By Paul F. Grendler
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Additional info for Schooling in Renaissance Italy: Literacy and Learning, 1300-1600 (The Johns Hopkins University Studies in Historical and Political Science)
Ludwig himself was fully aware that thirteenth-century authors often attributed compositions to somebody in order to enhance their value. In a paper of 1905 on the Codex Calixtinus, where pieces are attributed to popes and cardinals, he mentions that these attributions were only meant to im- say, a series of stages in which old and new existed side by side as integral parts of a liturgical corpus that represented a uniﬁed musical system” (p. 107). 72. See “Die mehrstimmige Musik,” 19–20. 73. “Die liturgischen Organa Leonins und Perotins,” 203.
D]ie Bearbeitung eines solchen Werkes weit ruhmvoller . . ” Thibaut, Über die Reinheit der Tonkunst, 15. 18 prologue perform old music. “Rein,” a term we will often encounter in Ludwig’s writings, refers to many different things. The editor of the third edition, Ministerialrat Dr. K. Bähr, describes what the term “rein” implies for Thibaut: With this “purity” [Reinheit ] he is, of course, referring not to the technical [purity], the purity of the setting or performance, but [the purity] of the art of music; for him it was a very different [purity], a higher, I would like to say moral, one, and one is fully justiﬁed in calling his book a moral act in the musical realm.
T. A. Hoffmann and Wilhelm Heinrich Wackenroder. ” For a new study of the topic see Garratt, Palestrina and the German Romantic Imagination, which appeared too late to be considered here. 49. Nowak, “Johannes Eccards Ernennung,” 297. 50. ” 51. ” 52. Dahlhaus, “Geschichte als Problem der Musiktheorie,” 412 f. 20 prologue music alone was considered artful music and was not yet spoiled through the damaging inﬂuence of instrumental music. To be sure, instrumental music too has its value and its justiﬁcation, so long as it keeps to the modest boundaries of an imitator of vocal music and derives its rules from vocal music.