Tactus in the german music theory of the late 15th–16th centuries

Authors

  • Marina E. Girfanova The Kazan State Ziganov Conservatoire of Music; Moscow State Conservatory

Abstract

A German theoretical school played a special role in the development of the tactus theory: it is the German music theory that first defined tactus and formed the most influential in the second half of the 16th century the tactus doctrine. Tracing the consistency of theoretical views, the article analyzes the definitions and classifications of tactus proposed by the main German theorists of the 15th–16th centuries, namely Adam von Fulda, Melchior Schanppecher, Johannes Cochlaeus, Andreas Ornithoparchus, Georg Rhau, Nicolaus Listenius, Heinrich Faber, Hermann Finck. It also considers Sebald Hayden’s doctrine which had a significant impact on the development of the ideas about tactus in the 16 century. In connection with mensural theory, which focuses on tactus, the article examines functioning of the music-theoretical theory in the German-speaking regions of Europe.

Keywords:

tactus, musica mensurabilis, Adam von Fulda, Sebald Hayden, German music

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Author Biography

Marina E. Girfanova, The Kazan State Ziganov Conservatoire of Music; Moscow State Conservatory

PhD, associate professor of the Department of Theory of Music and Composition at The Kazan State Ziganov Conservatoire of Music; doctoral student of the Department of Theory of Music at the Moscow State Conservatory

References

Литература

1. Adam de Fulda Musica // Scriptores ecclesiastici de musica sacra potissimum. 3 vols. St. Blaise: Typis San-Blasianis, 1784. Р. 329–381. (Reprint ed.: Hildesheim: Olms, 1963.)

2. Niemöller K. Die Musica figurativa des Melchior Schanppecher // Beiträge zur rheinischen Musikgeschichte. Köln: Arno Volk, 1961. Vol. 50. S. 1–40.

3. Cochlaeus J. Tetrachordum musices. Nurnbergae, impressi in officina excusoria Friderici Peypus, 1514. 59 s. (Reprografischer Nachdruck der Ausgabe Nürnberg, 1512: Hildesheim: Olms, 1971)

4. Muris J. de. Notitia artis musicae et Compendium musicae practicae; Petrus de Sancto Dionysio. Tractatus de musica. Rome: American Institute of Musicology, 1972. Р. 47–107.

5. Ornithoparchus A. Musice active micrologus. Leipzig: Valentin Schumann, 1517. (Reprint ed.: New York: Dover, 1973. 212 p.)

6. Dahlhaus C. Zur Theorie des Tactus im 16. Jahrhundert // Archiv für Musik. 1960. № 1. S. 22–39.

7. Sachs C. Rhythm and Tempo. New York: Norton, 1953. 381 p.

8. Listenius N. Musica. Nuremberg: Petreius, 1549. (Reprint: Berlin: Martin Breslauer, 1927. 86 S.)

9. Faber H. Ad musicam practicam introduction. Norimbergae: Officina Iohannis Montani et Vlrici Neuber, 1550. 190 s.

10. Finck H. Practica musica. Vitebergae: excusa typis haeredum Georgii Rhaw, 1556. 358 S.

11. Rico G. Music in the Arts Faculty of Paris in the thirteenth and early fourteenth centuries: Diss.… University of Oxford, 2005. D. Phil. Oxford: University of Oxford, 2005. 328 р.

12. Heyden S. De arte canendi, ac vero signorvm in cantibvs vsv. Norimbergæ: apud Ioh. Petreium, 1540. 163 S.

13. Federhofer-Königs R. Johannes Oridryus und sein Musiktraktat // Beiträge zur rheinischen Musikgeschichte. Köln: Arno Volk, 1957. Vol. 24. S. 65–157.

14. Guilielmus monachus De preceptis artis musicae // Corpus scriptorum de musica. Rome: American Institute of Musicology, 1965. Vol. 11. Р. 15–59.

15. Поспелова Р. Трактаты о музыке Иоанна Тинкториса. М.: Московская гос. консерватория им. П. И. Чайковского, 2009. 712 с.

16. Харлап М. Ритм и метр в музыке устной традиции. М.: Музыка, 1986. 104 с.


References

1. Adam de Fulda Musica. Scriptores ecclesiastici de musica sacra potissimum. 3 vols. St. Blaise, Typis San-Blasianis, 1784, pp. 329–381. (Reprint ed.: Hildesheim: Olms, 1963.)

2. Niemöller K. Die Musica figurativa des Melchior Schanppecher. Beiträge zur rheinischen Musikgeschichte. Köln, Arno Volk, 1961, Vol. 50, S. 1–40.

3. Cochlaeus J. Tetrachordum musices. Nurnbergae, impressi in officina excusoria Friderici Peypus, 1514. 59 s. (Reprografischer Nachdruck der Ausgabe Nürnberg, 1512; Hildesheim: Olms, 1971)

4. Muris J. de. Notitia artis musicae et Compendium musicae practicae; Petrus de Sancto Dionysio. Tractatus de musica. Rome, American Institute of Musicology, 1972, pp. 47–107.

5. Ornithoparchus A. Musice active micrologus. Leipzig, Valentin Schumann, 1517. (Reprint ed.: New York, Dover, 1973. 212 p.)

6. Dahlhaus C. Zur Theorie des Tactus im 16. Jahrhundert. Archiv für Musik, 1960, no. 1, pp. 22–39.

7. Sachs C. Rhythm and Tempo. New York: Norton, 1953. 381 p.

8. Listenius N. Musica. Nuremberg, Petreius, 1549. (Reprint: Berlin, Martin Breslauer, 1927. 86 S.)

9. Faber H. Ad musicam practicam introduction. Norimbergae, Officina Iohannis Montani et Vlrici Neuber, 1550. 190 p.

10. Finck H. Practica musica, Vitebergae, excusa typis haeredum Georgii Rhaw, 1556. 358 S.

11. Rico G. Music in the Arts Faculty of Paris in the thirteenth and early fourteenth centuries. Diss.… University of Oxford, 2005. D. Phil. Oxford, University of Oxford, 2005. 328 p.

12. Heyden S. De arte canendi, ac vero signorvm in cantibvs vsv. Norimbergæ, apud Ioh. Petreium, 1540. 163 S.

13. Federhofer-Königs R. Johannes Oridryus und sein Musiktraktat. Beiträge zur rheinischen Musikgeschichte, Köln, Arno Volk, 1957, vol. 24, S. 65–157.

14. Guilielmus monachus De preceptis artis musicae. Corpus scriptorum de musica, Rome, American Institute of Musicology, 1965, vol. 11, P. 15–59.

15. Pospelova R. Traktaty o muzyke Ioanna Tinktorisa. Moscow, Moskovskaia gos. konservatoriia im. P. I. Chaikovskogo Press, 2009. 712 p. (In Russian)

16. Kharlap M. Ritm i metr v muzyke ustnoi traditsii. Moscow, Muzyka Publ., 1986. 104 p. (In Russian)

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Published

2012-11-30

How to Cite

Girfanova, M. E. . (2012). Tactus in the german music theory of the late 15th–16th centuries. Vestnik of Saint Petersburg University. Arts, 2(4), 12–25. Retrieved from https://artsjournal.spbu.ru/article/view/1571

Issue

Vol. 2 No. 4 (2012)

Section

Music

License

Articles of "Vestnik of Saint Petersburg University. Arts" are open access distributed under the terms of the License Agreement with Saint Petersburg State University, which permits to the authors unrestricted distribution and self-archiving free of charge.