Proportional signs in the works of Heinrich Schutz
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Proportional signs in the works of Heinrich Schutz
Proportional signs in the works of Heinrich Schutz
Name:Personal
Park, Jang Woo Role :Text(marcrelator)
creator
Park, Jang Woo Role :Text(marcrelator)
creator
Name:Personal
Kauffman, Deborah Role :Text(marcrelator)
thesis advisor
Kauffman, Deborah Role :Text(marcrelator)
thesis advisor
Name:Personal
Bellman, Jonathan Role :Text
committee member
Bellman, Jonathan Role :Text
committee member
Name:Personal
Ehle, Robert Role :Text
committee member
Ehle, Robert Role :Text
committee member
Name:Personal
Huh, Joonok Role :Text
committee member
Huh, Joonok Role :Text
committee member
Name:Corporate
Music Role :Text(marcrelator)
sponsor
Music Role :Text(marcrelator)
sponsor
Name:Corporate
University of Northern Colorado Role :Text(marcrelator)
degree grantor
University of Northern Colorado Role :Text(marcrelator)
degree grantor
typeOfResource
text genre(marcgt)
Thesis
Origin Information
Place
:Text
Greeley (Colo.)
University of Northern Colorado (keyDate="yes")
2010-05
2010-05
Greeley (Colo.)
University of Northern Colorado (keyDate="yes")
2010-05
2010-05
Language
:Text
English
English
Physical Description
155 pages
born digital
155 pages
born digital
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. note
Related Item
:series
Related Item
:thesis(displayLabel="Degree Type")
doctoral
doctoral
Related Item
:thesis(displayLabel="Degree Name")
D.A.
D.A.
Location
(usage="primary display")
http://hdl.handle.net/10176/cogru:350
http://hdl.handle.net/10176/cogru:350
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Copyright is held by the author.
Record Information
languageOfCataloging
:Text(ISO639-2B)
English :Code(ISO639-2B)
eng
English :Code(ISO639-2B)
eng
note:admin
note:bibliography
note:thesis(displayLabel="Degree Type")
DMA note:thesis(displayLabel="Degree Name")
doctoral
Subject
Germany
Germany
Subject
1600-1699
1600-1699
Subject
Name:Personal
Schütz, Heinrich, 1585-1672
Schütz, Heinrich, 1585-1672
Subject
Name:Corporate
Subject
identifier:Local
accessCondition:restrictionOnAccess
Title Information:Alternative
Subject
Symphoniae Sacrae Tertia Pars
Symphoniae Sacrae Tertia Pars
Subject
Baroque Music
Baroque Music
Subject
Musical Notation
Musical Notation
Subject
Proportional Signs
Proportional Signs
Subject
Psalmen Davids
Psalmen Davids