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In addition to books on the more prominent organ areas in Europe, our understanding of organ history would be increased if we had works in English on, for example, organs in the Czech Republic, Slovakia, Slovenia, and other lesser-known regions. In addition to histories of significant organs, historians of the organ and organbuilders need more books containing detailed technical descriptions of important instruments. There are numerous books about historic organs with pipe measurements, but I am thinking about complete descriptions of organs with illustrations and measurements of all parts, such as Die Stellwagen- Orgel in Sankt Marien zu Stralsund: Eine Bestandsaufnahme, Chronik und Dokumentation (2006), the four volumes of the GOArt organ documentation reports (2000- 2007), or the Harley Monographs prepared by the English organbuilder Goetze & Gwynn (1990-2018).% In particular, the great historic organs of Europe restored with public funds have already been fully documented, and this technical information should be made available to all. Knowing how many exemplars of a particular title survived and where these books are found establishes useful data points in evaluating the influence and distribution of historic treatises.

During his first months in Dresden, Schütz was called upon to supply music not only for a state visit by Emperor Matthias and Archduke Rudolf of Austria but also for a three-day celebration of the centenary of the Reformation.9 Four The following year marked the beginning of the seemingly endless Thirty Years War (1618-48), which brought devastation to most of Germany and imposed severe hardships, both financial and artistic, on Schütz's tenure.10 In 1619, Schütz finally published the lavish music Moritz anticipated from his study with Gabrieli, Die Psalmen Davids sampt etlichen Moteten und Concerten.1 Five In 1628, Schütz returned to Venice, where he met Claudio Monteverdi, Alessandro Grandi, and Ignazio Donati. Through them he discovered the small-voiced concerto, leading to his publication of Symphoniae sacrae I in 1629.12 Six In February 1633, Crown Prince Christian of Den- mark invited Schütz to Copenhagen to supervise the wedding music (October 5, 1634) for his daughter, Magdalena Sybilla.13 Soon after Schütz's arrival, King Christian IV appointed the musician as the court's Visiting Capellmeister (with a considerable stipend). \"15 Seven Dismayed by the continued decline in the court's music and aware of his advancing age, Schütz wrote to the Elector (June 21, 1645) seeking to retire, which Johann Georg denied. During this interim the Peace of Westphalia was signed (October 24, 1648).16 Another petition for retirement accompanied the presentation to the Elector of the third book of the Symphoniae sacrae (1650).

The silver lining of our shutdown has been the necessity of discovering new pedagogical methods and the unanticipated benefits they alone may bring under any conditions. Confronting this reality check is significant, especially for any music majors who-having formerly relied on section-mates, rote teaching, part tracks, or piano support for their material-are in need of learning to sing from notation. In addition to all the growth in vocalism and musicianship that I anticipated, the execution of such a project would require students to reach out from their isolation and work together in small learning communities-an added emotional-health benefit for the times. Design The planning required on the front end was considerable. Because so many of my students are beginners in all or most of the skill sets described, I reasoned that I couldn't ask them to record and refine more than one phrase at a time.

Michael Praetorius' book Syntagma Musicum, and the associated illustrative plates (published as Theatrum Instrumentorum in 1620) have long been studied by organologists, and it is generally considered one of the most important historical publications of its type. Of particular interest and importance to researchers, the plates often include rulers to enable accurate measurements to be taken directly from the plates themselves. The first of the plates shows a highly decorated, but quite extraordinary, small organ which Praetorius indicates had one set of pipes but three registers. When writing about the instrument in Syntagma Musicum Praetorius states that it belonged to King Christian IV of Denmark - even today considered Denmark's most important king. There is, however, no record of the instrument ever existing other than what is shown in the plate, and no reference of an instrument of that nature has been found in Danish court records. This article explores the relationship between Praetorius and the Danish court of Christian IV, and shows that the two figures were personally acquainted. It also takes an in-depth look at the illustration to determine if it could be designed to work as described by Praetorius, despite his own failure to understand the organ fully.

Elisabeth's continued interest and support in those years has led several scholars to suggest that Duchess Elisabeth and Praetorius shared a closer affinity than would normally be expected between the nobility and a person in his position.2 This article more deeply explores evidence of their shared piety and belief in music's power to elevate the human soul, and ways in which that affinity affected Praetorius's later productivity in the face of dwindling resources.[...]in those efforts, many more were created for the entire church year, and through God's blessings, printed.Since you have shown me extraordinary grace over many years, showing admiration for the first volume [of Musae Sioniae], this second volume is humbly offered and dedicated to you.\"19 Praetorius later added significant material to the first volume of Musae Sioniae, which includes Praetorius's tribute extolling love for music in worship, Ecclesiatis & Philomusis, dated October 10, 1606, and his portrait, including the canon on Psalm 118.20 Most significantly, he included Martin Luther's Encomion Musices, a lengthy homage to the spiritual power of music translated into German by Johann Walter (1496-1570), with these words: \"...next to the word of God, nothing is so priceless and worthy of glory and praise as music.Because of dwindling resources and constant travel, the situation became increasingly difficult for Praetorius.Dr. Wade's gracious encouragement and help finding resources for this project has been very much appreciated. 2 See Wilibald Gurlitt, Michael Praetorius (Creuzbergensis) sein Leben und seine Werke (Wolfenbüttel: Dr. Josef Floßdorf, 2008), p. 260, in which he suggests the significance of a note from Elisabeth to Praetorius discussed in this article; Arno Forchert, \"Michael Praetorius und die Musik am Hof von Wolfenbüttel.\" in Daphnis 10, number 4 (1981), fn. 28 on p. 636, in which he suggests Elisabeth played a role in Praetorius receiving additional opportunities before and after her husband's death; Linda Maria Koldau, Frauen-Musik-Kultur: Ein Handbuch zum deutschen Sprachgebiet der Frühen Neuzeit (Köln: Böhlau Verlag, 2005), 184-185, in which she notes the unusual nature of his duty giving music instruction to Elisabeth and all her children; and Siegfried Vogelsänger, Michael Praetorius 1572-1621 Hofkapellmeister und Komponist zwischen Renaissance und Barock, Eine Einführung in sein Leben und Werk, in collaboration with Winfried Elsner (Wolfenbüttel: Möseler Verlag, 2008), 27-31, in which he details unique aspects of Praetorius's duties and interactions with Elisabeth and her husband. 3 Robin Leaver, \"Praetorius, The Gotha Cantional, and Bach,\" in Michael Praetorius Vermittler europäischer Musiktraditionen um 1600, edited by Susanne Rode Breymann and Arne Spohr (Hildesheim, Zürich, New York: Georg Olms, 2011), 240-241.

This research explores the instrument of the bajón throughout the sixteenth and early seventeenth centuries, highlighting the persevering ambiguity of instrument’s definition, and with a particular interest in finding connections between the bajón and the sackbut of the Renaissance. Through an examination of historical records on the sackbut, bajón, Spanish cathedral and court bands, and the musical traditions of the Spanish colonies, this paper traces the usage of the bajón and sackbut in the various ensembles where minstrels utilized both instruments. Additionally, pedagogical sources are examined, showcasing the versatility of the sackbut in both virtuosic and supporting roles, demonstrating the ease in which the instrument could have performed parts written for bajón. Finally, the document examines a representative sample of pieces from both the sacred and secular repertoires of Spanish Renaissance music, looking specifically at the bass lines to see how easily sackbut players could have performed these parts. Featured in an appendix of this document are transcriptions of selected works, providing modern trombonists with options to incorporate this music into their repertoire.

The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones. By applying modern compositional techniques to an older, abstract form, composers have maintained the original aesthetic while allowing for fanfares to be used as concert music. This document adds to the limited body of scholarly writing on modern fanfares.

[...]author Timothy Stalter shines the spotlight on contemporary British composer Gabriel Jackson, who has received much recognition throughout the UK and Europe but is largely unknown in North America.Book and Recorded Sound Reviews round out this April issue of Choral Journal, along with an article from Jennifer Rodgers in the On the Voice article series on \"A Language that Resonates.\"

This article examines the use of the transverse flute in early 17th-century German music for mixed vocal-instrumental ensembles and tries to resolve the problem of the pitches of the flutes used for this music. Most surviving Renaissance flutes are at a lower pitch than other surviving woodwind instruments, although they were used in combination with other woodwinds in the examined original repertory. A survey of surviving flutes as well as evidence from contemporary documentation points to two conclusions: that flutes were made at high pitches, and that sets of instruments existed with flutes and other woodwinds at the same pitch. These sets of instruments could have been used for the concerted music in question. Additionally, the music itself is examined in order to evaluate the possibilities for transposition in the event that flutes at different pitches were used. In some cases such transpositions were possible, indicating that the music could have been performed with instruments pitched a tone or a minor 3rd apart, but in other cases a transposition was impractical, suggesting performance on instruments at a single pitch level.

Despite hundreds of years of existence, even until the early 2000s the contrabass trombone was not a widely known member of the trombone family. In recent years there have been many developments leading to increased usage and acceptance. This increased usage stems from the key elements of accessibility and advancement in design. The available literature about the contrabass trombone is limited. New information that has become available recently does not identify the causes for the contrabass trombone’s increase in popularity. In this thesis I document the expanded usage of contrabass trombone through interviews with thirteen professional trombonists who use contrabass trombone. This thesis also includes a review of available literature, an overview of compositions since 1800 that include contrabass trombone, and a discussion of advances in manufacturing that have revolutionized contrabass trombone performance. Specific events led to the contrabass trombone becoming more accessible to those who were interested in it. Trends in manufacturing and music production have made the contrabass trombone easier to play and use. This project shows that over time, along with the innovations and design improvements of the entire trombone family, the contrabass trombone is being used more regularly because it has grown increasingly user-friendly and desirable in compositions where its unique timbre is warranted. This has led to the contrabass trombone gaining acceptance as a true member of the trombone family: worthy of study, application, and usage.