Markus Jans

from Wikipedia, the free encyclopedia

Markus Jans (* 1946 ) is a Swiss music theorist and former university professor .


Markus Jans, Professor of Historical Composition at the Schola Cantorum Basiliensis (University of Early Music, Basel) from 1972 to 2010, also taught the history of music theory at the University of Music Basel . On the basis of preliminary work by Wulf Arlt , he and Dominique Muller expanded the area of ​​historical syntax to a core subject at the Schola Cantorum Basiliensis, thereby giving the institute a pioneering role in this essential area of ​​education.


  • All against one. Sentence models in note-against-note sentences from the 16th and 17th centuries. In: Basler Jahrbuch für Historische Musikpraxis 10, Amadeus Winterthur 1986, ISBN 3-905049-41-4 . Pp. 101-120.
  • Modal »harmony«. Observations and questions about the logic of sound connections in the 16th and early 17th centuries . In: Basler Jahrbuch für historical Musikpraxis 16. Amadeus, Winterthur 1992, ISBN 3-905049-58-9 . Pp. 167-188.
  • On the reception of early music in theory and composition. Observations on examples from the 18th to the early 20th century . In: Basler Jahrbuch für Historische Musikpraxis 21. Amadeus Winterthur 1997, pp. 87–100
  • Historically informed analysis. About the constructive use of evidence from the past . In: Basler Jahrbuch für historical Musikpraxis 27. Amadeus Winterthur 2003, pp. 93–99
  • Musical poetics by Gilles Binchois, in: "Music and Aesthetics", 9th year, issue 4, Stuttgart, July 2005, pp. 33–49
  • Towards a History of the Origin and Development of the Rule of the Octave. In: Towards Tonality. Leuven University Press, Leuven 2007, ISBN 978-90-5867-587-3 . Pp. 119-143.
  • Views on interpretation in: Musiktheorie, 20th Jg., Heft 4, Laaber-Verlag 2005, pp. 293-298
  • Seven (not entirely random) handles in the book box, reading recommendations , in: Journal of the Society for Music Theory , 3rd year, OLms Hildesheim , 2006, pp. 145–148
  • Of people and dissonances. A somewhat arbitrary foray into the history of music theory, in: "Dissonanz / Dissonance", Schweizerischer Tonkünstlerverein (HG.), December 2007, pp. 4–7
  • On the idea and practice of historical sentence theory at the Schola Cantorum Basiliensis, in: Basler Jahrbuch für Historische Musikpraxis 32. Amadeus Winterthur 2008, pp. 165–174
  • Perceiving and communicating mode and modality. About working with clay fields. An experience report , in: Hamburger Jahrbuch für Musikwissenschaft (Jochen Brieger HG), 29, 2013, pp. 41–54
  • Aesthetic implications of syntax - thinking in tones - thinking and talking about tones , keynote on VI. GMTh Congress in Weimar 2006, in: "Music theory and mediation" (Ralf Kubicek, HG.), Georg Olms Verlag, Hildesheim, 2014, pp. 155–166
  • Improvisation from a historical and historical-pedagogical point of view , keynote on the IX. Congress of the GMTh in Mainz 2009 in: "Music theory and improvisation", congress report of the IXth Annual Meeting 2009 of the Society for Music Theory (Jürgen Blume and Konrad Georgi HGG), Schott, Mainz 2015, pp. 18–28
  • On Johann Sebastian Bach's chorale prelude alone Gott in der Höh 'sei Ehr' BWV 715 , in: Claus Bockmaier and Dorothea Hofmann (eds.), On the performative expressivity of the piano. Performance and interpretation - Symposium Munich, 27. – 28. April 2018. Musicological writings from the University of Music and Theater Munich, vol. 13. Allitera Verlag, Munich 2020, pp. 55–64
Contributions to Festschriften
  • for Clemens Kühn on his 65th birthday: Gaudia tripudia decent haec sollempnia, an analysis of the Conductus Baculi sollempnia from the manuscript F, fol 372'-373, in: "Music and their theories", (Felix Diergarten, Ludwig Holtmeier, John Leigh and Edith Metzner HGG), University of Music and Theater Carl Maria von Weber, Dresden, 2010, pp. 14–18
  • for David Fallows on his 70th birthday: Dieu vous doinst hui en bonne estraine tout le desir de vostre coeur, an analysis of the chanson Margarite, fleur de valeur by Gilles Binchois with a critical comparison of three different sources, in: "Essays on Renaissance Music in Honor of David Fallows ", (edited by Fabrice Fitch and Jacobijn Kliel), The Boydell Press, Woodbridge 2011, pp. 218-226
  • for Wulf Arlt on his 80th birthday: "ad haec sollempnia". On the performance practice of a two-part refrain in a handwriting by Le Puy, in: "Beredte Musik", Conversations on the 80th birthday of Wulf Arlt, (Martin Kirnbauer HG), Schola Cantorum Basiliensis Scripta Volume 8, Schwabe Verlag, Basel 2019, p. 195-203
  • on Christopher Schmidt, Harmonia Modorum, in: Journal of the Society for Music Theory, 3rd year, Olms, Hildesheim 2006
  • on Klaus-Jürgen Sachs, De modo componendi: Studies on musical teaching texts of the late 15th century, in: Journal of the Society for Music Theory, 4th year, Olms, Hildesheim, 2007, pp. 345–348
  • on Immanuel Ott, methods of canon composition with Josquin and his contemporaries, in: "Musik und Aesthetik", 20th year, issue 78, Stuttgart, April 2016, pp. 110–114