Источники Figurenlehren эпохи барокко в немецкоязычном музыкознании

30. Toumpoulidis, Themistoklis D. “Aspects of musical rhetoric in baroque organ music”. Diss. University of Sheffield, 2005.

31. Cipollone, Elvio. “Musica Rhetoricans: Entre figures de Sciarrino, Unites semiotiques temporelles et Figurenlehren baroques”. In Vers une semiotique generale du temps dans les arts, eds by Emmanuelle Rix, Marcel Formosa, 129-30. Paris: Delatour France, 2008.

32. Shohat, Yifat. “Haydn's musical rhetoric: compositional strategy, audience reception, and connection with classical oration”. Diss. Graduate School -- New Brunswick, The State University of New Jersey, 2006.

33. Son, Se Ra. “Figures of Musica Poetica in the Passacaglias of Dieterich Buxtehude and J. S. Bach”. Diss. University of Cincinnati, 2012.

34. Korpanty, Katarzyna. “Jan Sebastian Bach i retoryka Analiza muzyczno-retoryczna kantaty Sehet, wir gehn hinauf gen Jerusalem BWV 159”. Mloda Muzykologia, 2008: 36-61.

35. Стефанова, Петя. “Реторичната изразност на Карл Филип Емануел Бах в първата част на соната в ми минор за флейта и чембало”. Научни трудове на Русенския университет 50, серия 6.3 (2011): 161-6.

36. Kwon, Heabin Yu. “A Singer's Guide to a Rhetorical Performance of Gottfried August Homilius' Johan- nespassion (HoWV I.4)”. Diss. The Temple University Graduate Board, 2017.

37. Rome, Suzanne. “A Musical Rhetorical Analysis and Performance Perspective of Franz Berwald's Sin- fonie Singuliere”. Diss. Ball State University, 2019.

38. Braun, Werner. Deutsche Musiktheorie des 15. bis 17. Jahrhunderts. Teil 2. Von Calvisius bis Mattheson. Darmstadt: Wissenschaftliche Buchgesellschaft, 1994.

39. Дуда, Наталья. “Музыкально-риторические фигуры в сольных светских песнях Генри Пёрселла”. Южно-российский музыкальный альманах, no. 3/24 (2016): 11-7.

40. Розанов, Иван. “Музыкально-риторические фигуры в клавирных трактатах Франции и Германии первой половины XVIII века”. В кн. Музыкальная риторика и фортепианное искусство. Сборник трудов ГМПИ им. Гнесиных. Вып. 104, 26-44. М.: ГМПИ им. Гнесиных, 1989.

41. Мальцева, Анастасия. “Музыкально-риторические фигуры в наследии эпохи романтизма: дискуссии о методологии анализа”. Манускрипт 13, no. 2 (2020): 157-61. https://doi.org/10.30853/ manuscript.2020.2.28

42. Klassen, Janina. “Musica poetica und musikalische Figurenlehre -- ein produktives Missverstand- nis“. Jahrbuch des Staatlichen Instituts fur Musikforschung Preufiischer Kulturbesitz, Hrsg. von Gunther Wagner, 73-83. Stuttgart: J. B. Metzler Publ., 2001.

43. Thuringus, Joachim. Opusculum bipartitum, De primordiis musicis. Berolini: Georgij Rungij, 1624. Дата обращения январь 26, 2022. https://www.digitale-sammlungen.de/en/view/bsb10528218?q=% 28Thuringus,+Joachim.+Opusculum+bipartitum%29&page=,1.

44. Kircher, Athanasius. Musurgia universalis sive Ars magna consoni et dissoni. Vol. 1. Romae: Hsredum Prancisci Corbelletti, 1650. Дата обращения январь 26, 2022. https://www.digitale-sammlungen.de/ en/view/bsb00104449?page=,1.

45. Насонов, Роман. “Музыкальная риторика Афанасия Кирхера: к истории `готовых слов'”. В сб. Музыкальное искусство и наука в XXI веке: история, теория, исполнительство, педагогика: сборник статей по материалам Международной научной конференции, посвященной 40-летию Астраханской государственной консерватории, гл. ред. Людмила Саввина, ред.-сост. Владислав Петров, 115-21. Астрахань: ОГОУ ДПО “АИПКП”, 2009.

Abstract

Sources of Figurenlehren of the Baroque Era in Musicology of the German Language Space*

A. A. Maltseva

It is hardly possible to immediately give an exact answer to the question: what is the exact number of authors of musical-theoretical treatises containing catalogs of musical-rhetorical figures.

But very often the “recognized” number (with a fairly stable set of theoretical sources) is considered to be fifteen authors. How did scholars of the German language space gradually discover catalogs of musical figures in treatises and include them in scientific circulation?

Is it possible to consider the “recognized” list of works of fifteen Baroque authors exhaustive? Why is he firmly entrenched in musicology? Which of the musicologists wanted to expand the range of treatises and on what grounds? This article is devoted to finding answers to these questions.

As a result of the analysis of dictionary and scientific articles, books and dissertations by such authors as C. J. A. Hoffmann (1830), C. Kossmaly (1846), H. Gehrmann (1891), A.Schering (1908), K.Ziebler (1933), H.Brandes (1935), H.H.Unger (1941), A.Schmitz (1955), H.H.Eggebrecht (1957), D.Bartel (1985, 1997), WBraun (1994), H.Krones (1997), J. Klassen (2001) and others, the following conclusion was made: the researchers did not have a common opinion in the selection of sources and their belonging to the discourse about Figurenlehren.

The heterogeneity of figure catalogs, the presence of Manieren, diminution and late Renaissance rules of counterpoint in them are the main reasons for the potential openness of the list of treatises involved in the doctrine of figures.

To explain the reasons for the formation of the “recognized” list of authors (largely due to the English edition of D. Bartel's book) and a certain inertia of musicology in different countries in the issue of Figurenlehren sources in the current century, the article uses the research of scientists -- representatives of American, Bulgarian, English, Israeli, Italian, Mexican, Polish, Russian musicology.

Keywords: musical rhetoric, musical-rhetorical figures, doctrine of musical figures, Figuren- lehre, Baroque era, treatise, musical-theoretical source, musica poetica, musical historiography, German musicology.

References

1. Forkel, Johann Nikolaus. Allgemeine Geschichte der Musik. Bd. 1. Leipzig: Schwickert, 1788. Accessed January 26, 2022. https://www.digitale-sammlungen.de/en/view/bsb10527179?page=,1.

2. Zakharova, Ol'ga. Rhetoric and the West European music of the 17^th -- first half of 18^th century: principles, techniques. Moscow: Muzyka Publ., 1983. (In Russian)

3. Schering, Arnold. “Die Lehre von den musikalischen Figuren”. Kirchenmusikalisches Jahrbuch, Jg. 21 (1908): 106-14.

4. Schering, Arnold. “The Doctrine of Musical-Rhetorical Figures”. Vestnik muzykal'noi nauki, no. 1/23 (2019): 20-6. https://doi.org/10.24411/2308-1031-2019-00003 (In Russian)

5. Maltseva, Anastasiya. “Arnold Schering and musical rhetoric of the Baroque”. Vestnik muzykal'noi nauki, no. 1/23 (2019): 13-9. https://doi.org/10.24411/2308-1031-2019-00002 (In Russian)

6. Hoffmann, Carl Julius Adolph. “Nucius (F. Johannes)”. In Hoffmann, Carl Julius Adolph. Die Ton- kunstler Schlesiens. Ein Beitrag zur Kunstgeschichte Schlesiens vom Jahre 930 bis 1830. 331-6. Breslau: In Komm. bei Aderholz. 1830. Accessed January 26, 2022. https://www.digitale-sammlungen.de/en/ view/bsb10599994?page=346,347.

7. Kossmaly, Carl. “Nucius (Friedr. Johannes)”. In Kossmaly, Carl. Schlesisches Tonkunstler-Lexikon: enthaltend die Biographieen aller schlesischen Tonkunstler, Componisten, Cantoren, Organisten, Tonge- lehrten, Textdichter, Orgelbauer, Instrumentenmacher &c. &c. Nebst genauer angabe aller schlesischen Musikalischen Institute, Vereine, Musikschulen, Liedertafeln etc. 137-40. Breslau: E. Trewendt, 1846. Accessed January 26, 2022. https://www.digitale-sammlungen.de/en/view/bsb10599996?page=52,53.

8. Gehrmann, Hermann. “Johann Gottfried Walther als Theoretiker”. Vierteljahresschrift fur Musikwis- senschaft, no. 7 (1891): 468-578.

9. Romanov, Ivan. “Perfect Lexicographer: Some Facts of Life and Works of Johann Gottfried Walther”. Muzyka i vremia, no. 2 (2017): 3-10. (In Russian)

10. Maltseva, Anastasiya. “The Nature and Significance of the I. G. Ahle's Catalogue of the Figures in the Context of musical-theoretical Sources of the Baroque Era”. Vestnik Saratovskoi konservatorii. Voprosy iskusstvoznaniia, no. 3/13 (2021): 53-9. (In Russian)

11. Ziebler, Karl. “Zur Asthetik der Lehre von den musikalischen Redefiguren im 18. Jahrhundert”. Zeit- schrift fur Musikwissenschaft 15, no. 7 (1933): 289-301.

12. Maltseva, Anastasiya, and Anna Polonova. “Joachim Burmeister: three Versions of the Doctrine of the musical-rhetorical Figures”. Vestnik muzykal'noi nauki 8, no. 3 (2020): 14-28. https://doi. org/10.24411/2308-1031-2020-10041 (In Russian)

13. Brandes, Heinz. Studien zur musikalischen Figurenlehre im 16. Jahrhundert. Berlin: Trillsch & Huther, 1935.

14. Bernhard, Christoph. “Ausfuhrlicher Bericht vom Gebrauchen Con- und Dissonantien”. In Muller- Blattau, Josef Maria. Die Kompositionslehre Heinrich Schutzens in der Fassung seines Schulers Christoph Bernhard, 132-53. Leipzig: Breitkopf & Hartel, 1926.

15. Bernhard, Christoph. “Tractatus compositionis augmentatus”. In Muller-Blattau, Josef Maria. Die Kompositionslehre Heinrich Schutzens in der Fassung seines Schulers Christoph Bernhard, 40-131. Leipzig: Breitkopf & Hartel, 1926.

16. Katunian, Margarita. “The doctrine of the composition by Heinrich Schutz”. In Heinrich Schutz: Sbor- nik statei, ed. by Tat'iana Dubravskaia. 76-118. Moscow: Muzyka Publ., 1985. (In Russian)

17. Chernova, Elena. “Heinrich Schutz's composing Technique and his doctrine of composition in Presented by Christoph Bernhard: A Key to a Clue or a closed Circle?” In Tekhnika muzykalnogo sochineniia v raz”iasneniiakh avtora. Materialy mezhdunar. nauch. konferentsii, ed. by Larisa Gerver et al., 60-73. Moscow: Rossiiskaia akademiia muzyki im. Gnesinykh Publ., 2016. (In Russian)

18. Deggeller, Kurt. “Materialien zu den Musiktraktaten Christoph Bernhards”. In Basler Studien zur Interpretation der alten Musik, 142-3. Winterthur: Amadeus, 1980.

19. Mattheson, Johann. Der vollkommene Capellmeister. Hamburg: Christian Herold, 1739.

20. Unger, Heinz Heinrich. Die Beziehungen zwischen Musik und Rhetorik im 16-18. Jahrhundert [Repr. 1941]. 5 Aufl. Hildesheim; Zurich; New York: Georg Olms, 1992.

21. Schmitz, Arnold. “Figuren, musikalisch-rhetorische”. In Die Musik in Geschichte und Gegenwart. Bd. 4. 176-7. Kassel: Barenreiter, 1955.

22. Eggebrecht, Heinz Heinrich. “Uber Bachs geschichtlichen Ort”. Deutsche Vierteljahrsschriftfur Litera- turwissenschaft und Geistesgeschichte 31, no. 1 (1957): 527-56.

23. Bartel, Dietrich. Handbuch der musikalischen Figurenlehre. Laaber: Laaber, 1985.

24. Bartel, Dietrich. Musica poetica: musical-rhetorical figures in German Baroque music. Lincoln and London: University of Nebraska Press, 1997.

25. Scheibe, Johann Adolph. “Compendium Musices”. In Benary, Peter. Die deutsche Kompositionslehre des 18. Jahrhunderts. Anhang, 3-85. Leipzig: Breitkopf & Hartel, 1961.

26. Buelow, George “Rhetoric and music. I: Up to 1750. 3. Musical figures”. In The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie. New York: Macmillan Publishers Limited, 2001. (DVD).

27. Girfanova, Marina. “Wolfgang Caspar Printz Life Story, told in the first Person”. Muzyka i vremia, no. 5 (2014): 32-8. (In Russian)

28. Krones, Hartmut. “Musik und Rhetorik”. In Die Musik in Geschichte und Gegenwart: Allgemeine Enzy- klopadie der Musik, Hg. von Friedrich Blume, Ludwig Finscher. Bd. 21. 814-51. Kassel; Basel; London; New York; Prag: Barenreiter, 1997.

29. Printz, Wolfgang Caspar. Phrynidis Mytilenxi, Oder des Satyrischen Componisten. Dresden; Leipzig: Joh. Christoph Mieth und Joh. Christ. Zimmermann, 1696.

30. Lopez Cano, Ruben. De la Retorica a la Ciencia Cognitiva. Un estudio intersemiotico de los Tonos Hu- manos de Jose Marin (ca. 1618-1699). Diss. Universidad de Valladolid, 2004.

31. Toumpoulidis, Themistoklis D. “Aspects of musical rhetoric in baroque organ music”. Diss. University of Sheffield, 2005.

32. Cipollone, Elvio. “Musica Rhetoricans: Entre figures de Sciarrino, Unites semiotiques temporelles et Figurenlehren baroques”. In Vers une semiotique generale du temps dans les arts, eds by Emmanuelle Rix et Marcel Formosa, 129-30. Paris: Delatour France, 2008.

33. Shohat, Yifat. “Haydn's musical rhetoric: compositional strategy, audience reception, and connection with classical oration”. Diss. Graduate School -- New Brunswick, The State University of New Jersey, 2006.

34. Son, Se Ra. “Figures of Musica Poetica in the Passacaglias of Dieterich Buxtehude and J. S. Bach”. Diss. University of Cincinnati, 2012.

35. Korpanty, Katarzyna. “Jan Sebastian Bach i retoryka Analiza muzyczno-retoryczna kantaty Sehet, wir gehn hinauf gen Jerusalem BWV 159”. Mloda Muzykologia, 2008: 36-61.

36. Stefanova, Petia. “Rhetorical expressiveness of Carl Philipp Emanuel Bach in the first movement of the Sonata in E minor for flute and harpsichord”. Nauchni trudove na Rusenskiia universitet 50, seriia 6.3 (2011): 161-6. (In Bulgarian)

37. Kwon, Heabin Yu. “A Singer's Guide to a Rhetorical Performance of Gottfried August Homilius' Johan- nespassion (HoWV I.4)”. Diss. The Temple University Graduate Board, 2017.

38. Rome, Suzanne. “A Musical Rhetorical Analysis and Performance Perspective of Franz Berwald's Sin- fonie Singuliere”. Diss. Ball State University, 2019.

39. Braun, Werner. Deutsche Musiktheorie des 15. bis 17. Jahrhunderts. Teil 2. Von Calvisius bis Mattheson. Darmstadt: Wissenschaftliche Buchgesellschaft, 1994.

40. Duda, Natal'ia. “Musical-rhetorical Figures in the secular solo Songs by Henry Purcell”. luzhno-Rossi- iskii muzykalnyi al'manakh, no. 3/24 (2016): 11-7. (In Russian)

41. Rozanov, Ivan. “Musical-rhetorical figures in keyboard treatises of France and Germany in the first half of the 18^th century”. In Muzykal'naia ritorika i fortepiannoe iskusstvo. Sbornik trudov GMPI im. Gnesinykh. Iss. 104, 26-44. Moscow: GMPI im. Gnesinykh Publ., 1989. (In Russian)

42. Maltseva, Anastasiya. “Musical-Rhetorical Figures in Romanticism Heritage: Discussions on Research Methodology”. Manuskript 13, no. 2 (2020): 157-61. https://doi.org/10.30853/manuscript.2020.2.28. (In Russian)

43. Klassen, Janina. “Musica poetica und musikalische Figurenlehre -- ein produktives Missverstandnis”. Jahrbuch des Staatlichen Institutsfur MusikforschungPreufiischer Kulturbesitz, Hrg. von Gunther Wagner, 73-83. Stuttgart: J. B. Metzler Publ., 2001.

44. Thuringus, Joachim. Opusculum bipartitum, De primordiis musicis. Berolini: Georgij Rungij, 1624. Accessed January 26, 2022. https://www.digitale-sammlungen.de/en/view/bsb10528218?q=%28Thu- ringus,+Jo achim.+Opusculum+bip artitum%29&p age=,1.

45. Kircher, Athanasius. Musurgia universalis sive Ars magna consoni et dissoni. V. 1. Romae: Hsredum Prancisci Corbelletti, 1650. Accessed January 26, 2022. https://www.digitale-sammlungen.de/en/view/ bsb00104449?page=,1.

46. Nasonov, Roman. “Musical rhetoric of Athanasius Kircher: to the history of `finished words'”. In Muzykal'noe iskusstvo i nauka vXXI veke: istoriia, teoriia, ispolnitel'stvo, pedagogika: sbornik stateipo materialam Mezhdunarodnoi nauchnoi konferentsii, posviashhennoi 40-letiiu Astrakhanskoi gosudarst- vennoi konservatorii, ed. by Liudmila Savvina, ed. and comp. by Vladislav Petrov, 115-21. Astrakhan: OGOU DPO “AIPKP” Publ., 2009. (In Russian)

Размещено на Allbest.ru