Musica (Hermann the Lame)

from Wikipedia, the free encyclopedia

Musica clarissimi viri Hermanni is a music-theoretical text that Hermann the Lahme wrote between 1030 and his death in 1054 in Middle Latin .

Objective and sources

In terms of time and theme, the work encompasses a wide area. It leads from the music theory of antiquity to the currently sung music of the 11th century in the Reichenau Monastery , where Hermann spent his life. The work does not have a dedication that provides information about it, but the first chapters on music theory suggest that it was intended for teaching within the framework of the Quadrivium . Numerous sources were available to Hermann for this purpose. Since the early Middle Ages , De institutione musica des Boethius and De nuptiis Philologiae et Mercurii by Martianus Capella had often been copied and commented on and were available in the libraries of the great monasteries. In fact, Hermann Boethius quotes in several places. But he also consults authors who are closer in time. To what extent he was directly influenced by the important, almost simultaneous music theorist Guido von Arezzo , is controversial.

As numerous manuscripts show, there was a rich musical life in Reichenau Monastery in the 11th century as a decoration of the church service. Hermann turns to those active in this field, the musici and cantores , in the later chapters, admonishes them to adhere to the rules outlined in the formation of their melodies and compares the stupid with donkeys ( qui nihil praedictis sciunt, ... asino inferiores , Chapter XV).

content

Chapter I-VII - Ancient Music Theory

It defines and describes some of the basic elements of Greek music theory: Monochord , Diatessaron , Diapente , Diapason , Tropos. Hermann also makes it clear by quoting Pythagorici mallei ( the hammers of Pythagoras ) that he is based on the traditional theory.

Further development and own theory education

A further development has already been indicated. This shows in the terminology; Instead of the central term tetrachord , the Latin expression quadrichorda is used, which Boethius only uses to denote the four-sided instrument ( De institutione musica , I, 20). Hermann dispenses with the Greek tone names and uses tone letters to create a two-octave system. He divides this into fourths and fifths , whereby not only the position of the semitone is relevant for determining their species , but also their position within the octave, i.e. the pitch (Chapter V).

Using fourths and fifths, Hermann developed his theory of motus, the theory of the movement of notes and their joining together to form a melody (Chapters XV, XVI). In order to reliably recognize the tones used, he adds a whole tone to each of the tetrachords at the top and bottom, thus forming hexachords (Chapter XVII). He supplements the representation of the melody development with neumes by specifying semitone and tone steps.

Chapter XVIII, XIX - mode vocum , determining the key

In the last chapters the author turns to practical music, giving up some of his rigid theoretical concept. In order to present his musical performance, he quotes a large number of vocal pieces ( antiphons , responsories , graduals , etc.), 20 of which can be found in contemporary manuscript collections based on the precise description.

Living on and tradition

The script initially influenced some music theorists, in particular Wilhelm von Hirsau and Frutolf von Michelsberg , but later - as Hermann's catalog raisonné shows - it received little attention, so that only two complete manuscripts from the 11th and 12th centuries have survived. The editions by Martin Gerbert (1784) and Wilhelm Brambach (1884) were followed in 1952 by the edition with a translation into English by Leonard Ellinwood. A German translation is not available.

Text editions and translations

  • Leonard Ellinwood: The Musica of Hermannus Contractus , Edited and Translated, 1952

literature

  • Charles M. Atkinson: The Critical Nexus. Tone-System, Mode and Notation in Early Medieval Music , Oxford 2009
  • Hans Oesch : Berno and Hermann von Reichenau as music theorists , Bern 1961
  • John L. Snyder: Introduction in: Leonard Ellinwood: The Musica of Hermannus Contractus , Edited and Translated, Rochester 2015

Individual evidence

  1. ^ John L. Snyder: Introduction in: Leonard Ellinwood: The Musica of Hermannus Contractus , p. 17th
  2. ↑ This and the following: Charles M. Atkinson: The Critical Nexus. Tone-System, Mode and Notation in Early Medieval Music , Part I, 2
  3. ↑ Hans Oesch: Berno and Hermann von Reichenau as music theorists , pp. 238–242
  4. ↑ Michael Klaper: The music history of Reichenau Abbey in the 10th and 11th centuries , Stuttgart 2003
  5. ^ Hans Oesch: Berno and Hermann von Reichenau as music theorists , p. 206ff
  6. ^ Hans Oesch: Berno and Hermann von Reichenau as music theorists , p. 216ff
  7. ^ Hans Oesch: Berno and Hermann von Reichenau as music theorists , p. 228ff
  8. ^ Hans Oesch: Berno and Hermann von Reichenau as music theorists , p. 234ff
  9. ^ Hans Oesch: Berno and Hermann von Reichenau as music theorists , p. 236
  10. ^ Leonard Ellinwood: The Musica of Hermannus Contractus , Appendix 2
  11. ^ John L. Snyder: Introduction in: Leonard Ellinwood: The Musica of Hermannus Contractus , p. 36-40
  12. ↑ Hans Oesch: Berno and Hermann von Reichenau as music theorists , pp. 133,228
  13. ^ John L. Snyder: Introduction in: Leonard Ellinwood: The Musica of Hermannus Contractus , Preface p. XIII