Contrapuntal Probes As a Special Type of a Music Manuscript

В середине 1870-х — начале 1880-х годов С. И. Танеев, воодушевленный идеей поиска «русского стиля», активно пополняет теоретические знания в области контрапункта и практикуется в полифонической работе с национальным мелодическим материалом: песенным фольклором и православными церковными напевами. В результате этой деятельности появляются многочисленные рукописи с контрапунктическими опытами, направленными не только на самообучение, но и на создание музыкальных произведений. Материалом для настоящей статьи стали документы указанного периода творчества композитора — черновые автографы к неоконченному циклу хоровых обработок причастных стихов и к Увертюре на русскую тему, хранящиеся в архиве Государственного мемориального музыкального музея-заповедника П. И. Чайковского в Клину. Танеев работает с напевами причастных стихов и трех песен «Про татарский полон» особым образом: многократно и последовательно испытывает каждый сегмент мелодии различными видами контрапунктической техники, в результате чего получает обширный комплект в основном имитационных, но также неимитационных построений и построений, совмещающих оба вида. Для своего времени танеевский метод и порождаемый им графический текст достаточно специфичны. Подобный тип рукописей предлагается обозначить термином контрапунктические пробы. Ориентируясь на форму, скрепленную полифонической техникой, композитор создает текст, имеющий сходство с уже атрибутированными в отечественной музыкальной текстологии образцами композиционных рукописей: набросками, эскизами, черновиками, учебными работами. Тем не менее, танеевские штудии принципиально от них отличаются и нуждаются в более точном описании и определении. In the mid 1870-s — beginning of 1880-s Sergey Taneev, inspired by the idea of the “Russian style,” began to replenish his theoretical knowledge in the field on counterpoint and to practice polyphonic writing based on national melodic material: folk songs and Orthodox church chants. These studies resulted in numerous manuscript fragments, the purpose of which was not just self-training but there were also drafts for future pieces. The article is based on the documents from this period, including the drafts for unfinished choir arrangements of communion verses and an Overture on the Russian Theme, from the archive of Pyotr I. Tchaikovsky’s Museum in Klin. The way Taneev works with the melodies of the communion verses as well as the songs “About the Tatar Captivity” is very particular: he tries each segment of the melody multiple times consistently applying different types of contrapuntal technique; this resulted in a large set of imitative and non-imitative fragments as well as fragments in which both types of polyphony are combined. For Taneev’s time, such a method and the generated graphic text are unique. We would suggest introducing a term contrapuntal probes to describe it. These texts, determined by the polyphonic forms and techniques, are in many ways similar to the drafts, sketches, and exercises by Taneev which have already been thoroughly examined by Russian specialists. However, there are also essential differences, which implies a more precise and specific description and classification.

KULLU-D- DURUB, KULLU’N- NAGAM , KULLU’N- NAGAM VE’D- DURUB MUSICOLOGIAL EVALUTION OF THE MUSIC FORMS

Musical forms in Turkish music edwares give us important clues in terms of reflecting the musical culture of the period. It is possible to see many other musical forms such as Nevbet-ı muretteb, gazel, amel, pışrev, savt and nakış in their music manuscript. Some forms of music have survived to the present day, while some have undergone both name and structural changes, while others have completely lost their existence. It is aimed to reveal whether the three musical forms such as küld- durub, kül’n-nağam and kül nn-nagam and ’d-durub, which exist in the manuscripts, exist today and have undergone changes. In the qualitative study, retrospective research model was used together with literature review. The forms include twelve makams such as uşşak, rast, hüseyni, hicazi, and makams and procedural findings that vary according to forms such as remel-i asl, hafif, sakil-i evvel. At the same time, some conclusions have been reached such that some of these three forms of music have not survived to the present day, and some of them have experienced interactions with different dynamics performed today and are the basis for the form of kar-ı natık and saz semai by its structure. Keywords: Kullud- durub, kullu’n-nagam, kullu’n-nağam ve’d- durub, music forms, musicology

“Things in Themselves”

Hidden in the composer’s archives is a series of little music-manuscript notebooks, a bit battered, as if they had been in and out of Prokofiev’s pockets. These he carried around with him, jotting down musical ideas as and when they occurred to him. The contents of such notebooks can reveal quite special aspects of their creator, exposing facets of the imagination which may well lie below the threshold of even that creator’s consciousness. Are the themes notated boldly in ink or tentatively in pencil? How important are indications of tempo or dynamics in comparison with pitches, meters, rhythms, or key signatures? What kind of second thoughts appeared at this early stage? Above all, what are the characteristics that make these themes so distinctively, unmistakably Prokofiev? This study of his thematic sketches opens up entirely new insights into the way he thought, what his compositional priorities were, and how he expressed himself to himself.

Musical diplomacy in a divided city: the Lassus-Mayrhofer manuscripts

Gifts of music manuscripts continued to serve an important diplomatic function well into the 16th century. This article investigates the production, content and function of two choirbooks prepared by the Benedictine monk Ambrosius Mayrhofer of St Emmeram in Regensburg, which mainly contain sacred music by Orlande de Lassus. They were dedicated to Abbot Jakob Köplin of St Ulrich and Afra in Augsburg (1568) and the city council of Regensburg (1567) respectively. The programmatic opening motet and accompanying illuminations of the Regensburg choirbook suggest that it functioned as a politically motivated gift that helped to ‘harmonize’ the frictions within a city divided by ancient rights and new religious allegiances: Regensburg was a free imperial city with a predominantly Protestant population and council, but also harboured an episcopal see and several nunneries and monasteries (among them St Emmeram), with the Catholic Dukes of Bavaria as close and powerful neighbours. Mayrhofer’s music manuscript projects a conciliatory message that was particularly timely in the late 1560s, when the permission of Eucharistic communion under both kinds (with consecrated bread and wine) offered a short-lived hope of religious compromise.

On Westphalian Woodworms and Rhenish Missionaries: The Soest Conductus Fragments and Their Afterlife

Examining the Soest conductus fragments, of which five single leaves have so far been rediscovered, this article analyses the different layers of use and reuse that can be deduced. First, a detailed account of the circumstances under which these manuscript fragments travelled with (or without) their respective host volumes is given. The music manuscript must have been discarded by the fifteenth century, as a bookbinder from the Dominican convent of Soest in Westphalia reused various leaves of it in a series of autographs written by Jacob of Soest, who died in 1438. After the dissolution of the convent’s library in the course of nineteenth-century secularization, further contexts of reuse and dismemberment pertaining to the fragments can be demonstrated. Secondly, the remnants of the original music manuscript are analysed. The use of the two-part conductus O crux ave spes unica (H4) as the opening piece of a fascicle can be connected to the dedication of the Soest Dominican house to the Holy Cross. In comparison to other fragmentary sources that made their way to the German-speaking area, as well as the long-known codices F, W1, and W2, the Soest music manuscript seems closest to W2. While, however, these two codices show significant parallels in terms of mise-en-page and copying process, the choice of repertory might have deliberately differed. This points to production in the same workshop, but for different commissioners.