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8/13/2019 About Aldrich Dissertation
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Review: [untitled]Author(s): Hans T. DavidSource: Notes, Second Series, Vol. 9, No. 2 (Mar., 1952), p. 291Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/890230 .
Accessed: 31/05/2011 13:41
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8/13/2019 About Aldrich Dissertation
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Lehrbuch des Kontrapunktes. VonHeinrich Lemacher und Hermann Schroe-der. Mainz: B. Schott's Sihne [dist.in America by Associated Music Pub-
lishers, NYC, 1950]. [119 p., music,
8vo; paper, $2.40]Every thinking teacher of harmony or
counterpoint will feel the desire to writehis own textbooks. Here is a new intro-duction to counterpoint, an intelligentand musical book with few rules and
many references to compositions in divers
styles. The authors aim at a combina-tion of elements of the vocal counter-
point teaching, according to Palestrinaand Fux, and the instrumental one ac-
cording to Bach, to which the treatmentof folk songs is added as a contempor-ary triplum. They deliberately take upan intermediary position-kindness prev-ents us from rendering Vermittlungs-stellung as a form of compromise -between K. Jeppesen's Palestrina-based
Counterpoint, Ernst Kurth's Grundlagendes linearen Kontrapunkts, and Hinde-mith's Craft of Musical Composition.
Holding that counterpoint instruction
should accomplish an introduction to thestudy of distinct styles, this revieweradvocates a stricter separation of his-torical situations than that offered byLemacher and Schroeder. Without thecomposer's concurrence, however, the
musicologist is perhaps not privileged todetermine how far the teaching of coun-
terpoint should rely on historical prin-ciples.
HANST. DAVID
Ornamentation in J. S. Bach's OrganWorks. By PutnamAldrich. New York:Coleman-Ross Co., 1950. [iv, 61 (5) p.,music, 8vo; $2.00]
Putnam Aldrich is the author of amonumental study (originally a Harvarddissertation) of ornamentation in the 17thand 18th centuries, which has been an-nounced for publication this spring orsummer. While awaiting the importantlarger publication we are served thishors d'oeuvre, a smallish book that seemsto suggest omission of essential materialfor lack of space. After a short generalintroduction, the basic forms of ornaments(trill, mordent, appoggiatura, turn, and
Lehrbuch des Kontrapunktes. VonHeinrich Lemacher und Hermann Schroe-der. Mainz: B. Schott's Sihne [dist.in America by Associated Music Pub-
lishers, NYC, 1950]. [119 p., music,
8vo; paper, $2.40]Every thinking teacher of harmony or
counterpoint will feel the desire to writehis own textbooks. Here is a new intro-duction to counterpoint, an intelligentand musical book with few rules and
many references to compositions in divers
styles. The authors aim at a combina-tion of elements of the vocal counter-
point teaching, according to Palestrinaand Fux, and the instrumental one ac-
cording to Bach, to which the treatmentof folk songs is added as a contempor-ary triplum. They deliberately take upan intermediary position-kindness prev-ents us from rendering Vermittlungs-stellung as a form of compromise -between K. Jeppesen's Palestrina-based
Counterpoint, Ernst Kurth's Grundlagendes linearen Kontrapunkts, and Hinde-mith's Craft of Musical Composition.
Holding that counterpoint instruction
should accomplish an introduction to thestudy of distinct styles, this revieweradvocates a stricter separation of his-torical situations than that offered byLemacher and Schroeder. Without thecomposer's concurrence, however, the
musicologist is perhaps not privileged todetermine how far the teaching of coun-
terpoint should rely on historical prin-ciples.
HANST. DAVID
Ornamentation in J. S. Bach's OrganWorks. By PutnamAldrich. New York:Coleman-Ross Co., 1950. [iv, 61 (5) p.,music, 8vo; $2.00]
Putnam Aldrich is the author of amonumental study (originally a Harvarddissertation) of ornamentation in the 17thand 18th centuries, which has been an-nounced for publication this spring orsummer. While awaiting the importantlarger publication we are served thishors d'oeuvre, a smallish book that seemsto suggest omission of essential materialfor lack of space. After a short generalintroduction, the basic forms of ornaments(trill, mordent, appoggiatura, turn, and
Lehrbuch des Kontrapunktes. VonHeinrich Lemacher und Hermann Schroe-der. Mainz: B. Schott's Sihne [dist.in America by Associated Music Pub-
lishers, NYC, 1950]. [119 p., music,
8vo; paper, $2.40]Every thinking teacher of harmony or
counterpoint will feel the desire to writehis own textbooks. Here is a new intro-duction to counterpoint, an intelligentand musical book with few rules and
many references to compositions in divers
styles. The authors aim at a combina-tion of elements of the vocal counter-
point teaching, according to Palestrinaand Fux, and the instrumental one ac-
cording to Bach, to which the treatmentof folk songs is added as a contempor-ary triplum. They deliberately take upan intermediary position-kindness prev-ents us from rendering Vermittlungs-stellung as a form of compromise -between K. Jeppesen's Palestrina-based
Counterpoint, Ernst Kurth's Grundlagendes linearen Kontrapunkts, and Hinde-mith's Craft of Musical Composition.
Holding that counterpoint instruction
should accomplish an introduction to thestudy of distinct styles, this revieweradvocates a stricter separation of his-torical situations than that offered byLemacher and Schroeder. Without thecomposer's concurrence, however, the
musicologist is perhaps not privileged todetermine how far the teaching of coun-
terpoint should rely on historical prin-ciples.
HANST. DAVID
Ornamentation in J. S. Bach's OrganWorks. By PutnamAldrich. New York:Coleman-Ross Co., 1950. [iv, 61 (5) p.,music, 8vo; $2.00]
Putnam Aldrich is the author of amonumental study (originally a Harvarddissertation) of ornamentation in the 17thand 18th centuries, which has been an-nounced for publication this spring orsummer. While awaiting the importantlarger publication we are served thishors d'oeuvre, a smallish book that seemsto suggest omission of essential materialfor lack of space. After a short generalintroduction, the basic forms of ornaments(trill, mordent, appoggiatura, turn, and
composite items) are taken up separately.The author shows a certain predilectionfor slow measured execution. In the caseof the mordent this is in direct contra-diction to Bach's single chart of orna-
ments (from the Clavierbiichlein fiirWilhelm Friedemann Bach, which is heremisdated 1770). While the larger libraryand the mature organist may want the
book, it is hardly suited for a student whohas not mastered the precarious skill of
disagreeing with opinions presented in
print. Perhaps this was in the mind ofauthor and publisher when they supple-mented the material with three blank
pages, headed NOTES.
HANS T. DAVID
Johann Sebastian Bach: Documenta.Herausgegeben durch die Niedersach-sische Staats- und Universititsbibliothekvon Wilhelm Martin Luther zum Bach-fest 1950 in Goittingen.Kassel und Basel:
Barenreiter-Verlag [1950]. [150 p.,illus., 8vo; DM 2.40]
The bicentenary of Bach's death foundhis memory cheerfully astir. The present
catalogrecords in
exemplaryfashion
what must have been a spectacular ex-hibit of Bach items. W. M. Luther, whoin the memorial year also saw throughthe press a splendid facsimile edition ofBach's Sei Solo [sic] for unaccompaniedviolin (Barenreiter-Verlag), took greatpains to cover the entire field of Bach-
iana, including chiefly holographs byBach and his sons, early manuscriptcopies, and original editions of Bach
works, documents,and
portraits.The
informative catalog descriptions are care-
fully worked out.The former Preussische Staatsbiblio-
thek in Berlin (now called Offentlichewissenschaftliche Bibliothek) had beenthe foremost repository of Bach material.The part of t'he collection evacuated tosouthern Germany during the war was en-trusted under the occupation to theUniversititsbibliothek Tiibingen (UBT)and the Westdeutsche Bibliothek in Mar-
burg (WB). The information is roundedout by a pamphlet, Westdeutsche Biblio-thek (Sammlungen der ehemaligenPreussischen Staatsbibliothek), Bach-
Ausstellung 1950, Katalog [xi p., illus.,
composite items) are taken up separately.The author shows a certain predilectionfor slow measured execution. In the caseof the mordent this is in direct contra-diction to Bach's single chart of orna-
ments (from the Clavierbiichlein fiirWilhelm Friedemann Bach, which is heremisdated 1770). While the larger libraryand the mature organist may want the
book, it is hardly suited for a student whohas not mastered the precarious skill of
disagreeing with opinions presented in
print. Perhaps this was in the mind ofauthor and publisher when they supple-mented the material with three blank
pages, headed NOTES.
HANS T. DAVID
Johann Sebastian Bach: Documenta.Herausgegeben durch die Niedersach-sische Staats- und Universititsbibliothekvon Wilhelm Martin Luther zum Bach-fest 1950 in Goittingen.Kassel und Basel:
Barenreiter-Verlag [1950]. [150 p.,illus., 8vo; DM 2.40]
The bicentenary of Bach's death foundhis memory cheerfully astir. The present
catalogrecords in
exemplaryfashion
what must have been a spectacular ex-hibit of Bach items. W. M. Luther, whoin the memorial year also saw throughthe press a splendid facsimile edition ofBach's Sei Solo [sic] for unaccompaniedviolin (Barenreiter-Verlag), took greatpains to cover the entire field of Bach-
iana, including chiefly holographs byBach and his sons, early manuscriptcopies, and original editions of Bach
works, documents,and
portraits.The
informative catalog descriptions are care-
fully worked out.The former Preussische Staatsbiblio-
thek in Berlin (now called Offentlichewissenschaftliche Bibliothek) had beenthe foremost repository of Bach material.The part of t'he collection evacuated tosouthern Germany during the war was en-trusted under the occupation to theUniversititsbibliothek Tiibingen (UBT)and the Westdeutsche Bibliothek in Mar-
burg (WB). The information is roundedout by a pamphlet, Westdeutsche Biblio-thek (Sammlungen der ehemaligenPreussischen Staatsbibliothek), Bach-
Ausstellung 1950, Katalog [xi p., illus.,
composite items) are taken up separately.The author shows a certain predilectionfor slow measured execution. In the caseof the mordent this is in direct contra-diction to Bach's single chart of orna-
ments (from the Clavierbiichlein fiirWilhelm Friedemann Bach, which is heremisdated 1770). While the larger libraryand the mature organist may want the
book, it is hardly suited for a student whohas not mastered the precarious skill of
disagreeing with opinions presented in
print. Perhaps this was in the mind ofauthor and publisher when they supple-mented the material with three blank
pages, headed NOTES.
HANS T. DAVID
Johann Sebastian Bach: Documenta.Herausgegeben durch die Niedersach-sische Staats- und Universititsbibliothekvon Wilhelm Martin Luther zum Bach-fest 1950 in Goittingen.Kassel und Basel:
Barenreiter-Verlag [1950]. [150 p.,illus., 8vo; DM 2.40]
The bicentenary of Bach's death foundhis memory cheerfully astir. The present
catalogrecords in
exemplaryfashion
what must have been a spectacular ex-hibit of Bach items. W. M. Luther, whoin the memorial year also saw throughthe press a splendid facsimile edition ofBach's Sei Solo [sic] for unaccompaniedviolin (Barenreiter-Verlag), took greatpains to cover the entire field of Bach-
iana, including chiefly holographs byBach and his sons, early manuscriptcopies, and original editions of Bach
works, documents,and
portraits.The
informative catalog descriptions are care-
fully worked out.The former Preussische Staatsbiblio-
thek in Berlin (now called Offentlichewissenschaftliche Bibliothek) had beenthe foremost repository of Bach material.The part of t'he collection evacuated tosouthern Germany during the war was en-trusted under the occupation to theUniversititsbibliothek Tiibingen (UBT)and the Westdeutsche Bibliothek in Mar-
burg (WB). The information is roundedout by a pamphlet, Westdeutsche Biblio-thek (Sammlungen der ehemaligenPreussischen Staatsbibliothek), Bach-
Ausstellung 1950, Katalog [xi p., illus.,
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