Praetorius’ Polyhymnia caduceatrix (1619): Modalität und Tonalität in der deutsch-protestantischen Rezeption der venezianischen Mehrchörigkeit

Guillotel-Nothmann, Christophe;Ceulemans, Anne-Emmanuelle
(2020) Zeitschrift der Gesellschaft für Musiktheorie — (2020)

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(en) This contribution examines the ConcertGesänge in Michael Praetorius’ Polyhymnia caduceatrix (1619) in terms of their modal-tonal properties. After a historical survey, the study focuses on the bassus generalis, used throughout the collection, with regards to its role, figuring and realisation. Therefore, harmonisation rules derived from 17th and 18th century music theory are confronted with a computer-assisted analysis of the ConcertGesänge. The comparison shows how the harmonic and melodic characteristics subsumed in the thoroughbass oscillate between diatonic and scale logic. The analyses uncover harmonic pattern which are only fully grasped almost a century later by theoretical discourse, especially in the context of the ›octave rule‹.
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Guillotel-Nothmann, C., & Ceulemans, A.-E. (2020). Praetorius’ Polyhymnia caduceatrix (1619): Modalität und Tonalität in der deutsch-protestantischen Rezeption der venezianischen Mehrchörigkeit. Zeitschrift der Gesellschaft für Musiktheorie. Published. https://doi.org/10.31751/1073 (Original work published 2020)