon, and w r i t e r s on t h e s u b j e c t were n o t r e l u c t a n t
22
to say so.
Glareanus i s r e f e r r e d t o b y H a r s d f l r f f e r as t h e a u t h o r i t y
dorffer i s :
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Ionian
Hyperaeolian
t h e modal a r r a n g e m e n t a p p e a r s t o be s o l v e d . Y e t i t does
The t a b l e , m o r e o v e r , c a n n o t be e x p l a i n e d i n terms o f
aware o f t h e s t a t e o f a s t r o n o m y i n h i s d a y — h e discusses
t h e o l d o r t h e new s o l a r systems.
The a r r a n g e m e n t i n t h e t a b l e c a n be e x p l a i n e d , however,
is t o s a y , t h e A e o l i a n mode e n d i n g on t h e n o t e A, t h e H y p e r -
aeolian on B, t h e I o n i a n on C, t h e D o r i a n on D, e t c . The
table.
with them.
any p a r t i c u l a r mode.
is considerably c l e a r e r than H a r s d o r f f e r s 1
Although he
the top smaller disc t o any note with the name o f a mode
on the s u b j e c t .
H a a r a l s o p o i n t s t o d i s c r e p a n c i e s between theorists
30
Hyper- schwach - - - -
aeolian
two a r e n e v e r t h e l e s s drawn t o g e t h e r i n t h e T u g e n d s t e r n e
as the f i r s t ) .
aware o f t h e o r e t i c a l w r i t i n g s on t h e s u b j e c t , he inter-
p o i n t o f v i e w , b u t i t c a n be e x p l a i n e d i n terms o f h i s
cultured conversation.
first o r r e a s o n a b l e l e v e l , b e l o n g i n g t o man a l o n e , c o n t a i n s
ciently d e v e l o p e d by t r a i n i n g o r e d u c a t i o n , and i s s t r o n g
plain t h e main p r o c e s s e s :
low l e v e l harmonious
action or action o r reaction
reaction
.one Of t h e t e c h n i q u e s of a r t i f i c i a l memory i s u s e d by H a r s -
Example 1:
R e d l i c h s o l t du f a h r e n m i t m i r /
Recht guts s o l wiederfahren d i r .
what i s s t o r e d i n t h e memory.
kan d o c h e i n j e d e r G e l e h r t e r und U n g e l e h r t e r v o n G l e i c h -
e a c h i n d i v i d u a l t o make judgements.
struments ( M E , I I , 1 3 1 ) , o r by m u s i c i n g e n e r a l , which i s a l s o
in general d e m o n s t r a t e above a l l h i s e c l e c t i c a p p r o a c h to
t i t l e of Musicus T h e o r e t i c u s .
58
of the c i t y a t an e a r l y age.
wieder bezogen," u
and he p r e s u m a b l y a l s o p l a y e d i t . Sig-
Neun G f l t t i n e n e i l t m i t Z i e r !
nemt neun I n s t r u m e n t e n hier.
S u c h t den h o c h b e g a b t e n Mann/
der so t r e f f l i c h s p i e l e n kan. (FG,IV,15)
emplified above a l l by t h e F r a u e n z i m m e r G e s p r a c h s p i e l e . In
language.
cerned, R i s t n e v e r t h e l e s s was w r i t i n g a p i e c e o f o c c a s i o n a l
from the t r u t h .
t h e n be c o n t i n u e d f o r a l l the v a r i o u s i n t e r v a l s . Hars-
leaves out the fractions, and explains: "Es sind auch un-
a t i o n o f m u s i c and numbers.
He p r e f e r s r a t h e r to r e l y on the f i n d i n g s o f o t h e r s , and
u n c e r t a i n t y i n the matter.
the goat and the wolf may a l s o be used, but sheep and wolf
p l a i n e d by the f a c t t h a t i n l i f e there i s a n a t u r a l a n t i p a t h y
66
interpretation of n a t u r a l phenomena i s a c c e p t e d as r e p r e -
as i s t h e t u n i n g o f drums, a l t h o u g h H a r s d f l r f f e r also i n -
are r e c o g n i z a b l e t o t w e n t i e t h - c e n t u r y e y e s and e a r s , a
referring f o r example t o a t h e o r b o , a l o n g - n e c k e d l u t e , a s
c o v e r e d w h e e l s w h i c h were s e t i n m o t i o n by means o f a p e d a l
Tugendsterne, t h e i n s t r u m e n t s r e q u i r e d by S t a d e n a r e "2
intended. ^ 2
I n t h e S c h a u s p i e l zu R o s s , Harsdflrffer demonstrates
(FG,VII,506):
Example 2:
1~ "(1 ~T~ ff 1
rue i
IV
i L» *— -r- J ^
iT [ f f lr ff TCf 1 r tr f f ip=4
r]
72
t h e i n s t r u m e n t c h o s e n by S t a d e n t o accompany t h e character
of Trugewalt, the s a t y r , i s a " g r o b e s Horn"(FG,IV,534 and
28
561). I n g e n e r a l u s a g e t h e word meant " u n c o u t h , c o a r s e ,
r o u g h , " e t c . , as i s e v i d e n t f r o m H a r s d o r f f e r ' s r e f e r e n c e
29
ways a p p l y , a l t h o u g h a d o u b l e m e a n i n g i s sometimes a p p a r e n t :
73
performance.
"unkunstlich:"
Ein j e d e r s t e c k t ihm s e l b e s t e r w e h l t e s Z i e l :
Der l i e b e t etwan k u n s t l i c h e M u s i c s p i e l ' /
e r l u s t i g t s i c h m i t O r g l e n und T r o m p e t e n /
s c h l u r f f e n d e n Z i n k e n und g r o s s e n F l f i t e n .
P o s a u n e n / G e i g e n / L a u t e n und a n d e r s mehr/
b e l i e b e t v i e l e n neben d e r M u s i c - L e h r .
E i n minderer G e i s t l i e b t auszuschweiffen/
B a u r e n und B u r g e r e n a u f z u p f e i f f e n .
D i e C i t t e r / L e y e r / das s c h a l l e n d e J a g e r H i f f t
im F e l d und i n den D f l r f f e r e n F r e u d e s t i f f t /
Schalmayen/ T r i a n g e l / Maultrommel
l i e b e t d e r P f i v e l im Zechgemommel.
E i n j e d e r l o b t das S e i n e so v i e l e r w i l ;
U n k u n s t ' und K u n s t e / S a i t e n und S i n n e - S p i e l ;
i c h denk' i h r k e i n e n zu b e f e d e n /
h o r e t m i c h / h o r e t v o n S p i e l e n r e d e n ! (FG,IV,496-97)
i n s t r u m e n t s a r e u s e d , b u t on w h e t h e r t h e y a r e p l a y e d in a
D u d e l n d e r S a c k p f e i f f e n und d e r S c h a l m a y e n / a l s d i e mord-
merits m e n t i o n e d b y H a r s d o r f f e r i n c o n n e c t i o n w i t h Von d e r
to the a r t i s t i c group.
tic c a t e g o r y as s e t o u t i n H a r s d o r f f e r * s poem e x c e p t t h e
t o be g u a r d e d a g a i n s t a r e c h a r a c t e r i z e d by t h e u s e o f t h e
shawm.
u s e d c o r r e c t l y i n t h e German l a n g u a g e .
is as f o l l o w s :
has he a p p l i e d them t o t h e c h a r a c t e r s as H a r s d o r f f e r s u g -
gests, b u t he h a s a l s o i n c r e a s e d the p o s s i b i l i t i e s of v a r i -
valid Harsdflrffer s 1
division of instruments into two socially
suggests t h a t i f t h e a i m i s t o keep t h e c o s t o f a p e r f o r -
seen a t a l l .
invisibility o f t h e o r c h e s t r a c a n be e x p l a i n e d by t h e f a c t
38
ciple o f an i n v i s i b l e orchestra.
81
a means o f p r o v i d i n g h i s p u p i l s w i t h a p r a c t i c a l method o f
Voces.genommenV(ME,II,138):
Ut queant L a x i s Resonare f i b r i s
M i r a gestorum Famuli suorum
Solve p o l l u t e L a b i i reatum, ^
Sancte Ioannes. (ME,II,139)
which there were three types known as "hard," " n a t u r a l " and
Example 3:
ut mi sol fa
84
Example 4:
V— - A - p - P - P - J -—
£4 —^—e
ha ha
" c
ha ha ha ha ha ha ha
e>
ha
rh—
ha
Pitch Hard Natural. Soft Hard Natural Soft Hard The Gamut
e" E la E la
d" D re D sol D re s o l
c" e sol C fa C sol fa
b' b fa B B mi B b fa B
o r : mi B
a' A la A mi A re A l a mi r e
q* G sol G re G ut G s o l re ut
f F fa F ut F fa ut
e' E la E mi E l a mi
d' D la D sol D re D l a s o l re
c ( m i d d l e c)
l
C sol C fa C ut C s o l fa ut
bb btt b fa B B mi B b fa B .
o r : nii B
a A la A mi A re A l a mi r e
g G sol G re G ut G s o l re ut
f F fa F ut F fa ut
e E la E mi E l a mi
d D sol D re D s o l re
C C fa C ut C fa ut
B B me B mi
A A re A re
G r ut j- u t (Gamma Ut)
Table I I .
CO
86
which cannot be r u l e d o u t .
music,
f o r e i g n words i s as e v i d e n t i n h i s s t a t e m e n t s on m u s i c as i t
Original German
material.
e x t e n s i v e w o r k i n g knowledge o f a l l k i n d s o f a s p e c t s of
f o r p u t t i n g t h i s g e n e r a l knowledge i n t o p r a c t i c e .
90
eingenommen w e r d e n . " 1
The Musicus Poeticus i s therefore
word a t t h e time.
(PT,III,93) .
of m u s i c o - r h e t o r i c a l p a r a l l e l s : Joachim Burmeister, f o r
suitable m e l o d y f o r a s o n g i s t h e e m p h a s i s on r u l e s . Herbst
Although H a r s d o r f f e r s 1
understanding of the a r t of
the composer i s v e r y a p p a r e n t , he h i m s e l f c a n n o t be c o n -
as no m u s i c i s a t t r i b u t e d t o him. By s u p p l y i n g t h e words
of t h e words w i l l i n f l u e n c e t h e composer i n h i s c h o i c e o f
composing a note.
explanatory f u n c t i o n s , the f i g u r e i s a l s o s u i t a b l e f o r
ture i n verse.
f o r w a r d c o m p a r i s o n o f two s e e m i n g l y u n r e l a t e d subjects—
t o s a y on t h i s subject, and o v e r a l 1 , he d i r e c t s h i s d i s a p -
example i s t h e w i l l i n g n e s s t o be s e d u c e d by t h e i n t o x i c a t i n g
remark, H a r s d f l r f f e r f o l l o w s i t w i t h a r e l i g i o u s song, i n
i n s t a n c e i s to p r o v i d e a demonstration by n e g a t i v e example.
97
is a translation from a S p a n i s h s o u r c e .
is to i l l u s t r a t e the f o o l i s h n e s s of s u b m i t t i n g totally to
"Die L a u t e redet:"
komm/ komm/ bring deine Flamm/ weil ich bin tod zu nennen/
nachdem mein Sternendach/ mein Dach von Helffenbein/
(Zu helffen mancher Pein erbaut) gerissen ein.
Mein Zweck i s t ohne Zweck/ mein Steg i s t gantz zerstucket;
Ich bin ein eitles Nichts verstummt/ und eingedrticket.
Zuvor hat meinen Ton der Himmel selbst begehrt/
nun bin ich nimmer nicht so hoher Milde wehrt. (PT,III,12-13)
to p r o v i d e p a r t s . "
1< )
The words " z e r s c h n i t t e n , " " g e r i s s e n
The o u t s t a n d i n g t e c h n i c a l f e a t u r e o f t h i s poem i s
appreciated.
in isolation, f o r Harsdflrffer s 1
remarks c o n c e r n i n g t h e poem
a b e r m i t d e r o s e l b e n S a i t e n v e r e i n b a h r e n . . ."(PT,1,13, 1650
Der G l a u b b e f r e y t v o n S o r g e n /
d i e i n dem M e n s c h e n h e r t z e n
v e r h u l l e t und v e r b o r g e n /
und d o c h m i t S e u f f t z e n s c h m e r t z e n /
m i t T h r e n e n / A n g s t und F l e h e n /
s i c h k l a g l i c h l a s s e n sehen.
Der S a t a n k a n dem G l a u b e n /
d a s s w i r i n Jammer s t e r b e n /
und H o i l e n b r a n d v e r d e r b e n /
aus b l f l d e n S i n n e n r a u b e n /
Der G l a u b i s t G e i s t und L e b e n /
i n dem w i r s i n d und schweben.
Wann w i r n i c h t G l a u b e n haben/
w i r d u n s e r Thun und L a s s e n /
g l e i c h f a u l e Opfergaben/
der Himmelsschopfer hassen. (FG,VIII,198-99)
e x p r e s s e s a s e n s e o f d i s t r e s s a t t h e l a c k o f f a i t h and
c o u r s e o f t h e T h i r t y Y e a r s ' War i n p a r t i c u l a r .
of p a t i e n c e . T h i s f a c t o r i s e v i d e n t elsewhere i n H a r s d o r f -
instrument.
A f u r t h e r "Lehrgedicht" which i n c o r p o r a t e s a m u s i c a l
In den g r u n l i c h f a l b e n Matten
u n t e r e i n e r Eichen Schatten/
hat e i n f r e y e r Wandersmann
s e i n e Laute h i n g e l e g e t /
w e i l e r von dem S c h l a f e r r e g e t /
Mund und Augen zugethan.
103
t h a t H a r s d f l r f f e r h i m s e l f v a l u e d i t h i g h l y as an example of
r e p r e s e n t i n g a bad r u l e r — j u s t as the b e l l a d v e r t i s e s i t s
or heavenly harmony.
of m a t e r i a l f o r i n c l u s i o n i n p o e t i c works. The a s s o c i a t i o n
of instruments w i t h the C h r i s t i a n f a i t h i s p a r t i c u l a r l y
the first few lines taken from the explanatory verse of one
o f h i s emblems:
Harmoniam s a c r a m d i v e r s a haud M u s i c a c o g i t :
p e r f i c i t una f i d e s , q u i q u i d i n a r t e l a t e t .
Sola fides a r t i s resonat miracula rara: ^.
m o l l e m e l o s a c u i t murmure t e n s a f i d e s . . . .(FG,VIII, 694) .'
(Literal translation)
Different t y p e s o f m u s i c do n o t p r o d u c e s a c r e d harmony
One f a i t h completes whatever l i e s hidden i n a r t
107
tonus ditonus
diatessaron
pun.
Example 5:
- re f a fa re
32:
n ci
Cf Wann uns n t a s e y das b e l w e r c k bethfl ° t
fa re re mi re
-° o—; © ©-
6 so s s t der ° bensafft v i e l ~ ichlich lde "den
re l a ut l a ut ut ut re
0 -g— a
Wann uns e den g en M vermeh t
Qso 1 la re la
4) €>- a o~
c h e n L u s t und F ud den S o r g e n s t befeden.
H a r s d f l r f f e r p r o v i d e s t h e names o f t h e n o t e s w h i c h are to
poem runs:
Wann u n s r e f a n t a s e y d a s f a b e l w e r c k b e t h o r e t
so f a s s t d e r r e b e n s a f f t v i e l r e i c h l i c h m i l d e r e d e n
Wann u n s r e l a u t e l a u t den g u t e n Mut v e r m e h r e t
s o l l a c h e n L u s t und F r e u d den S o r g e n l a s t b e f e d e n .
In most c a s e s t h e names o f t h e n o t e s c a n be r e a d a s t h e y
m i n o l o g y a p p l i e d i n t h i s manner (AA,9; M E , I I , 1 4 0 ) , b u t t h i s
n o t be c o n s i d e r e d s u c c e s s f u l — t h e n o t e s are d i s c r e t e , the
s c o r e t h e m e a n i n g , o r t o p r o v i d e a theme f o r u s e i n a m u s i -
The first deals with the long vowels "aa," "ee," diphthongs,
In view of H a r s d f l r f f e r s 1
e m p h a s i s on the oral nature
"sonnen." 1 4
Harsdorffer's point i s nevertheless clear,
D i e W e l t i s t n i c h t s a l s Traume d i e uns t r i e g e n /
D i s s s e h ' i c h nun n a c h dem m i c h G o t t e r w e c k t :
113
I h r g a n t z e s t h u n i s t L i s t / B e t r u g und L i e g e n .
Das Auge s c h a f f t / d i e arrae S e e l e s t e c k t . . . .
Although Harsdflrffer s 1
avowed i n t e n t i o n i n i n c l u d i n g
of m e t r i c a l foot. The t r o c h e e i s r e p r e s e n t e d by t h e b r e v e
and w h o l e n o t e (PT,I,52-53):
Example 6:
Example 7:
° m l° Nt
Example 8:
fl —
1 ° c cy o c <J
Example 9:
• II i A
—s- /••> ch i 1
o
,\Y v v v d
K
and the r e l a t i v e p i t c h o f t h e n o t e s c a n t h e r e f o r e be d e t e r -
mined: i n d i s y l l a b i c f e e t t h e n o t e s a r e c and b, i n t h e
l
116
paest (PT,I,64) :
Example 10:
32
-F=F
Example 11:
e — J J c)
E
two tones.
are p u r e l y accidental.
becomes a m e t a p h o r f o r s y l l a b i c stress.
w h i c h means t h a t s h o r t v o w e l s i n a s t r e s s e d p o s i t i o n become
i l 3 i x
c a n n o t be taken literally. I t i s not " I - n den grun-
labic stress.
other. I f t h e n o t e v a l u e s g i v e n by H a r s d f l r f f e r a r e reduced
between t h e f o u r m e t r e s emerge:
Beat i n o j i 2 3 4 5 6
Beat in J 1 2 3 4 5 6 1 2 3 4 5 6
Iamb d o d o
Trochee ° J O d
Dactyl J J J J JJJ IJ
Anapaest
1:3:
1 2 3
Iamb d °
The v a r i o u s p r o b l e m s b r o u g h t a b o u t by a s s o c i a t i n g
the terms " l o n g " and "short" accurately describe this fea-
B u c h n e r a l s o made a s t a t e m e n t on t h e s u b j e c t : "Die S y l l b e n
musse d i e t e u t s c h P o e t e r e y n a c h dem L a t e i n i s c h e n r i c h t e n /
20
50) .
When a p p l y i n g musical notation t o p o e t i c m e t r e , Hars-?
124
to e x p r e s s t h e s e n s e o f t h e s e w o r d s , a l t h o u g h he i s aware
poetry.
Harsdflrffer s poetry.
1
Musical s u b j e c t matter i s used i n
t u r e s of h i s a r t .
126
Harsdflrffer s 1
view of the relationship between words
p o e t i c m e t r e s a r e t o be u s e d i n g e n e r a l , and w h i c h ones c a n
s i b l e : m e t r i c a l v a r i a t i o n s w i t h i n a poem "kflnnen u n z e h l i c h
have b e e n f o l l o w e d , b u t w h e t h e r t h e m u s i c a l rhythm h a s b e e n
9 3 - 9 4 ) , as w e l l as e x p r e s s i n g t h e meaning o f t h e melodic
considered i m p o r t a n t b y a German p o e t .
S e e l e bey d e r V o g e l Gesang:"
E r h e b e d i c h f l u c h t i g e Stimm/
s t e i g Wolken a n / s c h w i n g e d i c h / klimm
und h i l f f e den V o g e l e i n s i n g e n /
die l i e b l i c h e n L i e d e r gemein/
und h o r e d i e P s a l t e r l e i n k l i n g e n /
h a l t f l e i s s i g m i t i h n e n auch e i n !
Mit k u n s t l i c h gemischetem Chor/
s c h w i n g t e i n e r l e y M u s i c empor!
Der N a c h t i g a l l k r a u s s l i c h t e r K l a n g
t i r i l i r e t das r e i n s t e Gesang/
sie f a l l e t auf l i e b l i c h e Tertzen/
und s c h l u r f f e l t dem B a c h l e i n n a c h :
s i e l i s p e l t und w i s p e l t z u s c h e r t z e n /
dess reimenden G e g e n h a l l s Sprach/
und s i n g e t im hflherem C h o r /
den a n d e r e n V f l g e l e i n v o r . . . .(HS,II,234-35)
of some o f t h e t e c h n i q u e s u s e d by H a r s d & r f f e r i n p o e t r y .
Example 12:
Example 13:
Er - he - be dich fInch
Loch - tt ii - ge S t i - - mm/
W
steig
1
i
1 r rf 1f
- w
i
1
— h
Wo1-ken an/ schwing-e dich k l i - - - — mm und h i l f f - e den
l i - r e t das r e i n - ste Ge - sa - ng/ sie f a l - l e t auf
-p- t IC fS
f f
f l e i s s - i g mit i h - nen auch e i - - - - n! M i t ktinst-lich ge-
rei-men-den Ge-gen-halls Spra ch/ und sing-et l i m
/TV
i — i — 1 k 1
1*— —i r
f r f
mf mT mt
\ jj J -€ * $ 41 -«U
misch-e -tern Cho - - r / schwingt ei-ner-ley Mu-sic em - por!
hfl - he - rem Cho r/ den an-der - en Vo-ge-lein vor.
own standards.
somewhat e r r a t i c , owing t o i n c o n c s i s t e n c y e i t h e r on t h e
p a r t of; H a r s d f l r f f e r o r h i s p r i n t e r , a c t u a l u s a g e i n t h e song
c a n n o t u l t i m a t e l y be u s e d t o d e m o n s t r a t e w h e t h e r t h e p r i n -
n o t made up o f p a r t o f , o r a c o m p l e t e , main c l a u s e , b u t i t
the m u s i c a l cadences.
this song.
necessarily as b i n d i n g , f o r i n some c a s e s t h e r e l i g i o u s
Harsdorffer, as he s t a t e s t h a t h i s c h o i c e o f tunes i s a r b i -
seventeenth-century.^ 1
"nach f o l g e n d e r M e l o d e y " ( H S , I I , 3 7 9 - 8 1 ) :
Example 14:
A B
3
D E
— *
5 13. v=—
I I I . ,1 f^-jr-
Sb J ) J >
J
*
[__£_ y —e
First Verse:
d o r f f e r himself, i t i s probably r a s h t o do s o , f o r i n p r e -
32
source. In a l i t e r a r y context Harsdflrffer generally
indirectly, as H a r s d f l r f f e r n o t e s t h a t a l l m u s i c up t o and
34
year earlier:
Example 15
A B
3 -& E E t E E E f : IEE2
-4 -
6i ; is: J3Z i IP r i c r l J J
l d-
-&• 1
—^—'
139
First Verse:
GOTT/ der du den Klooss der Erden/ samt dem grossen Himmels-Sahl
Durch dein Wohrt hast lassen werden/ wir erkennen allzumahl/
dass du b i s t e i n HErr/ Allmachtig/ Schreklich/ H e r r l i c h / stark
und prachtig/
wie wir denn i n dieser Nacht/ sptiren deine grosse Macht.
Although the first example has a duple rhythm and the second
Harsdflrffer.
H a r s d f l r f f e r s main method o f c o m b i n i n g
1
religious sub-
will be a b l e t o t r y o u t t h e new m e l o d y p r o v i d e d , b u t as i t
as accessible as p o s s i b l e to h i s public.
the texts.
Harsdorffer f r o m t h e p o i n t o f v i e w o f l a n g u a g e , h a d more
q u e s t i o n c a n be a p p r o a c h e d by examining v e r s e s from b o t h
142
Trugewalt:
Kunsteling:
Trugewalt:
e h e l i c h e n F r a u e n a u f w a r t e t / s i e zu F a l l e zu b r i n g e n / w e l -
meaning.
in the score v e r s i o n , b u t a l s o p r o d u c e s an o p p o r t u n i t y f o r
and meaning.
metrical r e a s o n s , as a l l v e r s i o n s c a n be s c a n n e d regularly.
alterations.
meaning i s m a i n t a i n e d — T r u g e w a l t i s s o l i c i t i n g Kunsteling's
d o r f f e r 's pen.
improvement.
ten the music without the words, and t h e r e f o r e must have had
supplied a t an e a r l y s t a g e by H a r s d f l r f f e r , and p a s s e d i t to
ting o f H a r s d f l r f f e r s v e r s i o n may
1
well have a l r e a d y b e e n
of h i s involvement.
r e g u l a r m e t r e p r o v i d e d by H a r s d f l r f f e r i n t h e s o n g sung by"
A r t m u s i c o f t h e R e n a i s s a n c e was r e g u l a t e d t h r o u g h o u t
i t s c o u r s e by t h e t a c t u s , a b a s i c n o t e - v a l u e t o w h i c h
149
i n t h i s manner, f o r i n o t h e r i n s t a n c e s , e s p e c i a l l y i n the
N e v e r t h e l e s s , H a r s d o r f f e r may be c o n s i d e r e d as an example
150
o f a p o e t , who, by h i s i n s i s t e n c e on t h e c o r r e c t use of
i— 46
sentazione and E u m e l i o .
ewig.
In the f i r s t volume o f t h e F r a u e n z i m m e r G e s p r a c h s p i e l e
G l u c k s e l i g e n Seele s o n d e r l i c h g e f a l l e n . . ."(FG,II,322).
Five acts divided into four Three acts divided into six
or five scenes each scenes each
Pastor—Lache
Pastor sumptuosus—Welt (Reichimuht—HirtoderSchafer—
Reichtum)
(Ehrelob—Hirt oder Schafer—
Ehrgeitz)
(Kunsteling—Hirt oder Schafer—
der Kunstkutzel furwitziger
Wissenschaften)
Dea—Himlische Schonheit
Pastor—Forehfee Gottes
Nympha—-Irrdische Schonheit
Satyrus—Sathan Trugewalt—Satyro oder
Waldgeist
Echo—Wiederhall
Pastor—Gutt begehren
Fides—Glaube
Spes—Hoffnung
Dea—Genade Gottes
Die Music
Die Mahlkunst
Prologue:
Act One:
Act Two:
Act Three:
Act Four:
Act F i v e :
lassen"(PT,II,73-74). T h i s d e s c r i p t i o n a p p l i e s to the s t r u c -
on a l l e g o r i c a l r e p r e s e n t a t i o n s i s the prime f e a t u r e of
i n Die G l u c k s e e l i g e S e e l e .
Seelewig i s n o t as e x p l i c i t as t h a t i n D i e G l u c k s e e l i g e
v o i c e o f God, b u t T r u g e w a l t , a b a s s , d i s g u i s i n g h i s v o i c e by
related as f a r as c o n t e n t i s c o n c e r n e d :
Die G l u c k s e e l i g e Seele:
sic as a w o r l d l y temptation—it i s u s e d by t h e S e n s e s as a
figures.
p r o b l e m o f t h e u s e and m i s u s e o f m u s i c , e x p l a i n e d i n the
v i e w s on m u s i c , t h e s e v e r s e s s e t o u t t h e p r i m e aim o f Seel-
f i v e ; the i n c l u s i o n of a l l e g o r i c a l f i g u r e s r e p r e s e n t i n g the
H a r s d f l r f f e r s concern
1
f o r , and understanding o f , the
very c l o s e to e a r n i n g t h a t e p i t h e t i n a t h e o r e t i c a l sense.
Conclusion
c o n n e c t i o n w i t h music illustrates n o t o n l y t h a t he h i m s e l f
was v e r y w i d e l y r e a d on t h e s u b j e c t , 1
but also that a single
Much o f t h e m u l t i f a r i o u s m a t e r i a l r e f e r r e d to i n this
universal harmony. I t i s as e v i d e n t i n H a r s d o r f f e r s s t a t e -
1
body, o r t h e w o r k i n g s o f a monochord, a s i t i s i n h i s u s e
subsumed u n d e r this.
ward by H a r s d o r f f e r , b u t t h e e m p h a s i s i s n o t on s u b m i t t i n g
of how t h e i n h e r e n t o r d e r i n m u s i c c a n be d i s c o v e r e d . This
poses c a n be d e m o n s t r a t e d i n nature.
From a p u r e l y a r t i s t i c p o i n t o f v i e w , a s s o c i a t i o n with
l o n g i n g t o language.
art intellectually.
This a l s o a p p l i e s t o the a p p l i c a t i o n o f m u s i c a l i n t e r v a l s
t h a t music o r i g i n a t e d as an i m i t a t i o n o f n a t u r a l sounds,
of a number o f c o n t r a d i c t i o n s . As a consequence, i t is
systems.
In a p u r e l y a r t i s t i c c o n t e x t , on t h e o t h e r hand, the
sides t o t h e manner i n w h i c h he p r e s e n t s h i s m a t e r i a l - -
H i s knowledge o f m u s i c a s w e l l a s h i s p o e t i c expertise•isi
S t a d e n on S e e l e w i g . T h i s work c a n now be s e e n as h a v i n g
Practicus o r a Musicus P o e t i c u s , s i n c e he d i d n o t w r i t e
a r e a s do n o t p r e s e n t t h e m s e l v e s as b a r r i e r s f o r him a s t h e y
a non-literary a s p e c t o f t h e works o f a s e v e n t e e n t h - c e n t u r y
an u n d e r s t a n d i n g o f h i s m o t i v a t i o n s and i n t e n t i o n s c a n be
reached.
lems f o r t h e t w e n t i e t h - c e n t u r y . The u s e o f m u s i c a l n o t a t i o n
AM Acta Musicologica
MD Musica Disciplina
appropriate number.
175
Introduction: Notes
2
G e o r g A d o l f N a r c i s s , S t u d i e n zu den F r a u e n z i m m e r -
g e s p r a c h s p i e l e n Georg P h i l i p p H a r s d f i r f f e r s : E i n B e i t r a g z u r
deutsishen L i t e r a t u r g e s c h i c h t e des 17. J a h r h u n d e r t s ( L e i p z i g :
E i c h b l a t t , 1928), p. 117, and K.G. K n i g h t , "G.P. Harsdfirf-
f e r ' s F r a u e n z i m m e r g e s p r a c h s p i e l e , " GLL, 13 (1959-60), 119.
3
Wolfgang Kaspar P r i n t z , H i s t o r i s c h e Beschreibung
d e r E d e l e n S i n g - und K l i n g - K u n s t ( D r e s d e n : M i e t h , 1690),
pp. 165-66.
5
Johann R i s t , Neuer H i m l i s c h e r L i e d e r Sonderbahres
Buch ( L u n e b u r g : S t e r n , 1651), p r e f a c e , n.p.
7
As i n C a r l v o n W i n t e r f e l d , " M u s i k t r e i b e n und M u s i k -
e m p f i n d e n im s e c h z e h n t e n und s i e b z e h n t e n J a h r h u n d e r t e , "
appended t o V o l . I I o f Zur G e s c h i c h t e h e i l i g e r Tonkunst,
2 v o l s , i n 1 (1850; f a c s i m i l e r p t . H i l d e s h e i m : Olms, 1966),
pp. 291-92.
8
August Reissmann, A l l g e m e i n e G e s c h i c h t e d e r Musik,
I I (Mtinchen: Bruckmann, 1864), p p . 159-65, 59-73 ( n o t a t i o n
has s e p a r a t e p a g i n a t i o n ) .
9
Robert E i t n e r , " S e e l e w i g , " MfM,13 ( 1 8 8 1 ) , p . 56.
Eugen S c h m i t z , " Z u r m u s i k g e s c h i c h t l i c h e n B e d e u t u n g
der Harsdflrfferschen 'Frauenzimmergesprachspielen*,"
F e s t s c h r i f t zum 90. G e b u r t s t a g v o n R o c h u s , F r e i h e r r v o n
L i l i e n c r o n ( L e i p z i g : B r e i t k o p f and H a r t e l , 1910), p p . 254-
277.
1 1
Lang, p . 404.
12
Ludwig S c h i e d e m a i r , D i e d e u t s c h e Oper: Grundzuge
i h r e s Werdens u n d Wesens ( L e i p z i g : Q u e l l e a n d Meyer, 1930),
p . 21.
13
Scherle, p . 15.
14
Donald J . Grout, A S h o r t H i s t o r y o f Opera, 1 s t ed.
(New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1947), p . 152n.
15
James Haar, " A s t r a l M u s i c i n S e v e n t e e n t h - C e n t u r y
Nuremberg: The T u g e n d s t e r n e o f H a r s d f l r f f e r a n d S t a d e n , "
MD, 16 ( 1 9 6 2 ) , 176.
17
James Haar, The T u g e n d s t e r n e o f H a r s d f l r f f e r and
S t a d e n : An E x e r c i s e i n M u s i c a l Humanism. Musicological
S t u d i e s and Documents, 14 ( n . p . A m e r i c a n I n s t i t u t e o f
M u s i c o l o g y , 1965).
18
P e t e r K e l l e r , "New L i g h t on t h e T u g e n d s t e r n e o f
H a r s d f l r f f e r and S t a d e n , " MD,24-25 ( 1 9 7 1 ) , 223-27.
177
19
P e t e r K e l l e r , D i e Oper S e e l e w i g von Sigmund T h e o p h i l
S t a d e n und G e o r g P h i l i p p H a r s d f l r f f e r . P u b l i k a t i o n e n der
S c h w e i z e r i s c h e n M u s i k f o r s c h e n d e n G e s e l l s c h a f t , I I , 29 ( B e r n ,
S t u t t g a r t : Haupt, 1977).
2 0
Groves, pp. 258-59.
21
A l f o n s O t t , "Von d e r f r u h d e u t s c h e n Oper zum
d e u t s c h e n S i n g s p i e l , " M u s i k i n B a y e r n , I, e d . R o b e r t Mun-
s t e r and Hans Schmid ( T u t z i n g : S c h n e i d e r , 1972), p. 165, and
A l f r e d L o e w e n b e r g , A n n a l s o f O p e r a , 1597-1940 (London:
C a l d e r , 1978), c o l . 23.
22
S o p h i a E l i s a b e t h , H e r z o g i n zu B r a u n s c h w e i g -
L u n e b u r g , B e s c h r e i b u n g des F r e u d e n - F e s t i n s , w e l c h e s . . .
S o p h i a E l i s a b e t h . . . a u f f den G e b u r t s - T a g i h r e s H e r r n
A u g u s t i . . . a n g e s t e l l e t , w e l c h e r gewesen d e r 10. A p r i l i s ,
Im J a h r 1654 (no i m p r . ) .
23
F r e d e r i c k R o b e r t Lehmeyer, The " S i n g s p i e l e " o f
Anton U l r i c h von B r a u n s c h w e i g , D i s s . B e r k e l e y , 1971, p.4.
24
Loewenberg, c o l s . 23-24.
25
See, F e r d i n a n d van I n g e n , " B e r i c h t fiber d i e , S e e l e w i g 1
A u f f u h r u n g i n U t r e c h t , " I n s z e n i e r u n g und R e g i e b a r o c k e r
Dramen, e d . M a r t i n B i r c h e r (Hamburg: H a u s w e d e l l , 1976),
pp. 69-73, and F e r d i n a n d v a n I n g e n and Kees V e l l e k o o p ,
Programme Book f o r t h e P e r f o r m a n c e ,of S e e l e w i g in' U t r e c h t ,
1975.
26
Narciss, p. 58.
27
Narciss, pp. 158-63.
28
E l i a s Caspar Reichard, Versuch e i n e r H i s t o r i e der
d e u t s c h e n S p r a c h k u n s t (Hamburg: M a r t i n i , 1747), pp. 131-43.
29
Johann G a b r i e l Doppelmayr, H i s t o r i s c h e N a c h r i c h t von
den N u r n b e r g i s c h e n M a t h e m a t i c i s und K u n s t l e r n (1730; f a c s i m i l e
r p t . H i l d e s h e i m : Olms, 1972), pp. 98-100, and G e o r g A n d r e a s
W i l l , N u r n b e r g i s c h e r G e l e h r t e n l e x i c o n (Ntirnberg: S c h u p f e l ,
1755), pp. 34-39.
178
30
See, f o r example, t h e d i s p a r a g i n g remarks made on
"Poetische T r i c h t e r " i n G o t t l i e b S t o l l e , A n l e i t u n g zur
H i s t o r i e d e r G e l a h r t h e i t ( J e n a : h e i r s o f J o h a n n Meyer,
1736), p . 174.
31
H a r s d f l r f f e r does n o t a p p e a r f o r i n s t a n c e i n
C h r i s t i a n Schmid, A n w e i s u n g d e r v o r n e h m s t e n B u c h e r i n a l i e n
T h e i l e n d e r D i c h t k u n s t ( L e i p z i g : Weygand, 1 7 8 1 ) .
32
J u l i u s Tittmann, Die Nurnberger D i c h t e r s c h u l e :
H a r s d f l r f f e r , K l a j , B i r k e n (1847; r p t . W i e s b a d e n : S a n d i g ,
1965), and T h e o d o r B i s c h o f f , "Georg P h i l i p p H a r s d o r f f e r .
E i n Z e i t b i l d aus dem 17. J a h r h u n d e r t , " F e s t s c h r i f t z u r 250-
j a h r i g e n J u b e l f e i e r des P e g n e s i s c h e n Blumenordens g e g r u n d e t
i n N u r n b e r g am 16. O k t o b e r , 1644 ( N u r n b e r g : S c h r a g , 1894) •
33
Wolfgang Kayser, Die K l a n g m a l e r e i b e i H a r s d f l r f f e r .
P a l a e s t r a , 179 ( G f l t t i n g e n : Vandenhoeck and R u p r e c h t , 1962) .
J o h n Edward O y l e r , The Compound Noun i n H a r s d f l r f f e r ' s
'Frauenzimmer G e s p r a c h s p i e l e ' , D i s s . N o r t h w e s t e r n , 1957.
S i e g f r i e d F e r s c h m a n n , D i e P o e t i k G.P. H a r s d f l r f f e r s . Ein
B e i t r a g z u r D i c h t u n g s t h e o r i e des B a r o c k , D i s s . V i e n n a , 1964.
34
L e o n a r d F o r s t e r , " H a r s d f l r f f e r s Canon o f German
1
39
J o h n G. R o b e r t s o n , A H i s t o r y o f German L i t e r a t u r e ,
4th e d . , r e v . Edna P u r d i e (New Y o r k : B r i t i s h Book C e n t r e ,
1962), p . 181.
40
K r o t h , p . 101; and, w i t h r e s p e c t t o t h e Nuremberg
p o e t s i n g e n e r a l , C o n r a d Wiedemann, e d . J o h a n n K l a j :
F r i e d e n s d i c h t u n g e n und k l e i n e r e p o e t i s c h e S c h r i f t e n .
D e u t s c h e N e u d r u c k e ( T u b i n g e n : N i e m e y e r , 1 9 6 8 ) , p . 13*.
R e i t e r a t e d by B l a k e Lee S p a h r , " N u r n b e r g s S t e l l u n g im
l i t e r a r i s c h e n L e b e n des 17. J a h r h u n d e r t s , " S t a d t , S e h u l e ,
U n i v e r s i t a t , Buchwesen und d i e d e u t s c h e L i t e r a t u r im 17.
J a h r h u n d e r t , e d . A l b r e c h t Schflne (Munchen: Beck, 1976),
p . 75.
41
In W i l l i Flemming,.Die O p e r . Deutsche L i t e r a t u r i n
E n t w i c k l u n g s r e i h e n , 13b:5 ( L e i p z i g : Reclam, 1 9 3 3 ) .
42
Narciss, pp. 93-96.
43
R o s m a r i e Z e l l e r , S p i e l und K o n v e r s a t i o n im B a r o c k :
U n t e r s u c h u n g e n zu H a r s d f l r f f e r s ' G e s p r a c h s p i e l e n ' " (Berlin,
New Y o r k : de G r u y t e r , 1974)^, pp. 117-23.
44
Kuhne, p . 70, and K r a p p , pp. 69 and 70
45
Krapp, p. 70.
46
Ferschmann, p. 158.
47
K r o t h , p. 101.
48
Wiedemann, p . 13*.
49
C a l v i n S. Brown, "The R e l a t i o n s between M u s i c and
L i t e r a t u r e as a F i e l d o f S t u d y , " C o m p a r a t i v e L i t e r a t u r e ,
X X I I , 2 ( S p r i n g , 1970), 98-99.
50
See f o r example, S e t h u s C a l v i s i u s , E x e r c i t a t i o M u s i c a
t e r t i a (.1611) , p. 11. Appended t o E x e r c i t a t i o n e s M u s i c a e
duae (1600; f a c s i m i l e r p t ; H i l d e s h e i m , New Y o r k : Olms, 1973) .
51
See R. H i n t o n Thomas, P o e t r y and Song i n t h e German
Baroque: A Study o f the Continuo L i e d (Oxford: Oxford U n i -
180
v e r s i t y P r e s s , 1963), w h i c h d e a l s w i t h t h e i n t e r a c t i o n o f
m u s i c i a n s and p o e t s a t t h i s t i m e , and i s drawn on f o r much
of t h i s paragraph. *
52
H a r s d f l r f f e r h i m s e l f n e a r t h e end o f h i s l i f e i s
n o t e d as b e i n g " z u r Z e i t B u r g e r m e i s t e r " i n Nuremberg.
Appended t o a d e d i c a t o r y poem i n G e o r g Neumark, F o r t g e -
p f l a n t z t e r M u s i k a l i s c h - P o e t i s c h e r L u s t w a l d ( J e n a : Sengen-
wald,1657),n.p.
53
F o r an a s s e s s m e n t o f H a r s d f l r f f e r as a t r a n s l a t o r ,
see G e r h a r d H o f f m e i s t e r , D i e s p a n i s c h e D i a n a i n D e u t s c h -
land. P h i l o l o g i s c h e S t u d i e n und Q u e l l e n , 68 ( B e r l i n : E r i c h
S c h m i d t , 1972), e s p . p p . 50-54.
54
In Leonhard W u r f b a i n , V i e r U n t e r s c h i e d l i c h e R e l a -
t i o n e s H i s t o r i c a e ( N u r n b e r g : E n d t e r , 1636), l a s t unnumbered
page. The poem i s n o t I t a l i a n as s t a t e d by H a r o l d J a n t z ,
German B a r o q u e L i t e r a t u r e . A d e s c r i p t i v e Catalog o f the
C o l l e c t i o n o f H a r o l d J a n t z , I I (New Haven: R e s e a r c h P u b l i -
c a t i o n s I n c . , 1974), p . 388; and G e r h a r d Dunnhaupt, B i b l i o -
g r a p h i s c h e s Handbuch d e r B a r o c k l i t e r a t u r , I I , 2, H i e r s e -
manns B i b l i o g r a p h i s c h e H a n d b u c h e r ( S t u t t g a r t : H i e r s e m a n n ,
1 9 8 1 ) , p . 778.
5 5
S p a h r , p p . 75-77.
56
T h e o d o r Wohnhaas, " D i e E n d t e r i n N u r n b e r g a l s M u s i k -
d r u c k e r und M u s i k v e r l e g e r : E i n e U b e r s i c h t , " Q u e l l e n s t u d i e n
z u r M u s i k : W o l f g a n g S c h n e i d e r zum 70. G e b u r t s t a g , e d . K.
D o r f m u l l e r ( F r a n k f u r t , L o n d o n , New Y o r k : P e t e r s , 1972), .,
p. 197, and, b y t h e same a u t h o r , "Zum N u r n b e r g e r M u s i k d r u c k
und M u s i k v e r l a g im 16.. und 17. J a h r h u n d e r t , " G u t e n b e r g
J o u r n a l (1973), 337-43.
57
In G o t t l i e b Krause, e d . Der F r u c h t b r i n g e n d e Gesell-
s c h a f t a l t e s t e r E r t z s c h r e i n : B r i e f e , D e v i s e n und a n d e r -
weitige S c h r i f t s t u c k e . Urkundlicher Beitrag zur Geschichte
d e r d e u t s c h e n S p r a c h g e s e l l s c h a f t e n im 17. J a h r h u n d e r t (1855;
f a c s i m i l e r p t . H i l d e s h e i m , New Y o r k : 01ms, 1973), p p . 311-
C h a p t e r One: N o t e s
J o h a n n A n d r e a s H e r b s t , M u s i c a P o e t i c a , S i v e Com-
pendium M e l o p o e t i c u m ( N u r n b e r g : Dumler, 1643), p . 1.
H e r b s t a l s o r e f e r s t o M u s i c a T h e o r e t i c a as M u s i c a T h e o r i c a ,
i n Musica P r a c t i c a , S i v e I n s t r u c t i o p r o Symphoniacis
( N u r n b e r g : Dumler, 1642), p . 1.
2
B o e t h i u s , De I n s t i t u t i o n e M u s i c a , I , 2, i n W.
O l i v e r Strunk, ed. Source Readings i n M u s i c a l H i s t o r y
(New Y o r k : N o r t o n , 1940), p p . 84-85.
3
Cassiodorus, Institutiones, i n S t r u n k , p . 89.
Herbst, Musica P o e t i c a , p . 1.
9
See K a y s e r , e s p . p p . 42-87.
Reprints a r e t o be f o u n d i n :
F r a n z E d u a r d H y s e l , Das T h e a t e r i n N u r n b e r g v o n 1612 b i s
1868 ( N u r n b e r g : Im S e l b s t v e r l a g e d e s V e r f a s s e r s , 1863) ,
pp. 29-31, b a s e d on an e n t r y i n t h e "Neue Munchner Z e i t u n g ,
N r o . 104. Vom J a h r e 1858.'„'
E l i s a b e t h A. K r u c k e b e r g , " E i n h i s t o r i s c h e s K o n z e r t z u N u r n -
b e r g im J a h r e 1643," AfMW, I (1918-19), 590-93, b a s e d on
M a r c u s S t e f f e n s , G e i s t l i c h e Gedancken (Oldenburg: Gedruckt
b e i J o h a n n - E r i c h Zimmern, 1 6 9 7 ) .
1 1
Wiedemann, p . 12*.
12
See M i c h a e l P r a e t o r i u s , Syntagma Musicum, I I , De
O r g a n o g r a p h i a , Documenta M u s i c o l o g i c a , XIV (1619; f a c s i m i l e
r p t . K a s s e l , B a s e l , L o n d o n , New Y o r k : B a r e n r e i t e r , 1 9 5 8 ) .
13
Wiedemann, p. 10*.
14
Wiedemann, p . 11*.
15
F o r a g e n e r a l assessment o f the s e v e n t e e n t h - c e n t u r y
c o n c e p t i o n o f h i s t o r y , see W i l h e l m Vosskamp, U n t e r s u c h u n g e n
z u r Z e i t - und G e s c h i c h t s a u f f a s s u n g im 17. J a h r h u n d e r t b e i
G r y p h i u s und L o h e n s t e i n . L i t e r a t u r und W i r k l i c h k e i t (Bonn:
B o u v i e r , 1 9 6 9 ) , pp. 10-61.
16
Wiedemann, p . 10*.
17 .
See, f o r example, K a r l G u s t a v F e l l e r e r , P e r S t i l - .
wandel i n d e r a b e n d l a n d i s c h e n M u s i k um 1600 (Opladen:
W e s t d e u t s c h e r V e r l a g , 1972), p. 57.
jQ
In G e o r g e A b e l 1 , E x p l o r a t i o n o f t h e U n i v e r s e (New
York: H o l t , R i n e h a r t W i n s t o n , 1973), pp. 40-41.
19
Joannes T i n c t o r i s , L i b e r de arti contrapuncti, in
Strunk, p. 198.
20
A t t h i s t i m e , t h e modern E n g l i s h B f l a t was g i v e n
a s b , B rotundum, o r B m o l l e , and B n a t u r a l as kj ,
183
B
quadratum or B dur. See Robert Donington, The I n t e r p r e -
t a t i o n of E a r l y Music (London: Faber and Faber, 1963) ,
p. 62.
21
A l b e r t Seay, Music i n the Medieval World (Englewood
C l i f f s , N.J.: P r e n t i c e H a l l , 1965), pp. 32-34.
22
See Athanasius K i r c h e r , Musurgia U n i v e r s a l i s , IV
(Rome: C o r b e l l e t t i , 1650), p. 228, and Henricus Glareanus,
Dodecacordon (1547; f a c s i m i l e r p t . New York: Broude Bros.,
1979) , p. 76.
23
A q u e s t i o n r a i s e d but not answered by Haar, Tugend-
s t e r n e , p. 25n. The c h o i c e of modes and t h e i r a f f e c t s i s
a s c r i b e d to Staden by H a r o l d Samuel, The Cantata i n Nurem-
berg d u r i n g the Seventeenth Century, D i s s . C o r n e l l , 1963,
p. 549.
24
Glareanus, p. 101.
25
Glareanus, pp. 82 and 112.
26
Herbst, Musica P o e t i c a , p. 55.
27
See Haar, Tugendsterne, p. 46n.
28
Sigmund T h e o p h i l Staden, Rudimentum Musicum (Nurn-
berg: K u l s s n e r , 1649).
2 9
Haar, Tugendsterne, p. 25.
30
Haar, Tugendsterne, p. 24.
31
Glareanus, pp. 76 and 120 respectively.
32
The works from which these l i s t s are drawn up a r e :
Athanasius K i r c h e r , Magnes s i v e De A r t e Magnetica, I I I (Rome:
G r i g n a n i , 1641), p. 848.
Adam Gumpelzhaimer, Compendium Musicae Latino-Germanicum,
4th ed. (n.p.: Schoenig, 1632), p. 17.
Herbst, Musica P o e t i c a , pp. 101-109.
Glareanus, Dodecachordon, pp. 102-137.
184
3
T h i s p a r a g r a p h i s b a s e d on H. James J e n s e n , The
4
Muses C o n c o r d : L i t e r a t u r e , M u s i c and t h e V i s u a l A r t s i n t h e
Baroque Age,(Bloomington, Ind.: Indiana U n i v e r s i t y Press,
1977) , pp. 1-23.
35
The s i g n i f i c a n c e o f t h e s e names o f t h e n o t e s i n a
s e v e n t e e n t h - c e n t u r y c o n t e x t w i l l be e x p l a i n e d b e l o w .
3 ft
H a r s d f l r f f e r s example i s t a k e n from t h e f i r s t p a r t
1
o f the M a t h e m a t i s c h e E r q u i c k s t u n d e n , w r i t t e n by D a n i e l
Schwendter. F o r H a r s d f l r f f e r s r e l a t i o n s h i p w i t h Schwendter
1
see p. 63 -above..
37
F o r t h e use o f t h i s and o t h e r t y p e s o f m u s i c a l
mnemonic a i d s , see G r e g o r y G. B u t l e r , "Music and Memory i n
J o h a n n e s Romberch's C o n g e s t o r i u m ( 1 5 2 0 ) , " MD, 32 (1978)
73-85.
38
Leo S p i t z e r , " C l a s s i c a l and C h r i s t i a n I d e a s o f
W o r l d Harmony: P r o l e g o m e n a t o an I n t e r p r e t a t i o n o f t h e
Word 'Stimmung'," T r a d i t i o , I I I (1945), 308.
39
See a l s o Werner F r i e d r i c h Kummel, M u s i k und M e d i z i n :
I h r e W e c h s e l b e z i e h u n g e n i n T h e o r i e und P r a x i s von 800-1800
( F r e i b u r g : A l b e r , 1977) . R e f e r e n c e s t o H a r s d f l r f f e r , pp. 237
and 350.
185
Herbst, Musica P o e t i c a , p. 1.
2
See Andreas Georg Widmann, V i t a e C u r r i c u l u m Georg
P h i l i p p H a r s d o r f e r i sub p r a e s i d i o M o l l e r i a n o , i n U n i v e r s i -
t a t e A l t d o r f i n a A.C. 1707 d. 7. Maj ( L i t e r i s Magni D a n i e l i s
M a y e r i ) , p. 4.
3
See W i l i b a l d Nagel, "Die Nurnberger M u s i k g e s e l l s c h a f t
(1588-1629)," MfM, XXVII, 1 (1895), 1-11.
4
K e l l e r , Seelewig, p. 28.
5
N a r c i s s , p. 4.
In Krause, p. 171.
186
J
" In Johann Herdegen, H i s t o r i s c h e N a c h r i c h t von dess
L
12
On how to c o n s t r u c t a monochord, see Ray Nurse,
"The Monochord as a Tuning Device," Musick, IV,; (October,
1982), 19-24.
13
H a r s d o r f f e r s c o l l a b o r a t i o n with Schwendter i s not
1
14
Reference to t h i s experiment appears i n K i r c h e r ,
Magnes, pp. 861-62.
15
H a r s d f l r f f e r a c t u a l l y uses the hexachordal termino-
logy, "ut, mi, s o l , f a , " which w i l l be e x p l a i n e d below.
by R o b e r t - E i t n e r , B i o g r a p h i s c h - B i b l i o a r a p h i s c h e s Q u e l l e n
L e x i c o n der Musiker und Musikgelehrten,'X (Graz: Akademische
Druck- und V e r l a g s a n s t a l t , 1959), p. 223.
1 9
P r a e t o r i u s , Syntagma, I I , p. 11.
2 0
P r a e t o r i u s , Syntagma, I I , p l a t e I I I . See Appendix,
p. 212.
187
21
Wiedemann, p. 11*.
22
See Tobias N o r l i n d , " E i n M u s i k f e s t zu Nurnberg im
Jahre 1649," SIMG, VII (1905-6), 111-13. The instrument
i s a l s o mentioned i n the e i g h t e e n t h - c e n t u r y i n Johann Adlung,
A n l e i t u n g zu der m u s i k a l i s c h e n G e l a h r t h e i t ( E r f u r t : Jung-
n i c o l , 1758), pp. 565-66.
23 Rene Clemencic, Old M u s i c a l Instruments (New York:
Putnam, 1968), pp. 59-60.
26
For a d e s c r i p t i o n o f a " R o s s b a l l e t " a t the c o u r t
i n Vienna i n 1667, see Johann C o n s t a n t i n F e i g i u s , Wunder-
b a r e r Adlers-Schwung*(Vienna: V o i g h t , 1694), pp. 82-99.
The p o p u l a r i t y of " R i t t e r b a l l e t t e " i n seventeenth-century
Germany i s noted by Hans Joachim Moser, G e s c h i c h t e der
deutschen Musik, I I (1930 ; r p t . H i l d e s h e i m : Olms, 1968),
5
p. 155.
27
P r a e t o r i u s , Syntagma, I I I , p. 171.
28
H a r s d o r f f e r s example "grobes Horn" i s used to
1
33
The c o s t o f p u t t i n g on masques o r o p e r a s seems t o
have b e e n h i g h n o t o n l y f o r t h e a v e r a g e c i t i z e n , b u t a l s o
f o r t h e n o b i l i t y : "The Duke o f B r u n s w i c k , f o r one, r e l i e d
n o t o n l y on t h e most i n g e n i o u s forms o f d i r e c t and i n d i r e c t
t a x a t i o n b u t r e s o r t e d even t o s l a v e t r a d e . He f i n a n c e d h i s
o p e r a t i c amusements by s e l l i n g h i s s u b j e c t s as s o l d i e r s so
t h a t h i s f l o u r i s h i n g o p e r a d e p e n d e d l i t e r a l l y on t h e b l o o d
o f t h e l o w e r c l a s s e s " ( B u k o f z e r , p. 3 9 8 ) .
3 4
F o r a d i s c u s s i o n o f the use o f i n s t r u m e n t s i n the
T u g e n d s t e r n e see a l s o K e l l e r , "New L i g h t , " p. 226. A simi-
l a r m u s i c o - p l a n e t a r y p a g e a n t was s t a g e d i n W o l f e n b u t t e l —
see S o p h i e E l i s a b e t h , B e s c h r e i b u n g . The m u s i c u s e d was
p o s s i b l y t h a t of Staden"s Tugendsterne a c c o r d i n g to Joseph
L e i g h t o n , " D i e W o l f e n b u t t e l e r A u f f u h r u n g von H a r s d f l r f f e r s
und S t a d e n s S e e l e w i g im J a h r e 1 6 5 4 " W o l f e n b u t t e l e r B e i -
r
t r a g e , 3 (1978), 123.
35
Keller, Seelewig, p. 39.
The q u e s t i o n o f a v a i l a b i l i t y o f i n s t r u m e n t s t a k e s
on a new f e a t u r e when i t comes t o modern p e r f o r m a n c e s , as
t h e d e c i s i o n must be made w h e t h e r t o use modern i n s t r u m e n t s
or r e c o n s t r u c t i o n s of o l d instruments. F o r t h e 1975 U t r e c h t
p e r f o r m a n c e o f S e e l e w i g , i n s t r u m e n t s were p l a y e d w h i c h m i g h t
have b e e n u s e d i n a s e v e n t e e n t h - c e n t u r y p r o d u c t i o n , and t h e
s y m b o l i c s i g n i f i c a n c e o f e a c h was r e t a i n e d : f o r t h e n y m p h s —
l u t e s , o r g a n and h a r p s i c h o r d ; f o r t h e s h e p h e r d s — d u l c i a n
( r e e d i n s t r u m e n t ) , shawms, pommers, b a s s o o n s , o b o e s ; f o r
T r u g e w a l t - r - r e g a l and trumpet,. O t h e r i n s t r u m e n t s u s e d were
t h e c e l l o , v i o l s and v i o l a s da gamba. Although the i n s t r u -
m e n t a t i o n d i f f e r s i n some r e s p e c t s f r o m t h a t s u g g e s t e d by
H a r s d o r f f e r and S t a d e n , t h e a l l o w a n c e s made by H a r s d f l r f f e r
i n d i c a t e t h a t s u c h v a r i a t i o n s w o u l d have b e e n t h o r o u g h l y
a c c e p t a b l e t o him. A t a p e o f t h i s p e r f o r m a n c e was v e r y
k i n d l y made a v a i l a b l e by Dr. F e r d i n a n d v a n I n g e n .
189
3 8
B u k o f z e r , p. 404.
39
A t t h e c o n c e r t i n 1643 t h e a u d i e n c e c o n s i s t e d o f
town c o u n s e l l o r s and n o b i l i t y , and t h e s o c i a l c o n c e r n s
were r a t h e r d i f f e r e n t : g u a r d s were p o s t e d a t a l l t h e d o o r s
"Zu Abwendung des unbandige.n P f l b e l s " ( K a h l , pp. 2 8 8 - 8 9 ) .
4
^ V a l e n t i n Haussmann, L i e b l i c h e F r o i i c h e B a l l e t t e
( N u r n b e r g : K a u f f m a n n , 1 6 0 9 ) , n.p.
41
Gruber, Sig. Biii.
4 2
See Groves, "Hexachord."
4 3
In the second line Harsdflrffer writes "suorum"
instead o f "tuorum."
44
C a l v i s i u s p u t f o r w a r d d i f f e r e n t names a l t o g e t h e r :
"bo ce d i ga l o ma ni." I n E x e r c i t a t i o M u s i c a t e r t i a , p. 151.
S a r t o r i u s , p o s s i b l y somewhat d i s p a r a g i n g l y r e f e r s t o t h e use
o f t h i s n o m e n c l a t u r e as " b o b i s i e r e n " ( I n s t i t u t i o n u m , S i g . D5).
45
K i r c h e r , Musurgia, I, p. 27.
C a s p a r S c h o t t , P h y s i c a C u r i o s a (Wurzburg: E n d t e r ,
1 6 6 7 ) , pp. 785-86. I n t h i s work, t h e names g i v e n t o t h e
s l o t h are: "Archopithecus," " P i g r i t i a , " "Ignavia" " A i , "
and "Ha."
^ F o r t h e i n f l u e n c e o f I t a l i a n s o c i e t i e s and t h e i r
4
48
Herbst, Musica Poetica, title page.
49
For a d i s c u s s i o n of this problem, see Oyler, pp. 17-24-
1
H e r b s t , M u s i c a P o e t i c a , p . 4. The t e r m M u s i c a
P o e t i c a was f i r s t u s e d i n 1533 (Samuel, The C a n t a t a , p . 533)
See a l s o C a r l D a h l h a u s , " M u s i c a P o e t i c a und m u s i k a l i s c h e
P o e s i e , " AfMW, 23 ( 1 9 6 6 ) , 110-124.
2
S t a d e n , Rudimentum, n.p.
3
"Gumpelzhaimer, n.p. These are t r a n s l a t i o n s o f the
s t a n d a r d L a t i n p h r a s e s "bene c a n e n d i s c i e n t i a " (Gumpelz-
h a i m e r ) , o r " r e c t e ac bene c a n e n d i s c i e n t i a " ( C h r i s t o p h
Thomas W a l l i s e r , M u s i c a F i g u r a l i s , n.p.: n.p., 1611), p . 1.
4
A n o t h e r d i m e n s i o n i s added i n t h e d e f i n i t i o n o f m u s i c
as " S i n g : K l i n g : und L u s t - K u n s t " ( M a r t i n Z e i l l e r , Handbuch
von a l l e r l e y n u t z l i c h e n E r i n n e r u n g e n , Ulm: W i l d e i s e i n ,
1655, p . 2 8 1 ) .
5
H e r b s t , M u s i c a P o e t i c a , p . 84. " I c h habe es g a t h a n
umb d e r Worte w i l l e n , " w r i t e s H e i n r i e h A l b e r t , E r s t e r T h e i l
der A r i e n ( K f l n i g s b e r g : R e u s n e r , 1654), n.p.
F o r H a r s d f l r f f e r and r h e t o r i c , see L u d w i g F i s c h e r ,
Gebundene Rede: D i c h t u n g und R h e t o r i k i n d e r l i t e r a r i s c h e n
T h e o r i e des B a r o c k i n D e u t s c h l a n d . Studien zur deutschen
L i t e r a t u r , 10 ( T u b i n g e n : N i e m e y e r , 1968), p a s s i m . Hars-
d f l r f f e r ' s use o f imagery i s examined i n Manfred Windfuhr,
Die b a r o c k e B i l d l i c h k e i t und i h r e K r i t i k e r : S t i l h a l t u n g e n
i n d e r d e u t s c h e n L i t e r a t u r des 17. und 18. J a h r h u n d e r t s .
G e r m a n i s t i s c h e Abhandlungen, 15 ( S t u t t g a r t : M e t z l e r , 1966),
passim. The u s e o f " Z i e r l i c h k e i t " i i n German p o e t r y was i n i -
t i a l l y c a l l e d f o r by M a r t i n O p i t z , Buch von d e r D e u t s c h e n
P o e t e r e y ( B r e s l a u : M u l l e r , 1624), c h a p t e r V I , n.p.
7
Herbst, Musica Poetica, pp. 84 and 111.
q
Samuel, The Cantata, pp. 556-74. See a l s o MGG,
"Figuren, m u s i c a l i s c h - r h e t o r i s c h e , " and M a r t i n F r i e d e r i c h ,
Text und Ton; Wechselbeziehungen zwischen Dichtung und
Musik (Hohengehren: Schneider, 1973), pp. 71-80; and Heinz
H e i n r i c h Eggebrecht, "Barock a l s m u s i k g e s c h i c h t l i c h e Epoche,"
i n Aus der Welt des Barock, ed. R i c h a r d Alewyn e t a_l
( S t u t t g a r t : M e t z l e r , 1957), pp. 168-91.
1 0
W i n t e r n i t z , p. 82.
12
A l s o i n M a r t i n Gosky, ed. Arbustum v e l arboretum
Augustaeum ( W o l f e n b u t t e l : S t e r n , 1650), p. 180.
13
See B u t l e r , p. 80 f o r the use of the e x t r a c t i o n of
s y l l a b l e s from names and t i t l e s t o p r o v i d e a musical theme.
A l s o Groves, "Soggetto cavato." H a r s d f l r f f e r does not use
the technique f o r t h i s purpose, although h i s example i s
based on the general t r a d i t i o n .
15
M a r t i n O p i t z , W e l t l i c h e Poemata, E r s t e r T e i l .
Deutsche Neudrucke, 2 (1644; f a c s i m i l e r p t . Tubingen: N i e -
meyer, 1967), p. 543.
16
For the same c o n c l u s i o n s i n a general context, see
C a l v i n S. Brown, Music and L i t e r a t u r e : A Comparison of the
A r t s (Athens, Ga.: U n i v e r s i t y o f Athens, 1948), esp. pp.
15-30.
17
For b r i e f comparisons of the two types of v e r s e ,
see F r i e d e r i c h , pp. 64-69; and Thrasybulos Georgiades,
Sprache und Musik; Das Werden der abendlandischen Musik
d a r g e s t e l l t an der Vertonung der Messe ( B e r l i n , Gflttingen,
H e i d e l b e r g : S p r i n g e r , 1954), pp. 53-69.
18
O p i t z , Buch von der Deutschen Poeterey, S i g . G2.
192
19
August Buchner, A n l e i t u n g z u r deutschen P o e t e r e y .
D e u t s c h e N e u d r u c k e , 5 (1665; f a c s i m i l e r p t . T u b i n g e n : N i e -
meyer, 1966), p . 113.
20
See also Zesen, p. 38.
21
See a l s o J o h a n n P e t e r T i t z , Zwey B u c h e r v o n d e r
K u n s t H o c h d e u t s c h e V e r s e und L i e d e r zu machen ( D a n z i g :
H u n e f e l d , 1 6 4 2 ) , S i g . NI, who s t a t e s t h a t l o n g v e r s e s o f
songs s h o u l d be d i v i s i b l e i n t o a number o f s h o r t o n e s .
22
B u c h n e r i n c o n t r a s t , had no qualms a b o u t m i x i n g
t h e iamb and t r o c h e e i n songs ( A n l e i t u n g , p..171).
23
Herbst, Musica P o e t i c a , p. 111.
24
See H a r s d f l r f f e r ' s "Nachwort" t o J o h a n n K l a j ' s
Der L e i d e n d e C h r i s t u s , i n J o h a n n K l a j : R e d e o r a t o r i e n und
" L o b r e d e d e r T e u t s c h e n P o e t e r e y " (1645; f a c s i m i l e r p t ;
T u b i n g e n , N i e m e y e r , 1 9 6 5 ) , pp. 238 and 241.
25
The l a s t l i n e o f v e r s e one shows t h a t t h e word
" M u s i c " was s t r e s s e d on t h e f i r s t s y l l a b l e i n t h e s e v e n t e e n t h -
century. See a l s o Thomas, p . 24n.
2 fi
d e r K i n d e r m f l r d e r , i n J o h a n n K l a j : R e d e o r a t o r i e n , p . 195.
27
The f u l l e s t a s s e s s m e n t o f t h e s e f e a t u r e s i s t o be
found i n Kayser's study.
28
From The O x f o r d Book o f C a r o l s , e d . P e r c y Dearmer
( O x f o r d : O x f o r d U n i v e r s i t y P r e s s , 1929), p . 180, b a s e d on a
v e r s i o n o f 1601.
29
R i s t , i n c o n t r a s t , had a v e r y low o p i n i o n o f t h e
use o f the d a c t y l i n a s p i r i t u a l c o n t e x t ( H i m l i s c h e L i e d e r
. . . Das d r i t t e Zehn. L u n e b u r g : S t e r n , 1648, p r e f a c e ,
n.p.) .
30
J o h a n n R i s t , Des D a p h n i s aus C i m b r i e n G a l a t h e e (Ham-
b u r g : R e b e n l e i n , n . d ) , n.p.
193
31
For an a n a l y s i s of the d i s s e m i n a t i o n of melodies
a p p l i e d to p o p u l a r song, see D i e t e r Lohmeier, "Die Ver-
breitungsformen des L i e d e s im B a r o c k z e i t a l t e r , " Daphnis,
8 (1979), 41-65.
32
For complaints r e g a r d i n g p i r a t i n g of melodies, see
R i s t , p r e f a c e to Daphnis aus Cimbrien; H e i n r i c h A l b e r t ,
p r e f a c e s to A r i e n , I I I , VII and V I I I ; and G a b r i e l V o i g t -
lander, E r s t e r T h e i l A l l e r h a n d Oden unnd L i e d e r , quoted
i n Lohmeier, p. 49.
33
See pp. 59 and 185, f o o t n o t e 8.
3 5
Haar, " A s t r a l Music," p. 178.
3 8
Keller, "New L i g h t , " p. 227.
39
K e l l e r , Seelewig, p. 33.
^ T h i s melody appeared i n a book of songs compiled
by Hans Leo H a s s l e r o f Nuremberg, and the whole work was
r e p u b l i s h e d by Staden i n 1637. See K e l l e r , Seelewig, p. 71,
footnote 246.
41
I n t e l l i g i b i l i t y was a l s o a concern f o r the rhe-
t o r i c i a n : "Die Redekunst i s t e i n e Kunst von einem vorge-
s e t z t e n Dinge z i e r l i c h zu reden/ und k u n s t l i c h zu uber-
legen. Es h e i s s e t aber z i e r l i c h reden/ n i c h t mit lustigem
Getone d i e Ohre f u l l e n , " w r i t e s Johann Matthaus Meyfahrt,
Teutsche R h e t o r i c a . Deutsche Neudrucke, 25 (1634; f a c s i m i l e
r p t . Tubingen: Niemeyer, 1977), p. 57.
194
42
Keller, Seelewig, p. 33.
4 4
Blume, p. 130.
45
See K e l l e r , Seelewig, pp. 69-71.
K e l l e r , Seelewig, pp. 50-51; Hermann Kretzschmar,
Geschichte der Oper (1919; r p t . Wiesbaden: Sandig, 1970),
p. 155; Paul Hankamer, Deutsche Gegenreformation und
deutsches Barock: Deutsche L i t e r a t u r im Zeitraum des 17.
Jahrhunderts.(193 5; r p t . S t u t t g a r t : M e t z l e r , 1964) p. 331.
I n c l u d i n g a 1642
4 7
French e d i t i o n of Sidney's A r c a d i a
(FG,II,469).
48
Pegnesisches S c h a f e r g e d i c h t . Deutsche Neudrucke, 8
(1644; f a c s i m i l e r p t . Tubingen: Niemeyer, 1966).
49
K e l l e r , Seelewig, p. 77.
50 N
„ a r c i.s s , p. o
8.
51
In h i s "Nachwort" to K l a j ' s Der Leidende Christus,
p. 238.
52
I wish to thank Dr. Ferdinand van Ingen f o r a s s i s -
tance i n i d e n t i f y i n g t h i s work.
53
For the use of t h i s technique i n I t a l i a n opera,
see K e l l e r , Seelewig, p. 43.
C o n c l u s i o n : Notes
2
Krapp, p. 70.
3
Ferschmann, p. 189.
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S c h m i t z , Eugen. "Zur m u s i k g e s c h i c h t l i c h e n B e d e u t u n g d e r
Harsdorfferschen Frauenzimmergesprachspielen'."
1
P r a e t o r i u s , Syntagma, I I .
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V i o l a Bastarda
211
Theorbo
212
213
214
A Set of F l u t e s
Cornetto's
(Zinck)
216
217