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LETTER CODES RELATING TO PITCH AND KEY FOR CHORALE MELODIES AND BACH'S CONTRIBUTIONS TO THE SCHEMELLI GESANGBUCH
Ist Teil von
Bach, 2014-01, Vol.44 (1), p.15
Ort / Verlag
Berea: Riemenschneider Bach Institute, Baldwin Wallace College
Erscheinungsjahr
2014
Link zum Volltext
Quelle
Alma/SFX Local Collection
Beschreibungen/Notizen
Text-only hymnals are frequently overlooked by musicologists because it is thought that they contain very little of musical interest. However, this is not very different from assuming that opera libretti have little musical significance because they deal only with words, plots and narratives. These anthologies of congregational song may be comprised entirely of words, but they are thoughts and emotions expressed in rhymes, rhythms, and meters that have particular musical implications. A chorale melody must have the same number of lines as the poetic text, with or without repetition. A chorale melody must have the same number of poetic feet per line as the text. A chorale melody must have the same stress patterns as the text, be they iambic, trochaic, dactylic, or whatever. A chorale melody must express the same emotion as the text, be it mournful or joyful, reflective, or celebratory. Here, Leaver examines some of the ways in which musical matters are addressed in text-only German hymnals, especially the phenomenon of indicating pitch and key by letter codes, and Bach's knowledge and use of such coding in the Schemelli Gesangbuch (1736).