Quarterly journal for musicology
The quarterly journal for musicology (VMW) was published in Leipzig for 10 years from 1885 to 1894, usually quarterly, in a few exceptional cases as a double issue.
Importance and historical location of the magazine
The magazine is one of the most important testimonies, if not the most significant and effective testimony to the efforts of German-speaking musicology to establish itself institutionally at universities and to emerge as a hard-working cultural studies journalist. Immediately the claim of a permanent circle of authors is noticeable to find a solution to open and burning questions of systematic and historical music research or to decisively advance their solution through profitable partial knowledge or results. Noteworthy is the unity of systematic and historical musicology practiced in the journal, regarding the continuum of periods, styles and techniques, as well as the equality of scientific and aesthetic questions. The beginnings of music-ethnological issues are also documented in it. For the diversity within a disciplinary unit, the introductory article by co-editor Guido Adler, which embodied the spirit of the magazine and the entire subject, gave the opening signal, which should be universally valid. Although Adler divided the subject into different areas, objects of investigation, questions and methods, at the end of his basic article he emphasized the unity and mutual dependence of the individual departments. The established institutional and strict division of musicology into a systematic and a historical department, as it is practiced in Germany today, is in blatant contradiction. The magazine resolutely realizes Adler's claim to unity of discipline by presenting articles and research results from all of the areas he has named. This was only possible because the three-person editorial board was unanimous in this regard and solicited and published articles on a wide variety of issues relating to natural and cultural science observance.
structure
The structural main emphasis of each issue of the journal lay on longer scientific treatises, of which sometimes a single one took up the most space and was supposed to excel in terms of quality in that it had achieved a special achievement in music research in a certain area that opened up new horizons. Another focus was on the review section (under the title “Criticisms and Papers” or “Papers and Criticisms”), in which detail and accuracy in the argumentation with documentary evidence and sample scores were required and granted. In addition, an attempt was made to keep the readership up to date on new publications and current scientific events and findings with the help of a “Musical Bibliography” in a listed form and with the rubrics “Notes” or later “Small Messages”. A table of contents with name and subject index concluded the respective year. The number of pages in a booklet often reached a smaller book format, between 120 and 200 pages, a year always around 600 pages.
Editors and main authors
At the beginning of the publication, Friedrich Chrysander and Philipp Spitta ranked as editors, in contrast to Guido Adler as editor of the magazine. From the 2nd year onwards, all three people rank as editors, Adler always in last place. Editorial remarks by Chrysander after Spitta's death indicate that Spitta performed and made the decisive editorial work and decisions regarding the selection and editing of the contributions, at least he is named by Chrysander as the one who did this work for the 1894 year and had largely completed; the discontinuation of the magazine also seems to be related to Spitta's death. So it was above all Spitta who succeeded on the one hand in engaging a relatively permanent staff, on the other hand in winning competent researchers who specialize in certain questions for sporadic or one-off collaboration. It is noticeable that hardly any authors from Chrysander's earlier journalistic environment and from Spitta's immediate Berlin environment are represented. The main authors include representatives from scientific and cultural research directions, denominational preferences or disadvantages are not evident. The following is the evidence of the articles by year and issue number.
Editor:
Friedrich Chrysander (1826–1901)
The great Handel researcher of the 19th century (publication of the first complete edition of Handel's works and a fragmentary multi-volume biography of Handel) had already edited other major music magazines before the quarterly : the Leipziger Allgemeine musical newspaper in the years 1868–1871 and 1875–1882 as well the yearbooks for musical science , published in two volumes (1863 and 1867) , which are to be regarded as forerunners of the quarterly ; they are also referred to in the foreword to the first edition of the quarterly as the previous "experiments". The initiative to found the quarterly journal also seems to have come from him, and after a long period of preparation he found suitable partners in the Bach researcher and Berlin music professor Spitta and in the Prague musicologist Adler with whom to found and close a strictly scientific periodical management was possible to meet the needs and requirements of such. He himself contributed with substantial contributions to all of the journals he founded and edited. From 1866 until his death, he lived and worked in a private research center he set up with an archive and his own publication facilities in Bergedorf near Hamburg. The network of his relationships and correspondence with musicians and scientists of his time was extensive.
In addition to reviews, he published the following articles in the quarterly journal: On ancient Indian sacrificial music (of the Brahmins) (85.1), Handel's instrumental compositions for large orchestra (87.1f.), Eduard Grell as an opponent of instrumental music, the organ, temperature and virtuosity (88.1), The opera Don Giovanni by Gazzaniga and Mozart (88.2), Lodovico Zacconi as a teacher of art singing (91.3 and 94.4), The collection of royal private music and church chapel in London from 1710 to 1755 (92.4).
Philipp Spitta (1841-1894)
The great Bach researcher, from 1875 music professor at the university and administrative director of the music academy (at the side of Joseph Joachim as artistic director) in Berlin, began as a trained and initially also practicing classical philologist and then switched to music research with a distinctly philological character. He was a music researcher enthusiastic about collecting and publishing, with a broad field of view on objects from antiquity to the middle of the 19th century. He went into folk song research as the discoverer of Johann Sigismund Scholze, whom he was able to reveal as an author under the pseudonym Sperontes. He was in charge of the quarterly journal.
In addition to reviews, he published the following articles in the quarterly journal: Sperontes Singing Muse on the Pleiße . On the history of German house singing in the eighteenth century (85.1), Rinaldo di Capua (87.1), The Musica enchiriadis and their age (88.3) with controversy about it with O. Kornmüller (90.2), Ein Weihnachtsgesang des Heinrich Baryphonus (93.4), A newly found ancient Greek melody (94.1).
Guido Adler (1855-1941)
Originally from Moravia, originally trained in law, then with a doctorate and habilitation in musicology, music professor in Prague since 1885 and in Vienna from 1898–1927, still took part in the editing and editing of the quarterly journal from Prague . His profile as publisher and author of this magazine will have contributed to his appointment to the Vienna Ordinariate as successor to Hanslick. One can notice a decrease in his own contributions in later volumes of the journal he co-edited. He introduced the periodization of music history according to stylistic terms in musicology, developed its task definition and methodology, worked as an editor and, after his retirement, published a multi-volume manual on music history that followed his principles.
In addition to reviews, he published the following articles in the quarterly journal: scope, method and aim of musicology (85.1), repetition and imitation in polyphony. A study on the history of harmony (86.3), A movement from an unknown piano concerto by Beethoven (88.4), The Emperors Ferdinand III., Leopold I, Joseph I and Karl VI. as composer and promoter of music (92.2).
The main authors with historically groundbreaking contributions and pioneering achievements were:
Oskar Fleischer (1856–1933). He was originally a trained philologist and on this basis became a neumen researcher, worked as a music professor in Berlin on music in the Middle Ages and, as an instrument scholar, was the founder and director of the instrument museum located at the Berlin University of Music, co-editor of series of publications by the international music society that was hegemonized by the German side until its collapse at the beginning of the First World War. He published in the quarterly (except for reviews): Denis Gaultier (86.1-2).
Franz Xaver Haberl (1840-1910). He was a Catholic church musician and music researcher, cathedral music director and founder and long-time director of the church music school in Regensburg. Publication of the first German complete edition of the works of Pierluigis da Palestrina. He publishedtwo longer treatises in the first three years ofthe quarterly : Wilhelm du Fay. Monographic study of his life and work (85.4) and: The Roman "schola cantorum" and the papal choir singers up to the middle of the 16th century (87.2).
Heinrich von Herzogenberg (1843–1900). He was a composer of secular and sacred works and composition teacher in Berlin. As a music theorist, he dealt with the explanation of various tonal systems. He published in the quarterly (except for reviews): Tonality (90.4), A word on the question of pure tuning (94.2).
Reinhard Kade (1859-1936). Dresden senior teacher and music historian, son of Otto Kade. He published in the quarterly (except for reviews): The Dresden Kapellmeister Rogier Michael, approx. 1550-1619. Unknown files about him from the Royal Saxon. Main State Archives (89.2), Christoph Demant. 1567-1643 (90.4).
Oswald Koller (1852-1910). Until 1898 he worked as a secondary and vocational school teacher in Kremsier (Moravia) and Vienna in general subjects before he became a librarian at the musicological institute of the University of Vienna, which was newly founded by Adler. From 1892 he worked for Adler on edition and exhibition projects. As a medieval researcher, he was self-taught. In the quarterly magazine (except for reviews) he published two groundbreaking articles on musical medieval studies: The Montpellier Song Codex. A critical study (88.1) and: Attempt to reconstruct the musical examples for the eleventh chapter of Franco's Ars cantus mensurabilis . A critical study (90.2).
Hermann Kretzschmar (1848–1924). As a trained philologist, he was initially a music teacher at the Leipzig Conservatory, then University Music Director in Rostock and Leipzig, from 1904 he took over the newly established professorship for musicology at the Berlin University. Most ofhis work on the quarterly journal, mainly as an opera historian, was in his second time in Leipzig. His report on a retrieved copy of Monteverdi's last opera Incoronazione di Poppea , along with the basic article by Emil Vogel, strengthened the Monteverdi reception in Germany. He published in the quarterly (apart from reviews, especially of French books): Monteverdi's Incoronazione di Poppea (94.4).
Jan Pieter Nicolaas Land (1834-1897). He was a Dutch orientalist who was also involved in music ethnology studies. He published in the Vierteljahrsschrift (except for reviews): Tonschriftversuche und Melodieversuche from the Mohammedan Middle Ages (86.3), About the Tonkunst der Javanen (89.1).
Hans Müller (1854-1897). He was initially an art historian and later a musicologist, especially a medieval researcher, ended the attribution of musica enchiriadis to Hucbald, worked as a music librarian in Karlsruhe and as a teacher and professor at the Berlin University of Music. His articles in the quarterly journal (except for reviews): Fragments from medieval music theory (85.2), Wilhelm Heinse as a music writer (87.4).
Heinrich Reimann (1850–1906). He was first a teacher, then an organist, music librarian and music writer in Berlin, his historical research also focused on the music history of Byzantium. He published in the quarterly (except for reviews): On the history and theory of Byzantine music (89.2).
Max Seiffert (1868-1948). Music researcher, Sweelick researcher and editor, taught in Berlin and was director of the Bückeburg research institute, even after it moved to Berlin. His contributions to VMW document his beginnings as a Spitta student. He published in the quarterly journal (except for reviews and registers): From Johann Philipp Kirnberger's family book (89.2) and: JP Sweelinck and his direct German students (91.2), Paul Siefert (1586–1666). Biographical sketch (91.3).
Carl Stumpf (1848-1936). He was a psychologist and music researcher, held several professorships in Würzburg, Prague, Halle, Munich and from 1893 in Berlin, where together with Moritz Hornborstel he founded the phonogram archive, a preliminary stage of institutionalized ethnomusicology. He is particularly concerned with the sensations of sound and the role of the various musical moods on hearing and psyche. He published in the quarterly (except reviews): Music Psychology in England. Reflections on the derivation of music from language and from the animal development process, on empiricism and nativism in music theory (84.3), songs of the Bellakula Indians (86.4 and 87.2).
Emil Vogel (1859-1908). He was a music researcher, librarian and bibliographer, assistant to Haberl in his Palestrina studies and editions. He published in the quarterly (except for reviews): Claudio Monteverdi. Life, work in the light of contemporary criticism and list of his works published in print (87.3), Marco da Gagliano. On the history of Florentine musical life from 1570–1650 (and 89.3 and 4).
Peter Wagner (1865-1931). He was a pupil of Jacobsthal in Strasbourg and of Spitta in Berlin and later a lecturer and professor in Friborg / Switzerland, Gregorian, neumen researcher. He published in the quarterly : About the handwritten tradition of the Dialogus Domni Oddonis (91.2) and: Das Madrigal und Palestrina (92.4), a supplement and correction of his Strasbourg doctoral thesis.
Content
In systematic terms, the focus was on the findings of the newly developed tone psychology following Helmholtz's physiological studies, as well as the question of natural or tempered mood in the context of medieval modality and modern tonality. In the field of historical research, studies on musical culture in the Middle Ages and on Italian theory and practice in the transition from the Renaissance to the Baroque, resp. from contrapuntal to harmonically dominated typesetting based on composer portraits and work monographs. In relation to German music history, research on folk and art songs is receiving special attention for the first time. In all contributions, both the study of sources and the support of empiricism and sound experiments as methodological guidelines are in the foreground; accordingly, there is generous space for printouts and longer quotations from primary and secondary sources.
Further employees for the important topics in the VMW
The following is the evidence of the articles by year and issue number.
F. Ascherson (? -?). Bibliographer and editor, possibly identical to the publisher of the German University Calendar and the Philosophical Monthly Issues. He created the bibliographies of the music literature for the quarterly journal.
Wilhelm Bäumker (1842–1905). He was a pastor and researcher of Catholic church music. He published in the quarterly : Dutch sacred songs together with their ways of singing from manuscripts of the XV. Century (88.2 and 3).
Kurt Benndorf (1871-1945). He was a music historian and librarian before starting poetry in 1904. He published in the quarterly : Sethus Calvisius as a music theorist (94.4), a summary of his Leipzig doctoral thesis.
Wilhelm Brambach (1841-1932). He was a classical philologist in Freiburg and library director in Karlsruhe, as a music historian he was active as a researcher in the Middle Ages. He published in the quarterly : About Basque Music (87.4).
Hermann Deiters (1833–1907). He was a Beethoven and Mozart researcher and published in the quarterly : Beethoven's letters to Ferdinand Ries (88.1) and a detailed review by Wasielewski, Ludwig van Beethoven (88.4).
Max Friedländer (1852-1934). as a Schubert and Lied researcher he wrote in the quarterly : The first form of Schubert's "Erlkönig" (87.1), Mozart's "Wiegenlied" (92.2), forgeries in Schubert's songs (93.1 / 2) , The Song of the Sofa (94.2).
Karl Held (? -?). Dresden regional researcher. He published: The Kreuzkantorat zu Dresden. Edited from archival sources (94,3), abridged version of a book on this subject published in the same year.
Ambrosius Kienle (1852-1905). He was a Catholic church musician and reform hymnologist and campaigned for the restitution of the original Gregorian chant. He published in the quarterly (except for reviews): Notes on conducting medieval choirs (85.2).
Carl Krebs (1857-1937). He was a music historian and music critic and was a reviewer for the quarterly magazine.
Rochus von Liliencron (1820-1912). As a Germanist and music historian, he dealt with folk and church song research and was co-editor of the Allgemeine Deutsche Biographie, for the quarterly he worked as a reviewer.
Max Planck (1858-1947). He was a physicist (Nobel laureate and founder of quantum physics) and also dealt with acoustic questions, took part in discussions with musicologists about questions of musical temperature. He published in the quarterly (except for reviews): The natural mood in modern vocal music (93.4).
Hugo Riemann (1849-1919). After his years of study in the subjects of literature, philosophy and history he went to Leipzig, where he received his doctorate in music and was able to habilitate, in order to then work in various cities, from 1895 back in Leipzig (as musicological institute director), versatile and enthusiastic about publications , Functional harmonic. He published in the quarterly : Does the musical rhythm root in the rhythm of speech? (86.4).
Rudolf Schwartz (? -?). He was a music historian, especially a song historian, at the beginning of the 20th century editor of the yearbooks of the Peters Music Library and published in the quarterly magazine (except for small messages): Die Frottole im 15. Jahrhundert (86.4) and: Hans Leo Haßler under the influence of the Italian madrigalists (93.1 / 2).
Bernhard Seyfert (1865–?). He was a historian and junior high school director with musical interests. The treatise published in the distribution year: The musical-folk song 1770-1800 (94.3) is a summary of his Leipzig doctoral thesis.
Friedrich Albert Voigt (? -?), Music historian, article about Reinhard Keizer (90.2), in which he also makes decisive additions and corrections to the article published by Chrysander in 1882 in the Allgemeine Deutsche Biographie.
Paul Graf Waldersee (1831–1906). After completing his military career from 1871 he was a music researcher and editor, Mozart researcher, he worked as a reviewer in the quarterly magazine .
Richard Wallaschek (1860-1917). He was an Austrian music psychologist and comparative musicologist. In the quarterly journal he published: On the meaning of aphasia for musical expression (91.1) and: The musical memory and its achievements in catalepsy, in dreams and in hypnosis (92.2).
Johannes Wolf (1869–1947). He was a medieval researcher with a focus on the interpretation of manuscripts, professor and music librarian in Berlin, and later also took part in studies in the field of comparative musicology. He published in the quarterly : An anonymous music treaty of the eleventh to twelfth centuries (93.1 / 2), and: Anonymi cujusdam Codex Basiliensis (93.4).
