Symphonia

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Symphonia ( lat from. Greek . Syn = with, together, phone = sound, sound) even Symphoney is one of the few original concepts of music theory and has over the history of music taken different meanings:

  • In antiquity and the Middle Ages, symphonia means something like consonance , also in the sense of individual intervals that are considered consonant ( unison , octave , fifth , fourth ).
  • In addition, in the Middle Ages , symphonia generally referred to a harmonious harmony in the real or figurative sense ( harmony of the spheres ).
  • The term was also applied to instruments that can be used to create harmonies: primarily the hurdy-gurdy , but also the bagpipe and, after 1500, the clavichord and other keyboard instruments .
  • Sometimes an ensemble of different instruments was also called this, e.g. B. "the town piper with his whole symphoney" ( Michael Praetorius , 1618).
  • Since the 16th century, Symphonia has also referred to multi-part compositions: Georg Rhau , Symphoniae iucundae , 1538; Hubert Waelrant , Symphonia angelica , 1585, Symphoniae sacrae by G. Gabrieli (1597, 1615) or Heinrich Schütz (1629, 1647, 1650), although it is uncertain whether the term refers generally to the interaction of different voices or specifically to the interaction of Instruments and voices. When François Campion ( Pièces pour la guitar ) as a place lentement marked "Symphony" as a set of Suite between Prelude and Courante .
  • In the 17th century, symphonia - or synonymously sinfonia - is increasingly a term for purely instrumental music.

See also

literature

Individual evidence

  1. ↑ Adalbert Quadt (ed.): Guitar music from the 16th to 18th centuries Century. 4 volumes. Deutscher Verlag für Musik, Leipzig 1970–1984, Volume 3, pp. 40–43 (Suite in C minor).