JOHANN HERMANN SCHEIN AND MUSICA POETICA: A STUDY OF THE APPLICATION OF MUSICAL-RHETORICAL FIGURES .IN THE SPIRITUAL MADRIGALS OF THE ISRAELSBR&NNLEIN (1623)

by

GREGORY SCOTT JOHNSTON B. Mus., U n i v e r s i t y o f C a l g a r y , 1979

A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department o f Music)

We a c c e p t t h i s t h e s i s as conforming to the r e q u i r e d

standard

THE UNIVERSITY OF BRITISH COLUMBIA August, 1982

©Gregory

S c o t t Johnston, 1982

In p r e s e n t i n g

t h i s t h e s i s i n p a r t i a l f u l f i l m e n t of

requirements f o r an advanced degree a t the

the

University

o f B r i t i s h Columbia, I agree t h a t the L i b r a r y s h a l l make it

f r e e l y a v a i l a b l e f o r reference

and

study.

I further

agree t h a t p e r m i s s i o n f o r e x t e n s i v e copying of t h i s t h e s i s f o r s c h o l a r l y purposes may department or by h i s or her

be

granted by

the head of

representatives.

my

It i s

understood t h a t copying or p u b l i c a t i o n of t h i s t h e s i s f o r f i n a n c i a l gain

s h a l l not be allowed without my

permission.

Department of

Music

The U n i v e r s i t y of B r i t i s h Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date

DE-6

(3/81)

September 10, 1982

written

ABSTRACT

The p r e s e n t study examines the m u s i c a l - r h e t o r i c a l f i g u r e s o f the of

the 17th-century Figuventehve

as they are a p p l i e d to the

m a d r i g a l s of Johann Hermann Schein's Israelsbrunnlein a n a l o g i e s between music and the 17th c e n t u r y , i t was list was

of

on ..music c o m p o s i t i o n

the Baroque p e r i o d was

Although

l i f e t i m e that a c o d i f i e d

to the c l a s s i c a l r h e t o r i c a l f i g u r e s o f o r a t o r y

compiled by Joachim B u r m e i s t e r i n 1599.

Fi-guvenlehve

(1623).

t e x t had been made l o n g b e f o r e the t u r n of

not u n t i l Schein's own

of m u s i c a l p a r a l l e l s

spiritual

(musica

The consequent

poetica)

e f f e c t of the

d u r i n g the

such t h a t t h i s p r o t o t y p i c a l l i s t

remainder

of m u s i c a l -

r h e t o r i c a l f i g u r e s underwent c o n s t a n t r e v i s i o n and expansion d u r i n g the next one hundred and f i f t y

years.

S c h e i n wrote a t l e a s t one t i o n which may

t r e a t i s e on the s u b j e c t of music composi-

v e r y w e l l have t r e a t e d the s u b j e c t o f m u s i c a l

But owing to the disappearance of t h i s manuscript, examine Schein's own own

rhetoric.

i t i s n e c e s s a r y to

background, a s s e s s i n g the p e r t i n e n t elements

m u s i c a l and r h e t o r i c a l e d u c a t i o n , i n o r d e r to amass s u f f i c i e n t

of h i s his-

t o r i c a l . . e v i d e n c e to j u s t i f y a m u s i c a l - r h e t o r i c a l a n a l y s i s of h i s s p i r i t u a l madrigals. to

T h i s study p r e s e n t s an abundance o f s u b s t a n t i a t i n g

evidence

support an a n a l y s i s of t h i s n a t u r e w i t h r e g a r d to h i s through-composed

works. The

f i g u r e s a p p l i e d to Schein's works i n t h i s t h e s i s are d e r i v e d ii

from contemporary

17th-century

German t r e a t i s e s , and t h e r e s u l t s

a n a l y s e s show t h a t m u s i c a l - r h e t o r i c a l f i g u r e s sition, tural

either

as r h e t o r i c a l

significance.

torical

figures

In both c a s e s ,

p a r a l l e l at

i n the sacred t e x t s , musical-rhetorical

figures

all

of

iii

the p r e v a i l i n g

the a f f e c t

showing u l t i m a t e l y figures.

d e c o r a t i o n o r as f i g u r e s

though,

times

pervade the e n t i r e

of

the

compoof

struc-

musical-rhe-

or r h e t o r i c

expressed

the coalescent p r o p e r t i e s

of

the

TABLE OF CONTENTS

LIST OF EXAMPLES. . ,

.

ACKNOWLEDGEMENTS

Chapter I. II.

III.

IV.

INTRODUCTION

v v i i

. . .

1

JOHANN HERMANN SCHEIN: HIS BACKGROUND IN MUSICA POETICA AND RHETORIC

17

MUSICAL-RHETORICAL ANALYSIS OF SCHEIN'S SPIRITUAL MADRIGALS

42

CONCLUSIONS

73

BIBLIOGRAPHY

76

iv

LIST

1.

2.

Schein:

Isvaetsbvunnlei-n,

Copyright

1963 by

Reprinted

by

by

4.

6.

7.

8.

9.

mit

Tranen

saen, measures K a s s e l and

8-12.

Basel.

permission

by

48 Die

mit

Tranen

s a e n , measures K a s s e l and

12-17.

Basel. .

51

permission

54

S c h e i n : Israelsbrunnlein, Die mit Tranen s a e n , measures 22-26. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . R e p r i n t e d by p e r m i s s i o n

55

S c h e i n : Israetsbrimnlein, Die mit Tranen s a e n , measures 26-32. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . R e p r i n t e d by p e r m i s s i o n

56

S c h e i n : Israelsbrunnlein, Die mit Tranen s'aen, measures 32-38. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . R e p r i n t e d by p e r m i s s i o n

58

S c h e i n : IsvaetsbvunnZein, Die mit Tranen saen, measures 38-44. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . R e p r i n t e d by p e r m i s s i o n

58

S c h e i n : Isvaetsbvunnlein, Die mit Tranen s a e n , measures 44-51. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . by

permission

59

S c h e i n : Isvaelsbvunn'le'ln, Die mit Tranen saen, measures 51-54. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . Reprinted

11.

1-7.

Basel.

S c h e i n : Israelsbriinnlein, Die mit Tranen s a e n , measures 18-21. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l .

Reprinted 10.

Die

1963 by B a r e n r e i t e r - V e r l a g , by p e r m i s s i o n

Reprinted 5.

saen, measures K a s s e l and

47

Barenreiter-Verlag,

S c h e i n : Isvaelsbvunnlein, Copyright Reprinted

Tranen

permission

1963 by

.Reprinted 3.

Die mit

Barenreiter-Verlag,

S c h e i n : Israelsbvimnlein, Copyright

OF E X A M P L E S

by

permission Siehe,

5Schein: IsvaelsbvunnZe-in, measures and

1-7.

Basel.

Copyright

Reprinted

61

by

nach

1963 by

permission

v

Trost

war

mir

sehr

Barenreiter-Verlag,

bange,

Kassel ,63

12.

13.

14.

15.

16.

17.

18.

19.

20.

S c h e i n : Israetsbrunnle-in, S i e h e , nach T r o s t war mir sehr bange, measures 11-17. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . R e p r i n t e d by p e r m i s s i o n

64

S c h e i n : Isvaelsbviinnlein, S i e h e , nach T r o s t war mir sehr bange, measures 18-23. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . R e p r i n t e d by p e r m i s s i o n

. 65

S c h e i n : Israelsbrunnle-in, S i e h e , nach T r o s t war mir sehr bange, measures 24-26. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . R e p r i n t e d by p e r m i s s i o n

66

S c h e i n : Isvaelsbvunnlein, S i e h e , nach T r o s t war mir sehr bange, measures 27-33. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . R e p r i n t e d by p e r m i s s i o n

67

S c h e i n : Israelsbriinnlein, S i e h e , nach T r o s t war mir sehr bange, measures 34-39. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . R e p r i n t e d by p e r m i s s i o n

68

S c h e i n : Israelsbrunnlein, S i e h e , nach T r o s t war mir sehr bange, measures 40-44. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . R e p r i n t e d by p e r m i s s i o n . .

69

S c h e i n : Israetsbrunntein, S i e h e , nach T r o s t war mir sehr bange, measures 44-50. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . R e p r i n t e d by p e r m i s s i o n

70

S c h e i n : Israelsbvunrile%n, S i e h e , nach T r o s t war mir sehr bange, measures 51-58. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . R e p r i n t e d by p e r m i s s i o n

70

S c h e i n : Israelsbvunnlein, S i e h e , nach T r o s t war mir sehr bange, measures 59-65. C o p y r i g h t 1963 by B a r e n r e i t e r - V e r l a g , K a s s e l and B a s e l . R e p r i n t e d by p e r m i s s i o n

71

vi

ACKNOWLEDGEMENTS

The

w r i t e r expresses h i s thanks t o t h e f a c u l t y members o f t h e Music

H i s t o r y d i v i s i o n i n t h e Department o f Music, a l l o f whom have much t o h i s u n d e r s t a n d i n g o f music, and whose generous counsel ways been a p p r e c i a t e d .

contributed has a l -

The f a c u l t y and s t a f f o f t h e Music L i b r a r y , t o o ,

are g r a t e f u l l y acknowledged f o r t h e i r k i n d and e f f i c i e n t

service.

Finally,

the author extends h i s s i n c e r e g r a t i t u d e t o t h e members o f h i s committee, e s p e c i a l l y to Professor first

Gregory G. B u t l e r , whose own work i t was which

k i n d l e d an i n t e r e s t i n t h e area o f m u s i c a l

t i e n t s u p e r v i s i o n and t h o u g h t f u l

r h e t o r i c , and whose pa-

s u g g e s t i o n s have been i n v a l u a b l e i n t h e

completion of t h i s t h e s i s .

vii

CHAPTER I

INTRODUCTION

Johann Hermann S c h e i n , quently As

Samuel S c h e l d t

r e f e r r e d to c o l l e c t i v e l y as the " t h r e e

e a r l y as 1690,

the t r i o i s d e s c r i b e d

Wolfgang Caspar P r i n t z ' s Histovische Klingkunst,^

but

and

Schutz.

One

der

and

Scheidt

edlen

in

Sing-

und

to be u n j u s t l y e c l i p s e d

career

account f o r some of the

to e p i t o m i z e him

as the paragon of

others,

century.

i n i t h e : c i t y of

R o g i e r M i c h a e l as the Hofkapellmeister

W. C. P r i n t z , Historisohe (Dresden, 1690), p. 137.

a c q u i r i n g for'them

the

1

Schein was

der edlen Sing-

"drey Beriihmte

Scheidt

HalleSchutz.succeeded

i n Dresden; and

Besohveibung

at-

triumvirate

appointments in' t h e • E l e c t o r a t e of Saxony:

as the Hofkapellmeister

con-

These t h r e e ' m u s i c i a n s were

as s u c c e s s f u l as t h e i r p r o f e s s i o n , would a l l o w , :more p r e s t i g i o u s m u s i c a l

17th-century

composers, as

constituted a v i r t u a l musical

i n Germany a t the t u r n of the 17th

addi-

h e l d by even h i s own

must bear i n mind t h a t these three

t e s t e d to by P r i n t z and

1.

famous S's"

r e s u l t e d i n a d i s t o r t e d perspec-

German music i s i n c o n s i s t e n t w i t h the o p i n i o n s

kunst

of the German Baroque.

"three

Beschveibung

Schein

p r o l i f i c musical

t i o n a l modern s t u d i e s , but

served

S's"

fre-

C e r t a i n l y Schutz's s t u d i e s i n I t a l y under G i o v a n n i G a b r i e l i ,

h i s long and

temporaries.

H e i n r i c h Schutz are

as the

the passage of time has

t i v e of music h i s t o r y , c a u s i n g by

and

S."

und

ulti-

Kling-

2 mately

appointed

v

to the p o s i t i o n of Thomaskantor i n L e i p z i g , a c e n t u r y

b e f o r e Johann S e b a s t i a n Bach was

to assume t h a t same p o s t .

In o r d e r to

r e g a i n a h i s t o r i c a l e q u i l i b r i u m w i t h r e s p e c t to these t h r e e German comp o s e r s , f u r t h e r i n v e s t i g a t i o n i n t o the achievements of S c h e i d t and

Schein

2 i s necessary. the music and

The p r e s e n t study w i l l

focus on the r e l a t i o n s h i p between

t e x t i n the s p i r i t u a l m a d r i g a l s of Schein's

Israelsbrunn-

lein

(1623), u s i n g the p r e c e p t s of the Figurenlehre as the p r i n c i p a l 3 ' nexus i n r e l a t i n g these two elements. In many i n s t a n c e s , the l i t e r a r y

2. The most s i g n i f i c a n t s t u d i e s to date which d e a l e x c l u s i v e l y w i t h J . H. S c h e i n and h i s music i n c l u d e A. P r i i f e r , Johan Herman Schein ( L e i p z i g : B r e i t k o p f & H a r t e l , 1895), which stands as the most comprehens i v e and e x h a u s t i v e biography of S c h e i n ; I . Hueck, "Die k i i n s t l e r i s c h e Entwicklung J . H. Scheins d a r g e s t e l l t an s e i n e n g e i s t l i c h e n Werken" (Ph.D. d i s s . , F r e i b u r g U n i v e r s i t y , 1943), i n which Schein's s t y l i s t i c developments a r e examined i n terms of m u s i c a l i n f l u e n c e s , a t t e m p t i n g t o determine approximate dates f o r some of Schein's "compositions by comparing c e r t a i n s t y l i s t i c elements w i t h comparable elements i n h i s o t h e r works f o r which the date of c o m p o s i t i o n i s known; H. Rauhe, "Dichtung und Musik im w e l t l i c h e n Vokalwerk J . H. S c h e i n s . S t i l i s t i s c h e und k o m p o s i t i o n s t e c h n i s c h e Untersuchungen zum W o r t - T o n - V e r h a l t n i s im L i c h t e der r h e t o r i s c h e n ausger i c h t e t e n ' S p r a c h - und M u s i k t h e o r i e des 17. J a h r h u n d e r t s " (Ph.D. d i s s . , Hamburg U n i v e r s i t y , I960). 3. Modern m u s i c o l b g i c a l s t u d i e s of r h e t o r i c a l elements i n music compos i t i o n (musica poetica) i n Germany, from the i n c h o a t e stages of the Baroque to the end of t h i s s t y l i s t i c p e r i o d , date back to the f i r s t decade of the 20th c e n t u r y . The e a r l i e s t s i g n i f i c a n t m u s i c o l o g i c a l i n v e s t i g a t i o n i n t o the s u b j e c t of m u s i c a l r h e t o r i c i s A. Sobering "Die Lehre von den musik a l i s c h e n F i g u r e n , " Kirchenmusikalisches Jahrbuch 21- (1908): 106-14. A l though S c h e r i n g ' s a r t i c l e i s r e l a t i v e l y b r i e f , i t d i d p r o v i d e a p o i n t of d e p a r t u r e f o r r e l a t e d s t u d i e s by o t h e r s c h o l a r s i n t e r e s t e d i n the c r e a t i v e p r o c e s s e s of German composers i n the l a t e Renaissance and i n the Baroque. Two important subsequent works i n t h i s a r e a c o n t i n u e a l o n g the l i n e s i n i t i a t e d i n Schering's a r t i c l e : H. Brandes, Studien sur musikalisehen Figurenlehre im 16. Jahrhundert ( B e r l i n : T r i l t s c h & Huther, 1935) i s b a s i c a l l y an e l a b o r a t i o n of the m a t e r i a l found i n S c h e r i n g ' s w r i t i n g , d e f i n i n g and d i s c u s s i n g a t l e n g t h the e a r l y developments of the Figurenlehre; H.

Unger, Die Beziehungen

zwisehen

Musik und Rhetorik

im 16.-18.

Jahrhundert

(Wurzburg: Konrad T r i l t s c h V e r l a g , 1941) i s l a r g e l y a comparative study d i s t i l l e d from a l a r g e number of musica poetica t r e a t i s e s from the 16th through 18th c e n t u r i e s i n which Unger demonstrates the homologous r e l a t i o n s h i p s between music and t e x t .

3 r h e t o r i c a l f i g u r e s i n the b i b l i c a l t e x t s of these m a d r i g a l s w i l l immed i a t e l y suggest

comparable m u s i c a l - r h e t o r i c a l f i g u r e s , but the implement-

i n g of the musical: r h e t o r i c a l f i g u r e s can a l s o be understood elements

i n the a c t u a l m u s i c a l s t r u c t u r e

of these t e x t e d

as s a l i e n t '

compositions.

The work which i s most c l o s e l y r e l a t e d to the p r e s e n t * study i s Hermann Rauhe's d o c t o r a l Vokalwerk J . H.

d i s s e r t a t i o n , "Dichtung und Musik im

S c h e i n s , " i n which Rauhe pursues

of Schein's s e c u l a r music and p o e t r y . was

previously

done by Rauhe f o r h i s

weltlichen

the r h e t o r i c a l content

Work s i m i l a r to the d i s s e r t a t i o n

Staatsexamensavbeit

at the Hamburg

4 Hochschule the

f u r Musik i n 1955.

Figurenlehre

The

l a t t e r study was

an examination

i n Schein's s a c r e d music, and Rauhe shows the

r e s u l t s of h i s m u s i c a l - r h e t o r i c a l music i n Chapter

study of Schein's s a c r e d and

3 o f h i s d i s s e r t a t i o n under the heading

Vokalwerk Scheins im V e r h a l t n i s

"Das

zu s e i n e r g e i s t l i c h e n M u s i k . "

of

cumulative secular weltliche

5

Rauhe's

i n v e s t i g a t i o n i s u n q u e s t i o n a b l y thorough, and he p r e s e n t s l u c i d l y the r e s u l t s of t h i s comparative means of v a r i o u s c h a r t s

study of Schein's s a c r e d and s e c u l a r music by

and graphs which demonstrate

which the d i f f e r e n t f i g u r e s a r e employed.

Although

the frequency w i t h the r e s u l t s of Rauhe's

somewhat e m p i r i c a l methodology are e s t i m a b l e enough, the p r e s e n t w i l l be concerned

more w i t h the a p p l i c a t i o n of m u s i c a l - r h e t o r i c a l

study figures

i n p a r t i c u l a r c o m p o s i t i o n s , as the f i g u r e s a r e suggested by the t e x t as they f u n c t i o n

s t r u c t u r a l l y within

D u r i n g the f i r s t

the

and

piece.

h a l f of the 16th c e n t u r y , the w r i t t e n r e f e r e n c e s

to the i n t e r r e l a t i o n s h i p s between music and r h e t o r i c became more f r e q u e n t

4.

Rauhe, op.

c i t . , p.

5.

I b i d . , pp.

222-52.

2.

4 as the importance of the t e x t i n music composition

increased.

(The

e a r l i e s t a n a l o g i e s between the a r t s were b e i n g made a l r e a d y by Franchirius Gaffurius tury.)

[1451-1522].and Faber S t a p u l e n s i s

Composers were f i n d i n g i t n e c e s s a r y

to the a f f e c t i v e and f i n d the b e s t way

[?-?] i n the l a t e 15th

cen-

to g i v e more c o n s i d e r a t i o n

grammatical elements of the t e x t as they t r i e d

to c o r r e l a t e word and music.

In 1552,

C o c l i c u s g i v e s an example of a group of t h r e e notes

to

Aridrien P e t i t

(simplex)

and

a

somewhat ornamented v e r s i o n of what i s e s s e n t i a l l y the same t h r e e - n o t e pattern

(elegans)

i n the c h a p t e r e n t i t l e d

"De

E l e g a n t i a et Ornatu,

p r o n u n c i a t i o n e i n canendo" i n h i s Compendium musices. b l e to the pure an ornate s t y l i s t i c cal, rhetoric.

aut

T h i s i s compara-

f e a t u r e s of v e r b a l , and

l a t e r musi-

T h i s aspect of m u s i c a l r h e t o r i c s h a l l be d i s c u s s e d i n

g r e a t e r depth momentarily. E l e v e n y e a r s a f t e r the appearance of C o c T i c u s ' compendium, GalTus D r e s s i e r i n c l u d e s the p u r e l y m u s i c a l s t r u c t u r e s fuga, copatio

among h i s "ornamentum musicae"

Praecepta

h i s unpublished

the next major step i n the development of m u s i c a l r h e t o r i c i n the

Melo-

melodiae

(Magdeburg, 1563-64).

syn-

takes

sive

poeticae

i n the manuscript'of

and

Seth C a l v i s i u s

poeia

musioae

cadentia

oandendae

vatio

( L e i p z i g , 1592).

C a l v i s i u s compares m u s i c a l pauses and m a t i c a l punctuation.

7

In h i s t r e a t i s e ,

cadences to v a r i o u s types of gram-

For example, C a l v i s i u s ' clausula

secundaria

(half g

cadence) i s compared to the c o l o n i n p o e t i c and p r o s a i c l i t e r a t u r e . C a l v i s i u s , as w i l l a l s o be seen i n L i p p i u s ' own

6.

Unger, op. c i t

7.

I b i d . , p.

30.

8.

Ibid

31.

p.

p.

29.

d i s c u s s i o n of m u s i c a l

5

f i g u r e s , d e s c r i b e s c e r t a i n melodic

f i g u r a t i o n s without

taking the f i n a l

s t e p o f p r o v i d i n g them w i t h r h e t o r i c a l l a b e l s .

I t i s hot d i f f i c u l t

then, the s i g n i f i c a n c e o f Joachim Burmeister's

c o n t r i b u t i o n to the

lehre;

to see, Figuren-

he took the i n e v i t a b l e step o f a s c r i b i n g r h e t o r i c a l names t o t h e

already e x i s t i n g musical The

figures.

c o d i f i c a t i o n ' o f m u s i c a l - r h e t o r i c a l f i g u r e s was by no means a

completely heterodox i n c i d e n t i n the development o f music

composition

p r a c t i c e s i n t h i s t r a n s i t i o n a l p e r i o d between the Renaissance i n Germany.

F i r s t , what Burmeister

and Baroque

d i d i n p r o v i d i n g r h e t o r i c a l names t o

these m u s i c a l f i g u r e s was symptomatic o f the humanists' penchant f o r "an9

a t o m i z i n g and c a t e g o r i z i n g knowledge." ric,

t h e Figurenlehre

As i n the case o f v e r b a l r h e t o -

was a r r i v e d a t i n d u c t i v e l y by a s s i g n i n g names to

s p e c i f i c m u s i c a l f i g u r a t i o n s and d e v i c e s which had been f l o u r i s h i n g and s t e a d i l y e v o l v i n g throughout

the e n t i r e 16th c e n t u r y .

16th and e a r l y 17th c e n t u r i e s w i t n e s s e d of ornateness

Secondly,

a movement towards a h i g h degree

i n a l l forms o f a r t i s t i c e x p r e s s i o n , i n c l u d i n g

R h e t o r i c had been d e f i n e d by c l a s s i c a l authors

as the a r t o f d e c o r a t i o n or d e c o r a t i v e s p e e c h . ^ i t s way i n t o music c o m p o s i t i o n .

rhetoric.

as the a r t o f p e r s u a s i v e

speech, but r h e t o r i c had come t o be d e f i n e d by Renaissance

t u r n , found

the l a t e

rhetoricians

This d e f i n i t i o n , i n

The almost

explosive interest

i n r h e t o r i c a l d e c o r a t i o n i n the l a t t e r h a l f of the 16th century i s exemp l i f i e d by the marked i n c r e a s e i n the number o f ornamental t r o p e s and

9.

E. P. J . Corbett", Classical

Rhetoric

for the Modern Student (New

York: Oxford U n i v e r s i t y P r e s s , 1971), p. 460. 10. L. Rockas, Modes of Rhetoric p. i x .

(New York: S t . M a r t i n ' s P r e s s , 1964),

6 f i g u r e s which c o u l d be found i n r h e t o r i c a l t e x t books of the day.

For

example, o n l y s i x t y - f i v e r h e t o r i c a l f i g u r e s were i n c l u d e d i n the

Rhetorioa

ad Rerennium,

a popular

book f o r r h e t o r i c a l s t u d i e s i n the Renaissance.

T h i s l i s t was

extended to i n c l u d e one

Joannes Susenbrotus' Epitome creased

to one

hundred and

troporum

hundred and

thirty-two figures i n

ac schematum

i n 1540

and was

e i g h t y - f o u r i n Henry Peacham's The

in-

Garden

of

11 Eloquence with

i n 1577.

P a r a l l e l emphasis on m u s i c a l

the humanists' p r o p e n s i t y

decoration

combined

f o r c a t a l o g i n g r e s u l t e d i n Burmeister's

c o d i f i c a t i o n of twenty-two m u s i c a l - r h e t o r i c a l f i g u r e s i n h i s Rypomnematum 12 musicae

poeticae

synopsis

Joachim Burmeister

(Rostock, 1599). (1564-1629) i s the most important t h e o r i s t i n the

d i s c u s s i o n of e a r l y developments of the Figurenlehre and

i n Germany.

work have been examined e x t e n s i v e l y by M a r t i n Ruhnke i n 13

Burmeister:

em

Beitrag

zur

Musiklehre

o p t i c p r e s e n t a t i o n of the contents

urn 1600.

his

from h i s e a r l y years

post as c a n t o r

at the Liineburg Lateinschule finally

at the N i c o l a i k i r c h e i n Rostock and

Rostock Stadtschule. 11. C o r b e t t , op.

Joachim

of B u r m e i s t e r ' s p e d a g o g i c a l l y

s t u d i e s at the u n i v e r s i t y i n Rostock, and

inclined

Burmeister's.

(Johanneum), to to h i s p r o f e s s i o n a l

as teacher

at

the

A l t h o u g h B u r m e i s t e r ' s i n s t r u c t i o n i n musica c i t . , p. 460.

12. The number of f i g u r e s was i n c r e a s e d t i o n of B u r m e i s t e r ' s work, Musica poetica •13. M. Ruhnke, Joachim Burmeister: ( K a s s e l : B a r e n r e i t e r V e r l a g , 1955).

ein

life

I n a d d i t i o n to a syn-

t r e a t i s e s , Ruhnke g i v e s a r e l a t i v e l y thorough account of life

His

to twenty-seven i n a t h i r d (Rostock, 1606). Beitrag

zur Musiklehre

um

theorica

edi-

1600

and

poetica

one

can

i n Llineburg

e a s i l y see

studies.

the

took p l a c e i n p r i v a t e emphasis of r h e t o r i c

l e s s o n s o u t s i d e the

i n a l l of h i s o£her

Under the a u s p i c e s of Lucas L o s s i u s ,

a l e c t i c and

B i b l e was

rhetoric."'"

B u r m e i s t e r was

5

studied

speeches of C i c e r o and

even i n the

the d i religious

i n terms of grammar, l o g i c , d i a l e c t i c ,

also

instructed

participated

i n a n a l y z i n g and ;

14

scholastic

Burmeister s t u d i e d

r h e t o r i c of Melanchthon arid Erasmus, and

l e s s o n s , the

school,

and

imitating

i n the p r o d u c t i o n of L a t i n and

the

German

16 comedies arid t r a g e d i e s . meister's early

studies

of Rostock, where he read the

a u t h o r s , and

the

Quartet and and

the

the

comedies of Terence, s t u d i e d

r h e t o r i c of C i c e r o and

a n a l y z i n g and

imitating

Quintilian,

levels.

the

dia-

practised

the works of the c l a s s i c a l 18

i n s t r u c t i o n i n e t h i c s , Hebrew and the Rostock Stadtsohule,

University

Here, Burmeister

Greek.

Burmeistzer'-s d u t i e s

t e a c h i n g of elementary L a t i n ' grammar to the

Tertia

1601

by

received

a t e a c h e r at

initially

1599

c o n t i n u e d throughout h i s years at the

l e t t e r s of C i c e r o and

oration'and poetics

s t r o n g predominance of language i n Burr-;

e n t e r e d the a r t s f a c u l t y i n 1587."^

l e c t i c of A r i s t o t l e and

As

The

included

student's of

the

A promotion which o c c u r r e d sometime between

allowed Burmeister to t e a c h the

students of the

Sekunda

19 level.

Burmeister taught advanced L a t i n grammar and

14.

I b i d . , p.

25.

15*.-

I b i d . , p.

15.

16. "- I b i d . , p.

14.

17.

I b i d . , p.

25.

18.

I b i d . , p.

30.

19.

I b i d . , p.

45.

elementary Greek

8 grammar a t t h i s l e v e l , demonstrating

the proper usage o f these

languages

20 through the works of c l a s s i c a l a u t h o r s .

In s t u d y i n g the p o e t r y and

t i o n s of Roman and Greek a n t i q u i t y i n t h i s upper l e v e l c l a s s , was

ora-

rhetoric

p r o b a b l y used as one of the main e x e g e t i c a l methods of a n a l y s i s ,

as

had been used by Burmeister h i m s e l f as a student a t Liiheburg. B e a r i n g in'mind were r e s t r i c t e d

the f a c t t h a t a l l music l e s s o n s w i t h i n the c u r r i c u l u m

to musica

practica

arid, to a l e s s e r e x t e n t , theorica,

i s e a s i e r to see some o f the r e a s o n i n g i n B u r m e i s t e r ' s method o f i n g s t u d e n t s i n the a r t ' o f musica

poetica.

it

instruct-

By the time a student was

old

enough to study c o m p o s i t i o n p r i v a t e l y , he would a l r e a d y have mastered great' many grammatical,

s y n t a c t i c a l and r h e t o r i c a l s k i l l s which were a

n e c e s s a r y p a r t of h i s language

studies.

a n a l o g i e s between music and language was t e a c h i n g music c o m p o s i t i o n . language poetica

a

Burmeister

found t h a t making

the most expedient manner of

In the same way

t h a t the students i n the

c l a s s e s i m i t a t e d C i c e r o and A r i s t o t l e , the student of a n a l y z e d arid emulated

musica

the works o f the great composers.

as the s t u d e n t s had s t u d i e d language

from the r u l e s of elementary

to the d e c o r a t i v e a r t of r h e t o r i c , the student composer proceeded same m a n n e r — f r o m the grammatical

grammar i n tfhe

elemeri'ts of n o t a t i o r i , consonance arid

dissoriarice; to the s y n t a c t i c a l elements . 21 m%, caderices, arid modes; and

Just

of c h o r d a l combinations,

soloecis-

to the r h e t o r i c a l elemerits of geri22 e r i c s t y l e and m u s i c a l - r h e t o r i c a l f i g u r e s . The mastery of employing

20.

finally

Ibid.

21. Sotoecismi, or s y n t a c t i c a l e r r o r s , can be used i n t e n t i o n a l l y as an e x p r e s s i v e d e v i c e , i n which case i t becomes a r h e t o r i c a l element. See Ruhnke, op. c i t . , pp. 111-14.

9

m u s i c a l - r h e t o r i c a l f i g u r e s was

the a p o t h e o s i s ,

so to speak, i n the a r t of

music c o m p o s i t i o n , e s p e c i a l l y i n t h i s p e r i o d when great a r t — w h e t h e r

that

1

a r t i s v i s u a l , l i t e r a r y or m u s i c a l — w a s e x e m p l i f i e d of

by the i n t e g r a t e d

use

decoration. A work which i s of p a r t i c u l a r i n t e r e s t i n u n d e r s t a n d i n g the

w i t h which r h e t o r i c arid music was PhiZosophiae

vevae ac sinoevae

viewed i n ' the e a r l y 17th

synoptioae,

proximity

century

i s the

a c o l l e c t i o n of w r i t i n g s

by

23 the m u s i c i a n arid r h e t o r i c i a n , Johannes L i p p i u s

(1585-1612),

published

The

posthumously i n W i t t e n b e r g i n 1614.

i s comprised of L i p p i u s ' unabridged Synopsis 1612), i t s e l f

a synoptic

i n the s i x d i s p u t a t i o n s and

to 1611.

Iri

synopticae,.Lippius

to w r i t e about the FiguvenZehve

appeared

per

PhiZosophiae

a v a r i e t y of s u b j e c t s

amorig

Although L i p p i u s never d i d undertake se, t h e r e are s e v e r a l reasons f o r i n of L i p p i u s ' w r i t i n g s :

1)

Lippius

few m u s i c i a n s of t h i s p e r i o d to w r i t e at l e n g t h

music arid r h e t o r i c ; 2) a l t h o u g h L i p p i u s d i e d at a very

22.

earlier

the second p a r t of the

discusses

c l u d i n g some mention, however c u r s o r y ,

an a c t i v e and

(Strasbourg,

given* by L i p p i u s at the u n i v e r s i t i e s i n Wittenberg

which i s h i s d i s c u s s i o n of r h e t o r i c .

i s orie of the v e r y

was

p a r t of t h i s work

novae

c o l l e c t i o r i of m a t e r i a l which had

Jena i n the y e a r s 1609

vevae ao sinoevae

musicae

first

which

e a r l y age,

about he

was

i r i f l u e n t i a l contemporary of Scheiri; 3) L i p p i u s f l o u r i s h e d

Ruhnke, op.

c i t . , pp.

100-70.

23.' For a d d i t i o r i a l b i o g r a p h i c i n f o r m a t i o n on Johanries L i p p i u s , see B. V. R i v e r a , Gevman Music Theovy in the EavZy 17th ,Centuvy: The Tveatises of Johannes Lippius (Ann A r b o r , M i c h . : UMI Research P r e s s , 1980), pp. 1-10; M. Ruhrike, " L i p p i u s , Johariries," Die Musik in Geschichte uhd Gegenwavt (1960), 8, c o l s . 930-31; G. J . Buelow, " L i p p i u s , Johannes," The New Gvove Dictionavy of Music and Musicians (1980), 11, p. 17.

10 i n the same geographic area as S c h e i n — n a m e l y , i n t h a t area around W i t t e n berg and

L e i p z i g i n the E l e c t o r a t e of Saxony; 4) L i p p i u s was,

by h i s

own

24 admission, d i r e c t l y i n f l u e n c e d by

Seth C a l v i s i u s (1556-1615),

at t h a t time t e a c h i n g

poetry

was

h i s t o r y and

serving simultaneously

as c a n t o r

not u n l i k e l y t h a t L i p p i u s ' and around"Leipzig I t can be

during

Synopsis

musioae

at the Thomaskirche.

novae.

r h e t o r i c by

For L i p p i u s , the t e x t was

f o r music composition i n t h a t i t p r o v i d e d ing r h e t o r i c a l l y persuasive

and

i n or .

century.

t h i s contemporary of Schein

s i s t e r a r t s of music and

and

In f a c t , i t i s

have c r o s s e d

the • f i r s t ' d e c a d e of the 17th

a l l e l s between the two

was

at the U n i v e r s i t y of L e i p z i g

Schein's paths may

seen to what extent

who

drew p a r -

l o o k i n g at

absolutely

the

necessary

many of the g u i d e l i n e s f o r w r i t -

o r n a t e music.

Even i n the case of the i n -

s t r u m e n t a l music, L i p p i u s recommends t h a t the composer use t e x t as a guide f o r composing a r h e t o r i c a l l y c o n v i n c i n g

an

imaginary

p i e c e of pure i n -

s t r u m e n t a l music.

In the p a r t of the t r e a t i s e e n t i t l e d "Concerning the 25 Form of a Harmonic P i e c e , " L i p p i u s w r i t e s : The form of a harmonic p i e c e c o n s i s t s i n the a r t f u l and prudent a r rangement of i t s m a t e r i a l elements or p a r t s , namely, i t s monads, dyads, and t r i a d s , which are combined or composed a c c o r d i n g to the sense of the t e x t . T h e r e f o r e , the m u s i c a l t e x t p r o v i d e s a s o u l , as i t were, to the harmonic p i e c e . The harmonic p i e c e i s the image of the t e x t . Just as the t e x t cannot be d e p i c t e d and expressed u n l e s s i t p r o p e r l y und e r s t o o d w i t h t h e ^ a i d of the philosophia instvumentalis and philosophia practioa vedlis, so too i t must be expressed a c c o r d i n g to the way i t i s understood. For the image must resemble the model.

24. < R i v e r a , op. c i t . , p. 5. See a l s o J . L i p p i u s , Synopsis of New Music {Synopsis Musicae Novae), t r a n s , by B. V. R i v e r a , (Colorado S p r i n g s : Colorado C o l l e g e Music P r e s s , 1977), p. 60. At the end of t h i s t r e a t i s e , L i p p i u s has appended a t r i b u t a r y poem w r i t t e n f o r him by C a l v i s i u s . 25.

L i p p i u s , op.

c i t . , p.

43.

26.

Grammar, r h e t o r i c , l o g i c .

11 L i p p i u s ' treatment of v e r b a l r h e t o r i c i s d e r i v e d p r i m a r i l y from three p r i n c i p a l c l a s s i c a l r h e t o r i c i a n s :

C i c e r o , Q u i n t i l i a n and

the

the ariony-

28 mous author of the Rhetorica r h e t o r i c are inventio, Inventio but

and

ad Rerennium.

dispositio,

dispositio

The

elocutio,

f i v e s u b d i v i s i o n s of

memoria,

and

pvonuhciatio.

are as important i n music as they are i n o r a t o r y ,

the s u b d i v i s i o n of r h e t o r i c which i s most important to t h i s p a r t i c u l a r

study i s elocutio.

To the c l a s s i c a l l y t r a i n e d r h e t o r i c i a n , elocutio

meant

29 "style."

Elocutio

may

be d e s c r i b e d

as the c h o i c e of words which expresses

most e f f e c t i v e l y the s u b j e c t of the d i s c o u r s e .

Of the f i r s t

d i v i s i o n s of r h e t o r i c mentioned above, i t i s elocutio

three

sub-

which d i s t i n g u i s h e s

the t r u e r h e t o r i c i a n from the n o r i - r h e t o r i c i a n ( L i p p i u s says t h a t any of good sense c o u l d d e a l w i t h inventio skill

an o r a t o r has

i n handling

and

elocutio

dispositio),

and

man

the degree of

d i s t i n g u i s h e s the good r h e t o r i c i a n

from the mediocre. There are t h r e e s t y l i s t i c i n g of elocutio rhetorician. cendi) lis,

The

arid may levis,

style

and

be

tenuis,

(mediocris.,

c l a s s i f i c a t i o n s which come under the head-

h e l p determine the a c t u a l k i n d of d e l i v e r y used by

first called

of these i s a s t y l e a p p r o p r i a t e the " p l a i r i " or " o r d i n a r y " s t y l e

subtile); moderata,

the second i s the vobusta)

and

f o r teaching

(do-

(attenuata,

humi-

"moderate" or

"middle"

i s s u i t a b l e f o r moving

(movendi)

the l i s t e n e r ; and

the l a s t

grandis,

the most s o p h i s t i c a t e d of the t h r e e s t y l e s , which

27.

gravis),

the

type i s the "grand" or " f l o r i d " s t y l e

(florida, serves

E t h i c s , economics, p o l i t i c s .

28. - The f o l l o w i n g overview of L i p p i u s ' d i s c u s s i o n of r h e t o r i c i s c i t e d l a r g e l y from R i v e r a , German Music Theory, op. c i t . , pp. 167-69. Addit i o n a l m a t e r i a l from other sources w i l l be d u l y acknowledged. 29'.."

Corbett,

op.

c i t . , p.

37.

12 the purpose

of charming.;,(delectandi) the audience.

30

Although a l l t h r e e

of these genera of r h e t o r i c a l s t y l e are c o n s i d e r e d i n the c l a s s i c a l and i n most of the r h e t o r i c a l t r e a t i s e s of the German humanists, Lucas L o s s i u s

Erotemata

1

Dialectioae

et Rhetoriaae

Philippi

sources

such as

Melanehthonis

( L e i p z i g , 1562), and had found m u s i c a l p a r a l l e l s i n B u r m e i s t e r ' s

trea-

31 txses,

L i p p i u s focuses h i s a t t e n t i o n o n l y on the grand s t y l e ,

the f i r s t

two

s t y l e s to the s t a t u s of grammar.

Several s t y l i s t i c of elooutio,

c o n s i d e r a t i o n s may

(purus)

Lippius

and o r n a t e (omatus)

sty-

f e a t u r e s i n h i s r h e t o r i c a l t r e a t i s e and c o r r e s p o n d i n g l y i n c l u d e s 33

the two

subheadings,

"Concerning novae.

(the use of f o r e i g n words, 32

c l a r i t y , c o r r e c t n e s s , s i m p l i c i t y , and o r n a t e h e s s .

uses the terms which r e l a t e to the pure listic

be i n c l u d e d w i t h the d i s c u s s i o n

such as a p p r o p r i a t e n e s s , p u r i t y

f o r example),

relegating

"Concerning

the Ornate

the Pure S t y l e of Composition"

S t y l e of Composition,"

i n the Synopsis

and musioae

I t i s these s p e c i f i c a s p e c t s of L i p p i u s ' 17th-century work which

hark back to the simplex

and elegans

t i o n e d Compendium musioes,

s t y l e s i n C o c l i c u s ' p r e v i o u s l y men-

and more i m p o r t a n t l y to the elements

of

eloeu-

tio. Ornate speech

(oratio

ornata)

i s the apogee of the r h e t o r i c a l a r t

and i s c o n s i d e r e d by L i p p i u s to be the s o l e instrument of p e r s u a s i o n . 30. Ibid. 31. \ Ruhnke, Joachim

Burmeister,

32. , C o r b e t t , op. c i t . , p.

op. c i t , , pp.

37.

33.,

L i p p i u s , op. c i t . , pp. 45-46.

34.A

I b i d . , p.

49.

106-108.

13 Oratio

ornata

I s so c a l l e d owing to i t s v e r b a l ornaments (flores,

colores)

which can be f u r t h e r s u b d i v i d e d i n t o the c a t e g o r i e s of t r o p e s and Trope can be d e f i n e d as a word or e x p r e s s i o n used l i t e r a l sense

(metaphor,

simile,

hyperbole,

figures.

i n a f i g u r a t i v e or

etc.).

A rhetorical

non-

figure,

on the o t h e r hand, i s a word or e x p r e s s i o n t h a t does not change the act u a l meaning of the e x p r e s s i o n , r a t h e r i t employs the e x p r e s s i o n i n an e x t r a o r d i n a r y way.

L i p p i u s d i s c u s s e s two

t o r i c a l figure in his treatise: and

one

the o t h e r i s a f i g u r e of speech

f i g u r e of e x c l a m a t i o n Exolamatio

(exolamatio)

fully

i s a f i g u r e of thought (figura

sermonis).

can be c l a s s i f i e d as a f i g u r e of thought

(e.g. anaphora,

e x e m p l i f y one

f i g u r e s of speech

Any

anadiplosis,

type of figura

of the r h e -

(figura

sensus)

L i p p i u s g i v e s the

as an example of the figura

not g e n e r a l l y speak e x c l a m i t o r i l y . repetition

a d d i t i o n a l subtypes

sensus.

because an o r a t o r does

one of the numerous f i g u r e s of polyptoton,

sermonis.

e t c . ) would

success-

Generally speaking,

the

a r e of a more emphatic c h a r a c t e r than the o f t e n t i m e s

o b l i q u e f i g u r e s of

thought.

In h i s d i s c u s s i o n of the " p u r e s s t y l e " and

"ornate s t y l e " of music

c o m p o s i t i o n , L i p p i u s w r i t e s t h a t the pure s t y l e s h o u l d be simple i n i t s dimensions

t o a c c o r d w i t h the s i m p l i c i t y of i t s accompanying t e x t .

All

of what L i p p i u s w r i t e s about the pure s t y l e of composition bespeaks the s i m p l i c i t y of the t e x t ; the s e t t i n g of the t e x t s h o u l d be homophonic and homorhythmic, and proceed w i t h "uniform, p r e f e r a b l y p l a i n , volume."

35

The

o r n a t e s t y l e of c o m p o s i t i o n , by c o n t r a s t , i s a "more f l o r i d , and more c o l ored harmonic p i e c e [produced]

35.-

I b i d . , p.

46.

36.."1

I b i d . , p.

40.

by u s i n g b e a u t i f u l ornaments."

36

14 The " b e a u t i f u l

ornaments" r e f e r r e d

t o by L i p p i u s i n t h e

Synopsis

37 musioae

novae

are, i n fact,

t h e Figuren.

He w r i t e s :

L i k e an a r t f u l o r a t o r , t h e m u s i c i a n uses t h e s e ornaments t o p o l i s h h i s harmonic o r a t i o n i n k e e p i n g w i t h t h e n a t u r e o f t h e t e x t and t h e circumstances of persons, time, p l a c e ,e t c . L i p p i u s mentions relate

to the text

t h e ornaments o f d u r a t i o n , volume and p i t c h

i n the ornate

c r i b e any o f t h e r h e t o r i c a l

style of composition.

terms

He d o e s n o t a s -

t o t h e m u s i c a l o r n a m e n t s , b u t h e does

describe unmistakeably several musical figures g i v e n s p e c i f i c names.

as they

t o which B u r m e i s t e r had

F o r e x a m p l e , when L i p p i u s s a y s t h a t

" m e l o d i e s may

38 sometimes ascend o r descend beyond t h e i r providing botei

a definition

ordinary

range,"

he i s merely

o f w h a t B u r m e i s t e r w o u l d c a l l hyperbole

L i p p i u s concludes t h e s e c t i o n on t h e ornate s t y l e

a n d hypo-

of composition

by b e s t o w i n g a c c o l a d e s upon O r l a n d o L a s s o and L u c a M a r e n z i o — m u s i c a l . c o u n terparts

t o C i c e r o and A r i s t o t l e — w h o s e m a s t e r y o f t e x t u a l

was a c k n o w l e d g e d t h r o u g h o u t

interpretation

E u r o p e a n d w h o s e m u s i c was p e r f o r m e d a n d p r e -

39 sumably s t u d i e d by S c h e i n . D u r i n g S c h e i n ' s own l i f e t i m e ,

a total of five

pedagogical

treatises

w h i c h d e a l t w i t h r h e t o r i c a l l y l a b e l l e d m u s i c a l f i g u r e s were w r i t t e n and p u b l i s h e d i n Germany: J o a c h i m B u r m e i s t e r , Eypomnematum musioae poeticae synopsis (Rostock,

1599). J o a c h i m B u r m e i s t e r , Musioae autoschediastike ( R o s t o c k , 1601). J o a c h i m B u r m e i s t e r , Musica poetica ( R o s t o c k , 1606).

3.7. 38.' 39 . ;

Ibid. I b i d . , p . 52. Ibid.

15 Johannes N u c i u s , ^ Musicae 41 Joachim T h u r i n g u s ,

poeticae

>Opusculum

sive

de compositione

cantus

(Neisse,

1 6 1 3

b%part%tum

By v i r t u e o f t h e i r contemporaneity

(Berlin,

1625).

and t h e i r c l a r i t y j ~ the t r e a t i s e s

of B u r m e i s t e r w i l l s e r v e as the primary t h e o r e t i c a l sources f o r the ensui n g examination of m u s i c a l - r h e t o r i c a l elements of Schein's s p i r i t u a l

mad-

A2 rigals.

N u c i u s ' and T h u r i n g u s ' t r e a t i s e s are q u i t e c l e a r l y

derivative

of B u r m e i s t e r ' s works, w h i l e a t the same time t h e r e are v a r i o u s a s p e c t s w i t h i n these t r e a t i s e s which are at v a r i a n c e w i t h each o t h e r , e s p e c i a l l y w i t h r e g a r d to semantics.

I t may

v e r y w e l l be t h a t such semantic

a n c i e s i n the developmental stages of the Bigurerilehre, may

innocuous as they

seem a t the o u t s e t , are premonitory of the f a t e o f t h i s

t h e o r e t i c a l element

of musica

poetica

i n Germany.

discrep-

particular

D u r i n g the one

hundred

and t w e n t y - f i v e y e a r s f o l l o w i n g the p u b l i c a t i o n of T h u r i n g u s ' t r e a t i s e , 40. ' See G. J . Buelow, "Nucius, Johannes," The New Grove Dictionary of Music and Musicians (1980), 13, p. 448; W. H. Rubsamen, "Nucius, Johannes," Die Musik in Geschichte und Gegenwart (1961), 9, c o l s . 1742-45; R. S t a r k e , "Johannes Nux (Nucis oder N u c i u s ) , " Monatshefte filr Musikgeschichte 34 (1904): 195-209; F. Feldmann, " M u s i k t h e o r e t i k e r i n eigenen Kompositionen; Untersuchungen am Werk des T i n c t o r i s , Adam von F u l d a und N u c i u s , " Deutsches Jahrbuch der Musikwissenschaft 1 (1957): 55; S c h e r i n g , op. c i t . , pp. 108109. 41. G. J . Buelow, "Thuringus, Joachim," The New Grove Dictionary of Music and Musicians (1980), 18, p. 797; R. F e d e r h o f e r - K 6 n i g s , "Thuringus, Joachim," Die Musik in Geschichte und Gegenwart (1966), 13, c o l s . 38081; F. Feldmann, "Das 'Opusculum b i p a r t i t u m ' des Joachim Thuringus (1625), besonders i n s e i n e n Beziehungen zu Joh. Nucius (1613)," Archiv fur Musikwissenschaft 15 (1958); 123-42. 42. D e f i n i t i o n s f o r the m u s i c a l - r h e t o r i c a l f i g u r e s used i n t h i s study can be found i n the f o l l o w i n g s o u r c e s : Ruhnke, Joachim Burmeister, op. c i t . , pp. 147-66; S c h e r i n g , op. c i t . , pp. 108-109; Feldmann, "Musiktheor e t i k e r . . . , " op. c i t . , pp. 56-61; G..;J. Buelow, " R h e t o r i c and M u s i c , " The New Grove Dictionary of Music and Musicians (1980), 15, pp. 796-800; Feldmann, "Das 'Opusculum b i p a r t i t u m ' . . . , " op. c i t . , pp. 131-42; Brandes, op...cit., pp. 9-23; Unger, op. c i t . , pp. 62-98; A. Schmitz, " F i g u r e , musik a l i s c h - r h e t o r i s c h e , " Die Musik in Geschichte und Gegenwart (1955), 4,-c o l s . 176-83.

16 numerous t r e a t i s e s which i n c l u d e d some d i s c u s s i o n of m u s i c a l - r h e t o r i c a l

43 f i g u r e s i n c o m p o s i t i o n were s t i l l b e i n g w r i t t e n i n Germany.

However,

i n t h i s p e r i o d of time, t h e r e were m u l t i f o l d r e l i g i o u s , p o l i t i c a l , nomic, s o c i a l , and

artistic

changes.

s t y l e s d u r i n g these y e a r s extending C l a s s i c e r a , and

The

constantly evolving musical

from the l a t e Renaissance

the m u l t i p l i c i t y of independent

m u l t i p l y and magnify the problems f i r s t t r e a t i s e s b e f o r e 1630.

evidenced

to the P r e -

e d u c a t i o n a l systems would i n the musica

T h i s i n h e r e n t semantic weakness found

t r e a t i s e s would e v e n t u a l l y r e s u l t

eco-

i n the o b s o l e s c e n c e

of the

poetica

i n the e a r l y Figuvenlehve

as a v i a b l e p e d a g o g i c a l method and p r a c t i c a l technique of composition i n the l a t e r 18th In

century.

the f o l l o w i n g c h a p t e r , S c h e i n w i l l be seen i n h i s c a p a c i t y of

t h e o r i s t ; f o r i t i s known t h a t S c h e i n , t o o , wrote one, t i s e s on composition, lehve

p o s s i b l y two,

whether S c h e i n a c t u a l l y wrote about the

i s not known, but he was

trea-

Figuven-

c e r t a i n l y aware o f the p r a c t i c e , and

there

i s no reason whatsoever to b e l i e v e t h a t S c h e i n would have i n c o r p o r a t e d the m u s i c a l - r h e t o r i c a l f i g u r e s any d i f f e r e n t l y than would h i s contemporaries.

T h i s would be e s p e c i a l l y t r u e i n the e a r l y y e a r s of the

17th

c e n t u r y when the p r e c e p t s of the " d o c t r i n e of f i g u r e s " were r e l a t i v e l y unadulterated. it

But

i s n e c e s s a r y now

43.

to understand - b e t t e r . S c h e i n ' s use of m u s i c a l to survey h i s own

Unger, op. c i t . , pp.; 156-59.

background i n music and

rhetoric,

rhetoric.

CHAPTER I I

JOHANN HERMANN SCHEIN: HIS BACKGROUND IN MUSICA POETICA AND RHETORIC

The e a r l i e s t extant s o u r c e i n which Schein r e c e i v e s mention as a w r i t er o f p e d a g o g i c a l t r e a t i s e s i s Johann Mattheson's Gvundlage pforte

(Hamburg, 1740).

einev

Ehven-

T h i s e n c y c l o p e d i c work makes two r e f e r e n c e s t o

the t h e o r e t i c a l works by S c h e i n , and i n b o t h cases t h e acknowledgements are i n c i d e n t a l to other s u b j e c t s . i n Mattheson's work i s i n a l i s t

The f i r s t

appearance of S c h e i n ' s name

representing the inventory of V a l e n t i n

Bartholomaus Haussmann's l i b r a r y h o l d i n g s i n 1678.^ ductio

Musicam poeticam,

Hevm, Scheins man-

a work which then e x i s t e d o n l y i n manuscript 2

form and i s now l o s t , i s shown as t h e f o u r t h i t e m on t h i s The second r e f e r e n c e t o Schein i n Mattheson's Gvundlage pfovte

i s found i n an e n t r y which i t s e l f

odev Tichtmusik.

J . Mattheson, Gvundlage

Ehven-

nothwendige

Fvagen

von

The appendix t o t h i s m i s s i n g work,

dated June 24, 1632, i s Etlichen 1.

einev

i s p r i m a r i l y concerned w i t h

S t e f f a n Otto and h i s own work e n t i t l e d Etliche 3 der poetischen

register.

Lehven

einev

3

so einem

Ehven-pfovte

'Incipienten'

in der

(Hamburg, 1740), p. 106.

2.. I b i d . T h i s manuscript a t t r i b u t e d t o S c h e i n i s a l s o r e f e r r e d t o i n Jacob Adlung's Anleitung zu dev musikalischen Gelahvtheit ( E r f u r t , 1758), p. 868, but t h i s r e f e r e n c e appears t o be d e r i v e d from Mattheson's book. 3.

I b i d . , op. c i t . , p. 243. 17

18 'Musica'

'poetica,'

wie sie genennet

wird

vornehmlich

3

zu wissen

von

4 nothen

von Johann

3

Hermann

Schein.

F i f t y y e a r s a f t e r Mattheson had p u b l i s h e d h i s book, t h e a u t h e n t i c i t y of t h e Manductio s 1

h i s Allgemeine

a u t h o r s h i p i s q u e s t i o n e d by Johann N i k o l a u s F o r k e l i n

Litteratur

der Musik:''

Whether t h e noted Joh. Hermann S c h e i n i s t o be c o n s t r u e d here cannot ';be m a i n t a i n e d s i n c e t h i s work Manductio i s c o n s i d e r e d n e i t h e r by Mattheson, nor Walther, nor by any o t h e r music l i t e r a t o r under h i s [ S c h e i n ' s ] name. A view s i m i l a r t o t h a t o f F o r k e l i s expressed by E r n s t Ludwig i n the Neues historisch-biographisches

Lexikon

der

Gerber

Tonkunstler:^

Whether, however, t h e Maductio ad musicam poeticam manuscript ment i o n e d i n Hausmann's c a t a l o g u e was genuine cannot be m a i n t a i n e d . Gerber's Manductio first

h e s i t a t i o n t o accept S c h e i n as the genuine author o f t h e

shows a l a c k o f c o n g r u i t y w i t h what he w r i t e s e a r l i e r i n the

e d i t i o n of h i s l e x i c o n .

In t h e o r i g i n a l e d i t i o n , Gerber

c u r s o r i l y upon Otto's t r e a t i s e and a c c e p t s without primary s o u r c e f o r t h e appended m a t e r i a l .

7

comments

q u e s t i o n S c h e i n as the

I n t h e i n t e r v e n i n g p e r i o d be-

tween the appearance o f the o r i g i n a l v e r s i o n o f h i s l e x i c o n and the pub-

4. ;.'Ibid. 5. J . N. F o r k e l , Allgemeine Litteratur der Musik ( L e i p z i g : Schwikert, 1792), p. 500. "Ob der bekannte Joh. Herrmann [ s i c ] Schein h i e r zu v e r stehen i s t , kann n i c h t behauptet werden, da weder von Mattheson noch Walther, noch von einem andern mus. L i t t e r a t o r u n t e r seinem Namen d i e s e s Werks gedacht w i r d . " 6. E . L . Gerber, Neues historisch-biographisches Lexikon der Tonkunstler ( L e i p z i g : A. Kiihnel, 1813-14), p a r t 4, c o l . 45- "Ob aber d i e i n Hausmanns B u c h e r v e r z e i c h n i s s angefuhrte Manductio ad musicam poeticam, Mst, acht gewesen i s t , kann n i c h t behauptet werden." 7. E. L. Gerber, Historisch-biographisches Lexikon der ( L e i p z i g : J . G. I . B r e i t k o p f , 1792), p a r t 2, c o l s . 51-52.

Tonkunstler

19 l i c a t i o r i o f the r e v i s e d e d i t i o n , Gerber had o b v i o u s l y c o n s u l t e d F o r k e l ' s Allgemeine

Litteratur

der Musik

and subsequently

g i v i n g s c o n c e r n i n g the o r i g i n s o f the Manductio

assumed F o r k e l ' s misad musicam

poeticam.

These s k e p t i c s are l a t e r taken t o task by F r a n c o i s - J o s e p h F e t i s i n g his

short b i o g r a p h i c a l sketch of Schein: We see i n Mattheson's ' E h r e n - P f o r t e ' (p. 106) t h a t Hausmann possessed a c o m p o s i t i o n t r e a t i s e o f Schein under the t i t l e o f Manductio ad musicam poeticam. We do not know why F o r k e l and o t h e r s doubted whether t h i s work was by S c h e i n , o r i f i t was orie and the same w i t h the t r e a t i s e o f Otto (see t h i s name) i n German on the same s u b j e c t ; i t i s e v i d e n t by the t i t l e i t s e l f o f t h i s l a s t one t h a t i t was ext r a c t e d from numerous works, n o t a b l y t h a t o f S c h e i n . A r t h u r P r u f e r , Schein's p r i n c i p a l b i o g r a p h e r , p r o v i d e s yet f u r t h e r ,

i n s i g h t i n t o Schein's t h e o r e t i c a l work w i t h an e x t r a c t from C a r l August Grenser's und

Geschichte

Theater-Orchester

so l e f t

hauptsachlich

in Leipzig.

behind a manuscript

i n der Musica Nothen.

der Musik,

poetica,

entitled

aber des Grossen

Grenser w r i t e s t h a t "he [_ ScheihJ a l ' E t l i c h e n Lehre, so einem

wie s i e genennet w i r d , v o r n e h m l i c h

I t also exists

(!) under the t i t l e manductio

Whether o r not Schein's t r e a t i s e d i d i n f a c t s t i l l not p o s s i b l y be v e r i f i e d

Konzert-

s i n c e Grehser

failed

Incipienten

zu wissen von

ad musicam

poeticam.

" e x i s t " i n 1849 can-

t o r e c o r d the sources o f

8'. F. J . F e t i s , Biographie universelle des musiciens, 2nd ed. , 8 v o l s . ( P a r i s : F i r m i n - D i d o t e t C i e . , 1867), 7: 450. "On v o i t dans 1'Ehren-Pf'orte of Mattheson (page 106) que Hausmann p o s s e d a i t im t r a i t e de c o m p o s i t i o n , de S c h e i n , son l e t i t r e de Manductio ad musicam poeticam. On ne s a i t pourquoi F o r k e l e t d'autres on mis en doute s i cet ouvrage e s t de S c h e i n , ou s i ' i l n ' e s t qu'une s e u l e e t meme chose avec l e t r a i t e d'Otto (voyez ce nom) en langue allemande sur l e meme s u j e t ; i l e s t e v i d e n t , par l e t i t r e meme de ce d e r n i e r , q u ' i l e t a i t e x t r a i t de p l u s i e u r s ouvrages, notamment de c e l u i de S c h e i n . " 9. A. P r u f e r , Johan Herman Schein ( L e i p z i g : B r e i t k o p f & H a r t e l , 1895), p. 10. C a r l August G r e n s e r , f i r s t f l a u t i s t i n the Grosses K o n z e r t - und T h e a t e r - O r c h e s t e r i n L e i p z i g , wrote h i s Geschichte der Musik i n 1840, the unpaginated manuscript o f which i s , a t the time o f P r u f e r ' s w r i t i n g s , i n the p o s s e s s i o n o f the B i b l i o t h e k des V e r e i n s f u r d i e G e s c h i c h t e L e i p z i g s . 10.

I b i d . , p. 39. " E r (S) h i n t e r l i e s s auch e i n M a n u s c r i p t ,

betitelt:

1

20 his

information.

out,

Although Grenser's m a t e r i a l , as P r u f e r r e a d i l y p o i n t s

i s " f r e q u e n t l y i n a c c u r a t e and i n need o f improvement,""'""'" P r u f e r

n e v e r t h e l e s s concur w i t h Grenser as f a r as, b e l i e v i n g the - Manductio

does and

12 the

Etlichen

likely

Lehren

to be the same work.

t h a t S c h e i n ' s t e a c h i n g methodology

w i t h i n the span of h i s s h o r t c a r e e r .

In any c a s e , i t i s h i g h l y c o u l d have changed

un-

significantly

There i s g r e a t e r l i k l i h o o d t h a t the

appendix to O t t o ' s t r e a t i s e c o n s i s t e d o f p a r t i c u l a r f e a t u r e s from Schein's 13 Manductio

not d e a l t w i t h by O t t o ;

o r perhaps the Etlichen

simply a m o d i f i e d v e r s i o n of the Manductio,

comparable

Lehren

was

to the r e v i s i o n s

undergone by s i m i l a r d i d a c t i c t r e a t i s e s by Joachim B u r m e i s t e r and Seth C a l v i s i u s . "*""* It

i s known ,that S c h e i n had a l s o i n t e n d e d to w r i t e a t h e o r e t i c a l

t i s e on musica .to

practica,

but t h i s work was

h i s u n t i m e l y death."'"

5

Because

never brought to f r u i t i o n

t h i s work was

treadue

never completed, and h i s

' E t l i c h e Lehren, so einem Incipienten i n der Musica ipoetica, wie s i e genennet w i r d , v o r n e h m l i c h zu w i s s e n von Nothen.' Es e x i s t i r t (!) auch unt e r dem T i t e l manductio ad musicam poeticam." 11.

I b i d . , p. 10.

12.

I b i d . , p.

" v i e l f a c h ungenau und v e r b e s s e r u n g s b e d u r f t i g . "

38.

13. Gerber, Historisch-biographisches. Lexikon...., c o l s . 51-52.. The f o u r c h a p t e r s i n Otto's t r e a t i s e were: 1) The Nature o f Harmony; 2) Comb i n i n g of Tones; 3) P h r a s e s , Antecedent P h r a s e s , D i f f e r e n t i a t i o n s , Cadences, Pauses, Fugues, e t c . ; 4) Modes and T h e i r T r a n s p o s i t i o n s . 14. A ' r e v i s e d e d i t i o n of B u r m e i s t e r ' s Hypomnematum Musicae poeticae synopsis (1599) was p u b l i s h e d i n 1601 under the t i t l e ' Musica Autoschediastike,, and a f i n a l v e r s i o n appeared i n 1606 w i t h the t i t l e Musica poetica. C a l v i s i u s ' Compendium musicae pro incipientibus (1594) was p r i n t e d i n a s i m p l i f i e d t h i r d e d i t i o n i n 1612 e n t i t l e d Musicae artis praecepta nova et f a c i l l i m a . 15. See J . A. H e r b s t , Musica Practica, sive Instructio pro Symphoniacis (Nuremberg, 1642), p. i i j . In the p r e f a c e to Johann Andreas H e r b s t ' s t r e a t i s e , on musica practica, he w r i t e s t h a t o t h e r composers, i n c l u d i n g Johann Hermann S c h e i n , M i c h a e l P r a e t o r i u s and.Caspar K i t t e l , had a l s o agreed to

21 work on

musica poetica,

however a p o c r y p h a l , i s now

l o s t , one must examine

.the ambient academic and a r t i s t i c c o n d i t i o n s i n which S c h e i n f l o u r i s h e d i n o r d e r t o g a i n an u n d e r s t a n d i n g o f the i n t e r r e l a t i o n s h i p s between music and r h e t o r i c i n h i s c o m p o s i t i o n s . a c h i e v e more than a composite Figurenlehre,

The ensuing d i s c o u r s e cannot hope to

s k e t c h of Schein's implementation of the

but by g l e a n i n g r e l e v a n t i n f o r m a t i o n from a v a i l a b l e s o u r c e s ,

the end r e s u l t w i l l p r o v i d e s u f f i c i e n t h i s t o r i c a l e v i d e n c e t o J u s t i f y a n a l y s i s of Schein's music

an

Figurenlehre.

i n the r h e t o r i c a l terms of the 16

Johann Hermann S c h e i n was e a r l i e s t y e a r s , S c h e i n was

born i n Griinhain i n Saxony.

From h i s

s t r o n g l y i n f l u e n c e d by the L u t h e r a n f a i t h ,

h i s f a t h e r , Hieronymous S c h e i n (1533-1593), was

as

the L u t h e r a n p a s t o r i n

Griinhain d u r i n g t h i s p e r i o d o f r e l i g i o u s i n t o l e r a n c e i n Saxony.

(At t h i s

time r e l i g i o u s antagonism was

the

Lutherans.)

Furstenschule

c h i e f l y between the C a l v i n i s t s and

Hieronymous h i m s e l f had a t one S t . A f r a i n Meissen

at the u n i v e r s i t y i n L e i p z i g .

time been a student at the

(1549-1555) and l a t e r s t u d i e d t h e o l o g y

Johann Hermann, i t seems, i n h e r i t e d a num-

ber of t a l e n t s from h i s f a t h e r ; Hieronymous had been p r a i s e d f o r "the charm o f h i s v o i c e and o f h i s eloquence as a p r e a c h e r , " ^

7

f o r h i s knowledge

w r i t e s i m i l a r musica practica t e x t s which would, l i k e H e r b s t ' s , d e a l w i t h p h r a s a l d e c o r a t i o n and c a d e n t i a l ornamentation, as w e l l as i n s t r u c t the c h o i r b o y s i n the I t a l i a n s t y l e of s i n g i n g . Although S c h e i n was unable t o author such a book, H e r b s t ' s i n t r o d u c t o r y note a t t e s t s to the f a c t t h a t S c h e i n possessed a thorough and f u n c t i o n a l u n d e r s t a n d i n g of contemporary performance p r a c t i c e s i n I t a l y . 161 P r i i f e r ' s biography o f S c h e i n w i l l s e r v e as the primary source of i n f o r m a t i o n f o r t h i s b i o g r a p h i c a l s k e t c h . P r i i f e r had a c c e s s t o , and i n c o r p o r a t e d i n t h i s work, v a r i o u s i r r e p l a c e a b l e w r i t t e n documents and music m a n u s c r i p t s which have s i n c e been d e s t r o y e d . A l t h o u g h much o f the f o l l o w i n g m a t e r i a l w i l l be d e r i v e d from t h i s s o u r c e , a d d i t i o n a l i n f o r m a t i o n w i l l be credited accordingly.

W\ H. E r n e s t i , Commentationes novae in Comelium Nepotem etc. ( L e i p z i g , 1707), p. 274. " . . . s u a v i t a s i n f a c i e n d o ad populum verbo o r i s ac v o c i s . " C i t e d from P r i i f e r , op. c i t . , pp. 2-3.

22 o f Greek, and as a " d i s t i n g u i s h e d p o e t . " o r a t o r i c a l a b i l i t i e s , Hieronymous was

18

In a d d i t i o n to h i s p o e t i c

and

also a p r o f i c i e n t musician, having 19

served as Sehlosskantor

i n Weesenstein

from 1574

F o l l o w i n g the death of Hieronymous i n 1593,

to

1578.

the remainder

of the

f a m i l y moved to Dresden where, on the recommendation o f P o l y c a r p L e y s e r der A l t e r , the s u p e r v i s o r o f c o u r t music, 1599

as a c h o i r b o y t o the Hofkapelle

of R o g i e r M i c h a e l . y e a r s 1593 and

and 1599,

Johann Hermann was

which was

accepted i n

then under the d i r e c t i o n

There i s no r e c o r d o f Schein's a c t i v i t i e s between the but he must have r e c e i v e d some p r a c t i c a l

training

e x p e r i e n c e i n music d u r i n g t h i s time i n o r d e r f o r him to have been ad-

m i t t e d i n t o such a p r e s t i g i o u s c o u r t . T h i s .same Kantorei,

founded

i n 1548

by E l e c t o r M o r i t z von

Sachsen,

a l r e a d y had an i l l u s t r i o u s h i s t o r y of music d i r e c t o r s p r i o r to M i c h a e l ' s appointment i n 1587:

Johann Walther

(1548-1554), Mattheus Le M a i s t r e (155420

1568), A n t o n i o S c a n d e l l o (1568-1587).

The Hofkapelle

was

v e r y cosmo-

p o l i t a n and had a r e p u t a t i o n f o r i t s e x c e l l e n t n a t i v e and f o r e i g n m u s i c i a n s . 21 As e a r l y as 1554, seven o f the t w e n t y - f i v e m u s i c i a n s were I t a l i a n . By 18; 64.

( ? ) . M e l z e r , Jenisius Annabergae Historia etc. (Dresden, "poeta p r a e c l a r u s . " C i t e d from P r u f e r , op. c i t . , p. 3. 3

19. A. A d r i o , " S c h e i n , Johann Hermann," Die Musik in Geschichte genwart (1963), 10, c o l . 1642. 20...

P r u f e r , op. c i t . , p.

1705), p.

und

Ge-

4.

21... W. Steude, "Dresden," The New Grove Dictionary of Music and Musicians (1980), 5, p. 616. The term "welsch" has been e r r o n e o u s l y t r a n s l a t e d as " N e t h e r l a n d e r s " i n t h i s a r t i c l e r a t h e r than " I t a l i a n s . " Compare M. Ruhnke, Beitrage zu einer Geschichte der deutschen Hofmusikkollegien im 16. Jahrhundert ( B e r l i n : V e r l a g Merseburger, 1963), p. 217. Ruhnke g i v e s the names of the s i n g e r s and i n s t r u m e n t a l i s t s of the Dresden Hofkapelle of 1555; seven of the twelve i n s t r u m e n t a l i s t s a r e I t a l i a n , the remaining s i n g e r s and i n s t r u m e n t a l i s t s a r e o s t e n s i b l y German.

23 1590,

the c h a p e l c h o i r under M i c h a e l c o n s i s t e d of f i v e b a s s e s , f i v e t e n o r s ,

f o u r a l t o s , and

e i g h t boy

sopranos.

Of the n i n e t e e n i n s t r u m e n t a l i s t s ,

p r o x i m a t e l y o n e - t h i r d of them bore I t a l i a n surnames. I t a l i a n musicians

a t t h i s c o u r t , t h e r e was

22

ap-

In a d d i t i o n to the

an abundance of music

from 23

I t a l y by A d r i a n W i l l a e r t , O r a z i o V e c c h i , Vincenzo The

R u f f o , and o t h e r s .

I t a l i a n i n f l u e n c e on Schein must have been q u i t e s t r o n g d u r i n g h i s

s t a y i n Dresden. Schein's e d u c a t i o n i n Dresden was cantor, Rogier Michael knaben-Praeceptor) had

d i r e c t e d by the Kapellmeister

(1550-1619), arid the C h o i r b o y - p r e c e p t o r

, M a g i s t e r Andreas Petermann (ca. 1531-1611) .

f o r m e r l y been'a c h o i r b o y i n the Dresden Hofkapelle

Scandeilo.

Succeeding

Kapellmeister

S c a n d e l l o i n 1587,

and

(CantoreiMichael

under A n t o n i o

M i c h a e l h e l d the p o s i t i o n of

u n t i l some time around 1615.

M i c h a e l d i r e c t e d the u s u a l

group s i n g i n g l e s s o n s and composed p i e c e s to L a t i n , German and

Italian 24

t e x t s f o r the boys to s i n g at the d i n n e r t a b l e and on other o c c a s i o n s . In a d d i t i o n to l e a r n i n g "to p l a y a b i t on a l l ' i n s t r u m e n t s " i n Dresden, Schein-' a l s o r e c e i v e d i n s t r u c t i o n a t the hand of M i c h a e l " i n t h e o r e t i c a l 25 music as w e l l as p r a c t i c a l . " L i t t l e i s known about Andreas Petermann-, 22. .-Priifer, op. c i t . , p. 2'3.- I . Becker-Glauch, (1954), 3, c o l . 759. 2.4..

P r i i f e r , op.

5.

"Dresden," Die

c i t . , pp.

Musik

in Gesehichte

und

Gegenwart

5-6.

25. P. S p i t t a , "Leichensermone auf Musiker des XVI. und XVII. Jahrhund e r t s , " Monatshefte fur Musikgeschichte 3 (1871): 27. [This collection of f u n e r a l sermons i n c l u d e s a r e p r i n t of Johann Hopner's "Leichensermon auf Johann Hermann S c h e i n " from Schein's f u n e r a l (1630)]. "auff a l i e n instrumenten etwas zu praestiren" and " i n der Musica sowol Theoretica

als- Practicd.

"

24 except

t h a t he was educated

i n Wittenberg,

where he m a t r i c u l a t e d i n

26 1554.

I t was h i s r e s p o n s i b i l i t y as p r e c e p t o r t o p r o v i d e the boys w i t h

a s t r o n g r e l i g i o u s f o u n d a t i o n and t o prepare advanced h u m a n i s t i c

them a c a d e m i c a l l y f o r a more

e d u c a t i o n a t one o f the t h r e e e l e c t o r a l L a t i n s c h o o l s . '

In 1603, w i t h a s t i p e n d g i v e n him by the E l e c t o r C h r i s t i a n I I , S c h e i n was e n r o l l e d i n the U n i v e r s i t y o f L e i p z i g , m a t r i c u l a t e d a t the b e g i n n i n g of the summer semester and was then accepted at the e l e c t o r a l Landessohule until April

26, 1607.

as "studiosus

Lipsiensis"'

i n P f o r t a on May 18, 1603, where he remained

I t was i n P f o r t a t h a t S c h e i n r e c e i v e d a s u b s t a n t i a l

amount o f h i s h u m a n i s t i c

education.

For much o f Germany, the e a r l y 17th century was a p e r i o d o f p h i l o s o p h i c a l t r a n s f o r m a t i o n and attempts a t e d u c a t i o n a l reform.

The g r e a t

German h u m a n i s t i c movement o f the 16th century had a l l but s u b s i d e d by the t u r n o f the c e n t u r y , and w h i l e one r e f o r m e r , Wolfgang R a t i c h i u s , undertook

t o impose a degree o f c o n f o r m i t y on the d i s p a r a t e e d u c a t i o n a l 28 systems i n Germany, another advocate o f t h i s r e f o r m a t i o n , Johann Amos Comenius, i s s u e d h i s m a l e d i c t i o n s a g a i n s t a l l o f the "heathens" o f An29

c i e n t Rome and Greece.

The v o c i f e r o u s n e s s o f these a c t i v i s t s d i d meet

w i t h some degree o f s u c c e s s , and academic i n t e r e s t i n c l a s s i c a l s t u d i e s 26.: R. E i t n e r , "Petermann, Andreas," Quellen-Lexikon Musikgelehrten, 2nd ed. (1959), 7: 389. 27.

und

P r u f e r , op. c i t . , p. 5.

28-.- F. P a u l s e n , Geschichte des gelehrten ( L e i p z i g : V e i t & Comp., 1919), 1: 474. 29;

der liusiker

I b i d . , p. 477.

Unterrichts,

3rd ed., 2 v o l s .

25 waned as a r e s u l t . dom

By the end of the 16th c e n t u r y , A r i s t o t l e was

mentioned a t the U n i v e r s i t y of L e i p z i g or the U n i v e r s i t y of

and p r i n t i n g s of e d i t i o n s of Greek l i t e r a t u r e v i r t u a l l y many and

ceased

selWittenberg,

i n Ger-

S w i t z e r l a n d from the e a r l y 17th c e n t u r y u n t i l the l a t t e r

of the 18th

century.

half

30

The q u a l i t y of Schein's e d u c a t i o n d i d not s u f f e r n o t i c e a b l y as a r e s u l t of t h i s e d u c a t i o n a l r e f o r m ; perhaps the h u m a n i s t i c E l e c t o r o f Saxony was

h e s i t a n t to a l l o w the i n t r o d u c t i o n of such p o t e n t i a l l y

g r e s s i v e measures i n t o h i s p r o g r e s s i v e Lateinschulen.

retro-

Nevertheless,

S c h e i n became w e l l - a c q u a i n t e d w i t h the l i t e r a t u r e of numerous authors of Roman and Greek a n t i q u i t y — m o s t i m p o r t a n t l y the w r i t i n g s of C i c e r o .

31

I t i s a l s o known t h a t dramatic p r o d u c t i o n s were staged t w i c e y e a r l y by 32 the s t u d e n t s at S c h u l p f o r t a ,

and

through h i s r e q u i r e d p a r t i c i p a t i o n i n

the performance of these p l a y s , S c h e i n v e r y l i k e l y became f a m i l i a r the works of Terence, whose comedies were p a r t i c u l a r l y p o p u l a r 33 Germany a t the t u r n of the 17th

throughout

century.

What harm t o c l a s s i c a l s t u d i e s was R a t i c h i u s ' and

with

Comenius' movement was

i n c u r r e d by the advocacy o f

m i t i g a t e d by i n c r e a s e d i n t e r e s t

i n the w r i t i n g s of the e a r l y C h r i s t i a n Church F a t h e r s , contemporary German

l i t e r a t u r e , and

the B i b l e .

The

Church F a t h e r s served as

r e p r e s e n t a t i v e s of a n t i q u e e d u c a t i o n . 30.

i b i d . , p.

I b i d . , p.

i n the c l a s s i c a l

tradition,

487.

31..; P r i i f e r , op. c i t . , p. 32.

Schooled

Christian

7.

8.

33. - E. F. L i v i n g s t o n e , "The P l a c e of Music i n German E d u c a t i o n around 1600," Journal of Research in Music Education 19 (1971): 160.

t h e i r works were s u b s t i t u t e d as models of l i t e r a r y s t y l e f o r the to a n a l y z e and

imitate.

students

The F a t h e r s of the C h r i s t i a n Church were h i g h l y

esteemed f o r t h e i r wisdom i n numerous d i s c i p l i n a r y f i e l d s , and j u s t the Renaissance

humanists had looked to the p r e - C h r i s t i a n c l a s s i c i s t s f o r

answers, the 17th-century as they sought

as

scholars often referred

to the Church F a t h e r s

a f t e r s o l u t i o n s to problems of a s t r o l o g y , m e d i c i n e ,

chronol-

34 ogy,

the n a t u r a l s c i e n c e s , o r p h i l o s o p h y .

t u r y , t o o , suggested

t h a t students w i s h i n g

^ancient L a t i n and Greek Church F a t h e r s , who

R h e t o r i c i a n s i n the

to l e a r n the a r t " d o - i t l i k e

the

have i n t h e i r youth p r a c t i s e d 35

poesy, and have made a l l k i n d s o f b e a u t i f u l , s p i r i t u a l songs." Schein's own

17th-cen-

Although

s k i l l s as a r h e t o r i c i a n and poet would not m a n i f e s t them-

s e l v e s i n p r i n t u n t i l 1609,

he i s c e r t a i n to have been i n f l u e n c e d a t

36 P f o r t a by the hymns of the e a r l y C h r i s t i a n s , P r u d e n t i u s and S e d u l i u s . The

l i k e l y manner i n which he r e f i n e d h i s n a t u r a l p o e t i c g i f t

i s out-

l i n e d by Johann B a l t h a s a r Schupp i n a t e x t book f o r r h e t o r i c a l s t u d i e s 37 from the mid-17th c e n t u r y : I f you want to p r a c t i s e i n German p o e t r y , you young p e o p l e , take now and a g a i n the hymns of P r u d e n t i u s , Bernhard, Ambrose, Hieronymus, A u g u s t i n e , and o t h e r Church t e a c h e r s . T r a n s l a t e them i n t o the German v e r n a c u l a r , or i n t o German v e r s e , [and] make anew out of these v e r s e s German o r a t i o n s . I a s s u r e you, you w i l l not be s o r r y f o r i t .

: 34.' J . Dyck, Ticht-Runst:

Deutsche

Barockpoetik

und rhetorische

(Bad Homburg von der Hohe, B e r l i n , Z u r i c h : V e r l a g Dr. Max p. 143.

Gehlen,

Tradition 1966),

35. J . B. Schupp, Boot: Joh: Bdlth: Schuppi Schrifften (Hanau, 1663), p. 936. "Macht es wie d i e a l t e L a t e i n i s c h e und G r i e c h i s c h e K i r c h e n - V a t e r / welch s i c h i n der Jugend geiibt haben i n der P o e s i e / und a l l e r h a n d schbne g e i s t l i c h e L i e d e r gemacht haben." C i t e d from Dyck, op. c i t . , p. 144. 36.

P r u f e r , op. c i t . , pp.

7-8.

37. Schupp, op. c i t . , p. 937. "Wolt i h r euch / i h r junge Leut / i n der deutschen Poeterey iiben / so nehmet u n t e r w e i l e n s f u r euch d i e Hymnos P r u d e n t i i , B e r n h a r d i , A m b r o s i i , Hieronymi, A u g u s t i n i , und anderer G r i e c h i s c h e n und L a t e i n i s c h e n K i r c h e n l e h r e r . V e r s e t z t s i e i n deutsche Sprach /

Comparative

o b s e r v a t i o n s r e g a r d i n g c l a s s i c a l Greek and Roman

lit-

e r a t u r e and the B i b l e were made by the e a r l y Church F a t h e r s i n o r d e r to understand b e t t e r the c o n t e n t s o f b o t h . seen but a l s o many s i m i l a r i t i e s .

N a t u r a l l y , many d i f f e r e n c e s were

One o f the Church F a t h e r s mentioned i n

the p r e v i o u s q u o t a t i o n by Schupp, Hieronymus

(ca.347-ca.420), whose own

works were s t y l e d a f t e r C i c e r o , shows comparisons between the r h e t o r i c a l f i g u r e s hyperbole

and apostrophe

as they appear i n t h e B i b l e and i n w r i t -

38 i n g s by V i r g i l .

Y e t another o b s e r v a t i o n made by Hieronymus concerns the

usage o f c l a s s i c a l p o e t i c meter i n the books o f Job, Jeremiah, and the 39 Psalms. That t h e a r t of r h e t o r i c was an e s s e n t i a l t o o l i n b i b l i c a l e x e g e s i s , whether i l l u m i n a t i n g passages from the B i b l e i n L a t i n o r German, i s c l e a r from v a r i o u s r h e t o r i c a l t e x t books used i n s c h o o l s throughout the Baroque period.

C o n v e r s e l y the B i b l e i t s e l f was a l s o h e l d by r h e t o r i c i a n s t o be 40

one o f the "fontes

inventioms"

of r h e t o r i c .

Westhammer (Westhemerus) was one o f the e a r l i e s t

In Germany,

Bartholomaeus

s c h o l a r s to d e a l e x t e n -

s i v e l y w i t h the r h e t o r i c a l c o n t e n t s o f the B i b l e i n h i s Tropi veteris

atque

novi

testamenti

insigniores

(1528); and almost a c e n t u r y l a t e r ,

H e i n r i c h A l s t e d ' s Tri-umphus Bibliaus

Johann

(1625) i n c l u d e s a d i s c u s s i o n o f r h e -

t o r i c a l f i g u r e s , e x e m p l i f y i n g the a p p l i c a t i o n o f each f i g u r e w i t h an apoder i n deutsche Vers / mach auss d i e s e n Versen wiederumb deutsche O r a t i onis. I c h v e r s i c h e r e euch / es w i r d euch n i c h t gereuen." C i t e d from Dyck, op. c i t . , p. 147. 38.,

Dyck, op. c i t . , p. 138.

39. I b i d . , pp. 138-39. Hieronymus, a l o n g w i t h H i l a r y and Ambrose, i s r e f e r r e d t o as an a u t h o r i t y by the Roman statesman and monk, C a s s i o d o r u s (ca.477-ca.570), when he a n a l y s e s the r h e t o r i c o f the Psalm v e r s e s . 40.. N . C a u s s i n u s , De eloquentia from Dyck, op. c i t . , p. 157.

sacra

et humana (1657), 4: 195.

Cited

28 propriate b i b l i c a l The

founder

passage.

41

of P r o t e s t a n t i s m , M a r t i n L u t h e r , was

dable o r a t o r by a l l .

Having

antedated

the extreme orthodoxy

burgeon i n the 17th c e n t u r y , L u t h e r was d i t i o n of c l a s s i c a l s t u d i e s and was

regarded

as a f o r m i -

which was

to

s c h o o l e d i n the h u m a n i s t i c

tra-

a l l e g e d to have made s t y l i s t i c

com-

42 p a r i s o n s between the works of C i c e r o and

the Book of I s a i a h .

f e s s o r of b i b l i c a l t h e o l o g y a t the U n i v e r s i t y of W i t t e n b e r g , critically

aware of the polemic

As a p r o Luther

s i g n i f i c a n c e of b i b l i c a l r h e t o r i c and

s u c c e s s f u l i n p r e s e r v i n g many of the r h e t o r i c a l t r o p e s and

the German t r a n s l a t i o n , i n f a c t , t h a t L u t h e r was

So

suc-

lauded t h e r e -

a f t e r as a "proper German C i c e r o . . . a n d whoever wants to l e a r n proper 43 man

was

f i g u r e s when

he t r a n s l a t e d the B i b l e i n t o the German v e r n a c u l a r (1521-1534). c e s s f u l was

was

Ger-

w i l l read d i l i g e n t l y the German B i b l e . " The

a r t of r h e t o r i c , as both an a n a l y t i c a l d e v i c e and

as an

essential

p a r t of c o m p o s i t i o n a l t e c h n i q u e , was

p e r v a s i v e i n the s t u d i e s of a l l s t u -

dents i n the e a r l y 17th c e n t u r y , and

to a g r e a t e r degree s t i l l

guage dominated Lateinschulen.

The p r a c t i c e of eloquence,

not c o n f i n e d to the c l a s s r o o m , f o r i t c o n t i n u e d throughout

i n the

however,

lan-

was

one's l i f e

to

41. A l s t e d , as a contemporary of Schein and one of the major p o l y h i s t o r s of the e a r l y 17th c e n t u r y , i s not without s i g n i f i c a n c e i n the study of music history. A l s t e d ' s w r i t i n g s on music are concerned p r i m a r i l y w i t h musica theoretica and practical the importance of h i s d i s c u s s i o n s of musica poetica i s s e v e r e l y l i m i t e d by h i s adherence to C a l v i n i s t i c dogma. See

I. S c h u l t z , Studien

zur Musikanschauung

Alsteds

(Marburg: G o r i c h & Weierhauser, 1967), pp.

(1588-1638)

und Musiklehre

42. J . Hulsemann, De Veteris et Novi Testamenti C i t e d from Dyck, op. c i t , , pp. 160-61.

natura

Johann

Heinrich 65-79.

( L e i p z i g , 1714).

43. J . B. Schupp, Der Teutsche Lehrmeister, ed. P a u l S t o t z n e r ( L e i p z i g , 1891), p. 33. " . . . r e c h t e r T e u t s c h e r C i c e r o gewesen. Und wer r e c h t gut Teutsch l e r n e n w i l , der l e s e f l e i s s i g d i e Teutsche B i b e l . " C i t e d from Dyck, op. c i t . , p. 153.

29 s e r v e as a s i g n o f one's e d u c a t i o n and s o c i a l p o s i t i o n . herent a f f i n i t y

Schein's i n -

f o r a r t i s t i c e x p r e s s i o n caused him to c o n t i n u a l l y

t i v a t e t h i s a r t through i t s a p p l i c a t i o n to h i s own

cul-

p o e t r y and to h i s

mu-

sic . The m u s i c a l t r a i n i n g which S c h e i n r e c e i v e d at P f o r t a was

v e r y much

i n f l u e n c e d by two of the former c a n t o r s , Seth C a l v i s i u s

(1582-1594) and

E r h a r d Bodenschatz

of humanistic

e d u c a t i o n , was

(1601-1603).

C a l v i s i u s , an exemplar

a c h r o n o l o g e r , a h i s t o r i a n , an astronomer, a music

a poet, a composer, and a pedagogue.

I t was

d u r i n g h i s r e s i d e n c y as can-

t o r at P f o r t a t h a t C a l v i s i u s produced one of h i s most s i g n i f i c a n t Melopoeia

seu melodiae

aandendae

ratio

theorist,

( E r f u r t , 1592).

In t h i s

works—

treatise,

C a l v i s i u s does not a c t u a l l y a p p l y p o e t i c f i g u r e s to music, as d i d B u r m e i s t e r seven y e a r s l a t e r , but he does d e a l b r i e f l y w i t h some a s p e c t s of e x p r e s s i n g a f f e c t i n Chapter 16 sive

textu)

(De pausis)

and s t r e s s e s i n Chapter 18

(De

oratione

the importance of the r e l a t i o n s h i p between the music and

text

44 i n support of h i s d e f i n i t i o n of melopoeia

from Chapter

1:

Melopoeia, moreover, i s the a r t of r i g h t l y c o n j o i n i n g and a l t e r i n g h a r monic i n t e r v a l s , e f f e c t i n g a concent i n d i v e r s e sounds, and thus accommodating a proposed o r a t i o n . C a l v i s i u s ' treatment o f a f f e c t and t e x t u n d e r l a y i n Melopoeia l a r g e l y from Volumes 3 and 4 of G i o s e f f o Z a r l i n o ' s Le Istitutioni

i s derived harmoniohe

45 (1558).

What C a l v i s i u s d i d was

p r e p a r e an updated, r e o r g a n i z e d and sim-

p l i f i e d v e r s i o n of Z a r l i n o ' s I s t i t u t i o n i ,

thereby t r a n s f o r m i n g an

Italian

44. s. C a l v i s i u s , Melopoeia seu melodiae aandendae ratio ( E r f u r t , 1592), Cap. 1. " E s t autem Melopoeia a r s r e c t e c o n j u g e n d i e t i n f l e c t e n d i i n t e r v a l l a Harmonica, i n d i v e r s i s s o n i s concentum e f f i c i e n t i a , ac o r a t i o n i p r o p o s i t a e accomodata." 4.5V See K. Benndorf, "Sethus C a l v i s i u s a l s M u s i k t h e o r e t i k e r , " Vierteljahrschrift fur Musikwissensohaft 10 (1894): 435-49; and R. H. Robbins, Beitvage zur Geschichte des Kontrapunkts von Zavlino bis Schutz (Berlin: T r i l t s c h & Huther, 1938), pp. 72-86.

30 t h e o r e t i c a l t r e a t i s e i n t o a p r a c t i c a l textbook f o r German c o m p o s i t i o n students.

The

e n t i r e l y new was

already

musical-poetical

concept of t e a c h i n g ,

at P f o r t a i n 1592; teaching

however, was

documented evidence shows t h a t

a l o n g these l i n e s ten y e a r s p r i o r to the

not

Calvisius publication

46 of the Melopoeia.

T h i s p r a c t i c e , then, would have been a f i r m l y r o o t e d

t r a d i t i o n at P f o r t a when' Schein'began h i s s t u d i e s The

teaching

method used by

Bodenschatz (1575-1636) who, 1594, only

having studied

served as c a n t o r at P f o r t a from 1601

pursuits

at P f o r t a .

L a t i n - and simarum

by

Erhard

under C a l v i s i u s from 1591 to 1603,

S c h e i n stems from the

vacating

his

Portense 47 l e c t i o n of motets.

office

cantor's

anthological

S c h e i n presumably became w e l l - a c q u a i n t e d w i t h

(1603), the

The

title

tome of a two-volume c o l 48 completed second volume was p u b l i s h e d i n 1621.

46. C. Dahlhaus, "Nachlass des (1956): 130-31.

0. Riemer, Erhard

the

selectis-

second e d i t i o n of which, under the

(1618), comprised the

to

at t h i s e l e c t o r a l s c h o o l .

German-texted motets of Bodenschatz's Florilegium

oantionum

Flovilegium

47.

furthered

s h o r t l y b e f o r e S c h e i n commenced h i s s t u d i e s

Bodenschatz's i n f l u e n c e on

9

C a l v i s i u s was

there.

first

Sethus C a l v i s i u s , " Die

Bodenschatz

und sein Florilegium

Musikforsehung

Portense

(Sch'dningen: J u l : Kaminsky, 1928), p. 52. Riemer's p u b l i s h e d d i s s e r t a t i o n i n c l u d e s , i n a d d i t i o n to a g e n e r a l d e s c r i p t i o n of the m i l i e u at P f o r t a i n the e a r l y 17th c e n t u r y , an overview of the motets i n the two volumes of the Florilegium Portense (1618, 1621). Each motet i s i d e n t i f i e d i n the t a b l e s (pp. 107-17) by i t s m e l o d i c and t e x t u a l i n c i p i t , the number of v o i c e s , the source of the t e x t , the a p p r o p r i a t e performance o c c a s i o n , and the name of the composer. 48. Rudolph Wustmann p o i n t s out t h a t the c o m p i l a t i o n and p u b l i s h i n g p r e p a r a t i o n of the motets of the f i r s t e d i t i o n c o u l d not have p o s s i b l y .... been accomplished by Bodenschatz i n the two y e a r s spent at P f o r t a , and consequently a t t r i b u t e s the a c t u a l amassing of most of the motets to Calvisius. See R. Wustmann, Musikgeschiohte Leiipzigs bis zur Mitte des 17. Jahrhunderts, 2 vols. ( L e i p z i g : F. K r i s t n e r & C. F. W. S i e g e l , 1926), p. 376.

31 Students became f a m i l i a r w i t h these motets by

s i n g i n g them b e f o r e

and

49 a f t e r each meal as w e l l as on'other o c c a s i o n s .

The

legium

widespread and

one

Povtense,

e s p e c i a l l y the f i r s t volume, was

of the most p o p u l a r motet a n t h o l o g i e s

i n g the p e r i o d Florilegium

of the

Floriremained

of 17th-century Saxony."^

that Schein worked i n L e i p z i g , the churches' c o p i e s

Povtense

successor

use

were used so f r e q u e n t l y t h a t Tobias Michael',

as Thomaskantor, had

by both the Thomaskirche and

to recommend t h a t new

copies be

at P f o r t a — w o u l d have taken p l a c e o u t s i d e

of the s c h o o l

composition

time, as was

The

a c t i v i t i e s of Schein's music

e r s at* P f o r t a , Bartholomaus Scheraeus (1603-1606) and M a r t i n 1607), have not been well-documented, and

i n h i s own

day;

was

volume of the FZovitegium

these same t e x t s were l a t e r set by

i s open'to s p e c u l a t i o n . 49.

Riemer, op.

50.

Wustmann,' op.

51;

Ibid.

52.

M. Ruhnke, Joachim

c i t . , p.

at the

See

Povtense

Latein-

Latin texts.

contains (Several

l e f t P f o r t a on A p r i l 25,

What i t was

In e a r l y 1608,

c i t . , p. 9.

poetica

to

thirof

Schein.)

completed h i s s t u d i e s , and

t u r n i n g •to h i s home i n Dresden.

Rothe (1606-

not without r e c o g n i t i o n as a composer

t e e n of h i s e i g h t - v o i c e motets ori German and

Schein

the

teach-

i t i s therefore d i f f i c u l t

on Schein's t r a i n i n g i n musica

the 1621

Schein's

i

p r a c t i c e i n the Baroque p e r i o d .

Rothe, n e v e r t h e l e s s ,

the

purchased

52

schule.

of

the N i c o l a i k i r c h e .

Lessons i n music c o m p o s i t i o n — S c h e i n supposedly s t u d i e d

comment u n e q u i v o c a l l y

Dur-

t h a t Schein

Schein

had

again

also Livingstone,

op.

1607,

re-

d i d i n t h i s year taken up c i t . , pp.

resi157-62.

375.

Burmeister:

ein Beitrag

( K a s s e l : B a r e n r e i t e r V e r l a g , 1955), pp.

100-101.

sur Idusiklehre

urn 1600

32 dence i n L e i p z i g as a student a t the u n i v e r s i t y where "he s t u d i e d , be53 s i d e s ^ l i b e r a l arts, jurisprudence."

P r i i f e r makes i t v e r y c l e a r

that

those s u b j e c t s which make up the l i b e r a l a r t s i n the 17th centfury a r e i n many ways synonymous w i t h s u b j e c t areas which r e l a t e to the f i n e t h a t i s , Schein's secondary

s t u d i e s , i f one

l e s s e r import, c o n s i s t e d of p o e t i c s and

arts—

can c o n s i d e r them b e i n g of 54

music.

Iii o r d e r to study law a t the u n i v e r s i t y , S c h e i n would have had

to

become c l o s e l y a c q u a i n t e d w i t h the t h r e e genera o f eloquence which were r e c o g n i z e d i n the 17th c e n t u r y : genus iudiciale deliberativum

( j u d i c i a l s p e e c h ) , genus

( d e l i b e r a t i v e s p e e c h ) , and genus demonstrativum

or c e n s o r i o u s s p e e c h ) . T h e

(eulogistic

main sources f o r t h i s p a r t of the law

dents' s t u d i e s were H e r e n n i a n ' r h e t o r i c , Q u i n t i l i a n ' s Institutio 56 and, of c o u r s e , the works of C i c e r o .

stu-

oratorio.

Not o n l y would S c h e i n have s t u d i e d

the v a r i o u s types of r h e t o r i c at' the u n i v e r s i t y , he would have r e c e i v e d ample p r a c t i c e i h employing s i t y were expected

them, f o r a l l of the students at the u n i v e r -

to p a r t i c i p a t e a c t i v e l y i h r e c i t a t i o n s , l e c t u r e s , arid

debates Schein undoubtedly

came i n t o corit-act w i t h a g r e a t d e a l of music

ing h i s e a r l y years iri L e i p z i g .

As a devout

dur-

L u t h e r a n , he would have a t -

tended r e g u l a r l y the Sunday Gottesdienst. I t i s not unreasonable, then, 53. S p i t t a , op. c i t . , p. 28. "...riebenst den f r e y e n Ktinsten d i e Juris-

prudentiam

studiret."

54.

P r i i f e r , op. c i t . ,

55.

Dyck', op. c i t . , p.

56"

Ibid.

p.

11.

10.

57. . F. Schulze & R. Ssymank, Das deutsche Studententum von den aeltes'ten ... Zeiten bis zur Gegenwart ( L e i p z i g : R. V o i g t l a n d e r s V e r l a g , 1910), pp. 90-91. 1

33

to assume that S c h e i n would have attended the d i v i n e s e r v i c e a t the Thomaskirche.

Seth C a l v i s i u s , a m u s i c i a n of h i g h r e p u t e , was

k a n t o r a t t h a t t i m e , and ready well-aware

Thomas-

S c h e i n , from h i s y e a r s spent at P f o r t a , was a l -

o f C a l v i s i u s ' m u s i c a l prowess.

p o e t i c s a t the u n i v e r s i t y may

Schein's s t u d i e s o f

a l s o have made him f a m i l i a r w i t h the Thomas-

k a n t o r ' s p o e t r y , s i n c e C a l v i s i u s had

f o r m e r l y been p r o f e s s o r of both

t o r y and p o e t r y a t the U n i v e r s i t y o f L e i p z i g a t l e a s t as l a t e as when the c o n f l i c t s between the p o l i c i e s of t h a t i n s t i t u t i o n and

his-

1606 the Thomas-

i