First Advisor

Kauffman, Deborah

Document Type

Dissertation

Date Created

5-1-2010

Department

College of Performing and Visual Arts, Music, Music Student Work

Abstract

Some time signatures used in the Neue Schütz Ausgabe (Bärenreither, 1955-2008) differ from both modern signatures and contemporary mensuration signs, obscuring Schütz's original intentions. A review of the history of proportion signs from the late 14th century to the 17th century shows that the four basic mensuration signs of the late 14th century were the foundation of the proportion system throughout the period, and that the proportion signs of the 16th and 17th century were adaptations of modus cum tempore signs and fractions. Although confusion was created through misunderstandings of the meanings of the signs and by attempts to reform the system, the original meanings of the mensuration-proportion signs were retained throughout the period. A study of the proportion signs used in the Psalmen Davids (1619) and in the Symphoniae Sacrae III (1650), as well as several signs found in a few of his other works, shows that Schütz's notation is within the conventional practice of mensurationiv proportion notation. Some of Schütz's signs are open to more than one interpretation, requiring an explanation of possible interpretations of the signs and some suggestions for modern performance.

Abstract Format

html

Keywords

Symphoniae Sacrae Tertia Pars; Baroque Music; Musical Notation; Proportional Signs; Psalmen Davids

Extent

155 pages

Local Identifiers

Park_unco_0161D_10042

Rights Statement

Copyright is held by author.

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