(Stand: 25. Juli 2007) ANDERSON, Michael Alan ... - Universität Wien

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MEDIEVAL & RENAISSANCE MUSIC CONFERENCE 2007 – WIEN, 7.-11. AUGUST ABSTRACTS EVERS, Ute Deutsch-tschechischer Melodienaustausch in Gesangbüchern des 16. Jahrhunderts Freitag/Friday, 10.8., 15.30 Uhr, KuGe, SR 3 Im geistlichen Lied sind für den deutsch-tschechischen Raum im 16. Jahrhundert Austauschbewegungen in beide Richtungen nachweisbar, jedoch ist die Art des Austausches je nach Richtung grundverschieden. Dies ist u.a. durch die Unterschiede beider Kulturräume bedingt: Während im geschlossenen deutschen Sprachgebiet tschechische Kultur praktisch nicht präsent war, gab es in Böhmen und Mähren nachhaltige Einflüsse aus dem deutschen Kulturraum. Ziel des Beitrags soll die Darstellung der Unterschiedlichkeit des Austausches sein. Für die meisten Melodien tschechischer Provenienz, die sich in deutschsprachigen Gesangbüchern aus dem 16. Jahrhundert finden, lässt sich die Quelle genau feststellen: das deutschsprachige Gesangbuch der Böhmischen Brüder. Dieses Gesangbuch, das von Michael Weiße herausgegeben und erstmals 1531 in Jungbunzlau gedruckt wurde (DKL 1531 02 ), übernahm zahlreiche Melodien aus den tschechischsprachigen Gesangbüchern der Brüder-Unität. Das Gesangbuch der Böhmischen Brüder wurde im deutschsprachigen Raum nicht nur von der Brüder-Unität selbst, sondern in der Anfangszeit insbesondere auch von reformatorischen Sondergruppen (Täufer, Schwenckfelder) verwendet. Seit den 1540er Jahren wurden die Lieder der Böhmischen Brüder im lutherischen Bereich rezipiert. Die Ursache dafür ist vor allem darin zu sehen, daß sich die Brüder-Unität zu dieser Zeit der Abendmahlslehre der Lutheraner anschloss. In den verschiedensten Quellen aus dem 16. Jahrhundert, die tschechischsprachige geistliche Lieder enthalten, ist eine Vielzahl an Melodien deutschen Ursprungs enthalten: vorreformatorische geistliche Lieder, lutherische bzw. reformatorische Lieder und Melodien zu weltlichen Liedern. Bemerkenswert ist insbesondere die verhältnismäßig große Anzahl weltlicher Melodien deutscher Provenienz, die zu tschechischsprachigen geistlichen Liedern überliefert wird. Tschechische Gesangbücher verwenden sogar weitaus mehr deutsche weltliche Melodien zu geistlichen Liedern als deutsche Quellen. Bisweilen erscheinen in tschechischen Quellen Melodien zu geistlichen Liedern, für deren geistliche Verwendung es im deutschsprachigen Raum überhaupt keinen Beleg gibt. Eine derartige Übernahme deutscher weltlicher Melodien ist in Gesangbüchern aller Konfessionen nachweisbar. FITCH, Fabrice (Durham University) � � The ‘Eton Sixth’: towards a taxonomy of the Eton style Samstag/Saturday, 11.8., 10.15 Uhr, KuGe, SR 1 The distinctive style of the Eton Choirbook, and its problematic relation to earlier English and contemporary continental repertories, has received little sustained scrutiny in the scholarly literature since Hugh Benham’s remarks in the 1970s. Most recently, the place of its repertory within the wider English practice of the late fifteenth century has been reevaluated, to the extent that the very notion of an ‘Eton style’ has been plausibly ques- - 32 -
MEDIEVAL & RENAISSANCE MUSIC CONFERENCE 2007 – WIEN, 7.-11. AUGUST ABSTRACTS tioned (by Magnus Williamson and others). At the same time, a comparable stylistic appraisal remains to be attempted. Such a task far exceeds the scope of this short paper; nevertheless, I will examine a single feature that does appear to distinguish the Eton music from both the repertorial groups evoked above, one furthermore that has not (as far as I am aware) been previously discussed. Following its first substantive appearance in Eton, it was to continue to distinguish English contrapuntal practice from its continental counterparts well into the sixteenth century. � � FLOREA, Luminita (Department of Music, Eastern Illinois University) A Feast of Senses: Thinking about Spices, Herbs, and Consonances in Late Medieval and Renaissance Music Theory Samstag/Saturday, 11.8., 9.45 Uhr, KuGe, SR 3 Music theorists speak from time to time of mundane delights such as fine food and wine, and pungent flavors and smells. Sensory experiences conjured up in medieval and Renaissance theory treatises involve hearing, seeing, and often smelling – as noted by Christopher Page in his study on Tinctoris’s use of olfactory comparison (Christopher Page, “Reading and Reminiscence: Tinctoris on the Beauty of Music,” Journal of the American Musicological Society 49 (Spring 1996): 1-31.). Modern music historians, however, have not given much consideration to the fact that medieval and Renaissance thinking about music – as distinct from listening to it – often invoke the sense of taste as distinct from that of smell; that some writers likened the musician to a cook; and that some regarded consonances and medicines as analogous. Yet it is apparent that music theory, cooking, and pharmacy were drawn together by virtue of a commonality of methods. The association of auditory, olfactory, and palatal sensations, an Aristotelian stance coming from the De anima and De sensu et sensibilibus, is a common locus in 14th-century treatises, or in works by Renaissance theorists who were familiar with classical Greek. Yet I propose that complex theoretical discourse on music was occasionally sprinkled with references to palatal and odoriferous stimuli as described in more mundane works: medieval cookbooks, herbals, antidotaries, gardening treatises, and household accounts classified spices, herbs, and medicines in “simple” and “compound, ” and prescribed rubbing, grinding, shredding, and mixing as primary methods; this in turn sheds further light on the nature and “making” of consonances; furthermore, exotic spices commanded exorbitant prices and enjoyed a privileged status in the kitchen and the apothecary’s shop – which in turn explains their inclusion in a league with the noble musical consonances. From the 14 th century on, similes deliberately involving intervals and foods appeared frequently: works in the tradition of Philippe de Vitry quoted St. Bernard’s view of the semitone as the sweetness and condiment of chant. According to Jacques of Liège, palatal sensations accumulating within a multi-course meal would lead to superior gastronomic satisfaction; and repetitious rubbing and mincing would increase the scent released by the species aromatice. The intellect should work in similar ways: repetition and accumulation of previously analyzed and learned concords must be applied towards a better understanding of those still to be learned. Furthermore, the joy derived from hearing sound mixtures is similar to the satisfaction Epicure experienced from retaining the few aromata that he - 33 -
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(Stand: 25. Juli 2007) ANDERSON, Michael Alan ... - Universität Wien

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