Symposium on Seventeenth-Century Music Theory: Germany

George Buelow

Journal of Music Theory, Vol. 16, No. 1/2. (Spring - Winter, 1972), pp. 36-49.

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SEVENTEENTH-CENTURY

German music theory in the seventeenth century displays a n

unstable a s well a s exceedingly energetic thrust into frequent-
ly contradictory a r e a s of musical thought. The contradictions
a r e to a considerable extent the result of the conflict of ideas
brought about by the collision of the medieval world of North
Europe with the evolving humanism of Italy. F o r the seven-
teenth century of Germany, music theory has a continuing
vitality of musical traditions established during the Middle
Ages, and to a large extent based on Greek philosophical foun-
dations. At the same time, although one can hardly speak of a
true German Renaissance in music, it i s evident in German
treatises of the late sixteenth and seventeenth centuries that
Italian music of the Renaissance and the leaders of Italian
music theory were welcomed into the German world of sound
and ideas.
MUSIC THEORY:

GEORGE BUELOW

The confrontation of Italian and German thought produced a n

extraordinary s e r i e s of hybrid documents containing a com-
plex ordering of music theory i n which the old and new a t
times stand side by side, a t times a r e intermixed, and a t times
a r e joined together to produce a s an offspring a new aspect t o
music theory that is a distinctly German contribution to the
Baroque period.

T o attempt a summary of the German contributions to music

theory in the seventeenth century i s at this time an unattain-
able goal. To date we have achieved little significant research
into this material, and we lack a systematic examination of the
development and dissemination of the main currents of theo-
retical ideas in the century. The little information available is
almost entirely i n German. It is both revealing and disappoint-
ing t o note that the most recent attempt i n English to digest
the main stream of ideas occurring in German theory ap-
peared in Manfred Bukofzer's Music in the Baroque Era, i n
the chapter entitled "Musical Thought In The Baroque Era,"
twenty-five years ago. During these twenty-five years knowl-
edge of the Baroque has expanded enormously, and the source
materials for the seventeenth century a r e more readily ob-
tainable in facsimile editions and on microfilms. Thus, what
at the time had been an important contribution has become ob-
solete, being frequently incorrect in fact and hypothesis.

The theory of seventeenth-century German music should have

attracted the attention of our discipline much earlier, for it i s
in this century, not the eighteenth, that everything we call Ba-
roque was formulated, both a s idea and practice. Unfortunate-
ly, t o some degree, we a r e impeded in our attempts to under-
stand musical thought by the all too unyielding b a r r i e r s we
have placed on historical time by ironclad period labels.
These force us frequently to believe that historical period and
musical ideas, century and musical style a r e synonymous. It
has taken some effort to dispel the notion that the Baroque be-
gan a t high noon on the f i r s t day of the New Year, 1600, but our
continuing faith in stereotypes of period boundaries may ex-
plain some of the disinterest in seventeenth-century theoreti-
cal writings, especially those works originating in the f i r s t
half of the century. F o r in these books the presence of the six-
teenth century remains evident, and in German treatises a t
least, we find a common debt t o the Italian writers of the six-
teenth century. German musical thought of the seventeenth
century adapts a t times, abandons at other times, the princi-
ples of Italian Renaissance music theory, and i t is just this
very process of discarding, sifting, and reformulating theo-
retical principles that makes German theory of this century
especially creative.

A serious handicap for the study of German theory, however,

i s not just our lack of knowledge about the German sources,
but, even m o r e elementary, our almost total lack of a detailed
investigation of Italian music theory of the same period. This
is unfortunate when one considers that almost every German
theorist expresses directly o r indirectly a great debt of knowl-
edge and material to such theorists a s Banchieri, Viadana,
Agazzari, Monteverdi, Artusi, Bononcini, Tigrini, Berardi,
Galilei, not t o overlook the illustrious names of the preceding
century such a s Zarlino, Aron, Gafori, and Glareanus. We
still need a detailed study of the continuing influence of six-
teenth-century Italian musical thought in the seventeenth cen -
tury, for clearly this influence was a major factor in the Ital-
ian impact on German music and theory. On the other hand,
with the exception of the name of Mersenne, French theorists
a r e seldom mentioned by German writers, and references t o
English and Spanish writers of the seventeenth century a r e
unknown to me.

At the conclusion of this article appears achecklist for seven-

teenth-century German theorists, which will illustrate the
concluding remarks concerning recent research in this field.
The checklist, which does not aim t o be complete, indicates
the many types of treatises that we must consider. In some
cases, the works of a single author a r e numerous and f a r -
reaching in subject areas, and even some of the briefer, more
elementary books, such a s the singing manuals, include infor-
mation that is essential t o our eventual, more comprehensive
understanding of music theory. A list of the most important
contributors to German theory would include: Ahle, Beer,
Bernhard, Burmeister, Calvisius, Criiger, Dressler, Faber,
Gibel, Gumpeltzhaimer, Herbst, Kircher, Kuhnau, Lippius,
Niedt, Nucius, Praetorius, Printz, Schonsleder, and Werck-
meister. With the possible exception of Kircher, all of these
writers were practicing musicians of considerable attainment,
and there can be no doubt that seventeenth-century music the-
ory i s firmly based on the musical practices of the period.

The ideas of these German theorists and those of their con-

temporaries generally orbit around one of two theoretical
poles. At one pole, with origins of the greatest antiquity, mu-
s i c exists a s a mathematical science and was divided into mu-
sics theoretica and musica practica. As a mathematical disci-
pline, musica theoretica - o r musical speculation- continues
a tradition established in the medieval world. This tradition
attempted to explain music a s number and t o bring the numer-
ical order of tone into an exact juxtaposition with the concept
of God a s universal order. We meet here not only theoretical
concepts of profound significance to German Baroque music,
but ideas vitally interconnected with theology, philosophy, and
metaphysics. In short, the musica theoretica of these seven-
teenth-century Germans - particularly the major contribu-
tions of Kircher and Werckmeister - a r e central to any histo-
r y of ideas in the seventeenth century.
The key to music a s a science is the word "order." The con-
cept of order rules every aspect of musical thought. Order i s
God, and God's order, expressed through number, has an exact
parallel to the basis of music a s sounding number. F o r exam-
ple Werckmeister, in Hypomnemata musica (1697) says: "Es
i s t die Musica nach einiger vornehrnen Theologorum Auss-
Spruchleine grosse Gabelund Wunder -Gottes. Eine Kunst iiber
aller Ktinste / weil sie von Gott selbst zu seinem Dienste ver-
ordnet istldaher der Seelige Lutherus ihrlnach der Theologiae
den nechsten/locum/und hachste Wiirde giebet." German the -
orists found particular inspiration in the frequently quoted
Biblical passage, from the Apocrypha: "God has ordered all
things by measure and number and weight" (Wisdom of Solo-
mon, 11:ZO). Musical harmony was a m i r r o r of the harmony of
Creation and by extension the cosmos was conceived in t e r m s
of musical ratios.

Thus, music continues to maintain i t s ancient relationship t o

the Quadrivium of the liberal a r t s , continues to be a mathe-
matical discipline, and a t the same time, takes on a specula-
tive yet relevant role in theological dogma.

It is in the seventeenth century in Germany that this strength-

ened union between theology and number leads t o the revolu-
tionary construct of the T r i a s harmonica, thus recognizing
with new terminology a musical fact that had been previously
described in sixteenth-century Italian treatises - especially
by Zarlino. The intensity of the preoccupation of German the-
orists with the triad a s an expression of order, number, and
perfection in its ratio of 4:5: 6, and i t s symbolic representation
of the Trinity played a significant role in the ever-increasing
vertical emphasis of compositional style. Of course the linear
aspect of music continued to dominate composition through the
seventeenth century, but the impact of triadic symbolism and
triadic verticality i s one result of the musica theoretica of
German theorists and composers, and an aspect that is still
too little understood.

Musica theoretica, moreover, influenced the most significant

speculative thinkers of the century, including writers of such
prominence a s Fludd and Kepler. In addition, German uni-
versities maintained a lively debate in this subject area, and
much still can be learned about the theoretical penchant of the
Germans for creating a philosophia musica. One important
a r e a to look for such an understanding may well be a serious
study of dissertations and disputations published in large num-
b e r s in the seventeenth century by the German universities.

Under musica practica can be grouped the numerous practical

handbooks of instruction from the seventeenth century explain-
ing how to sing, how t o write counterpoint, how t o teach sing -
ing to church choirs, and finally how to play an instrument o r
realize a thorough-bass part. For the most part these gener-
ally brief books s e t forth the conventions of seventeenth-cen-
tury theory. And just a s we can hardly understand nineteenth-
century music without an insight into the conventions of nine-
teenth-century harmony, or twentieth-century serial music
without exposure to the conventions of serial theory, we cannot
comprehend seventeenth-century music without knowing more
about the ordinary, daily teaching of music that took place i n
the Catholic church schools and, for Germany, the especially
prominent role of music in the Protestant Lateinschule.

What we sorely lack today i s a more preceptive style analysis

of this music that would grow out of our command of the rou-
tine theory a s it was taught t o students i n the seventeenth cen-
tury. We would find by a careful study of these textbooks, by
actually working with the large numbers of practical exercises
which they contain, frequently taken from the best composers
of the period, that we could begin to see the compositional
process, the performance practices, and the theoretical con-
cepts more vividly through seventeenth-century vision than
previously through twentieth-century insight. We need to feel
more at ease with the craft of composition employed by seven-
teenth-century composers. Long overdue i s a study of the
school manuals of such important sixteenth- and seventeenth-
century writers a s Calvisius, Cruger, Dressler, Faber, Gurn-
peltzhaimer, Listenius, and Nucius. These books and those
larger, more comprehensive treatises that include instruc-
tions in singing a s well a s the writing of counterpoint provide
a clear doctrine of contrapuntal practice: the craft of linear
voice writing, which remained a paramount aspect of musical
style for most German composers. The practice is rooted i n
the sixteenth century and continues without interruption, a l -
though confronted with the implicit challenge of thorough-bass
practice, until well into the eighteenth century.

In addition to continuing the medieval heritage of theoretical

thought grouped around the pole of musica theoretica, almost
f r o m the beginnings of the German Baroque, theorists turned
to the humanistic implications of music a s they became clear
in the Renaissance. Together with the two categories of theory
already described, a new, seminal force grew around a second
and entirely new pole with the concept of rnusica poetica. Com-
position itself was raised to a science based upon the powerful
relationships between music and words. The idea of rnusica
poetica a s a third branch of music appears a s early a s 1537 i n
the treatise of Listenius. Musica poetica becomes fully a c -
cepted a s the title t o a treatise by Burmeister in 1606.Already
on the threshold of the seventeenth century Burmeister ex-
plains for the first time the value of rhetoric in determining
how one composes music, which means music with a text. The
Figuren, a s musical-rhetorical devices, f i r s t occur i n B u r -
m e i s t e r ' s study a s rationalized concepts, but they a r e quickly
borrowed by other German writers. While the p r o c e s s by
which Burmeister arrived at the idea of musical-rhetorical
devices i s a distinctly German contribution to theory of seven-
teenth-century music, its musical basis r e s t s on the music of
the Renaissance.

Nucius, in his treatise Musica poetica of 1 6 1 2 , observed that

the f i r s t composer t o write music with musical-figurative
values was John Dunstable, and he includes among the great
composers in this tradition of showing sensitivity to the r e l a -
tionship of rhetoric to music such names a s Binchois,
Ockeghem, Bus-nois, Josquin, Isaac, Crequillon, Gombert,
Clemens non papa, Verdelot, among many more. A number of
the seventeenth-century w r i t e r s on rnusica poetica t r a c e their
own ideas regarding rhetorical emphasis to the music of L a s -
sus. In 1650 Kircher published in Musurgia universalis a pan-
orama of musical thought bringing together German and Italian
practices of the seventeenth century. Although still retaining
many of the older order of ideas, he devotes major attention t o
rhetorical principles a s they explain compositional processes
of sixteenth- and seventeenth-century music. Kircher's great
treatise is but one of the many demonstrations of the German
proclivity to synthesize theoretical thought of the medieval and
Renaissance worlds, German and Italian music, and to impose
a rationality on all musical procedures. This new viewpoint
created a musical doctrine that i s German, a musical-orator-
ical a r t that no longer belongs to the Quadrivium o r t o num-
ber, but rather becomes a fourth and musical member of the
ancient Trivium, the a r s dicendi.
The Checklist of Sources indicates the subject spread of the
source materials at hand. In listing at the same time more i m -
portant recent research related to these writers and their
treatises one quickly s e e s how very little has been done t o
open up this material to our students and ourselves. With few
exceptions nothing exists in the English language, and with the
exceptions of Bernhard, Burmeister, and Kircher, there a r e
no thorough studies of any of these theorists in any language.
A systematic study of seventeenth-century German theoretical
ideas has been begun in two important surveys, both in G e r -
man. F o r the musical-rhetorical aspect of German theory, the
well-known and now reprinted study of music and rhetoric by
Hans-Heinrich Unger has become a classic work, although
still an introductory study. The other, more recent book, is
by Rolf Damman, Der Musikbegriff i m deutschen Barock (Co-
logne, 1967).

Damman's book deserves the attention of every student of the

German Baroque. It presents an impressive amount of mate-
rials from the theoretical writings of the seventeenth- and
eighteenth-centuries which is not easily accessible i n other
books. The chapter headings in themselves express the range
of ideas Damman attempts to digest in his well-organized
survey: I. The Concept of Musical Order; 11. The Musical-
Rhetorical Principle; 111. Sound and Structural Forms; IV. The
Concept of Affect; V. Mythological, Natural Philosophical and
Theological Representations [in Music]; and VI. The Dissolu-
tion of the Concept. Unfortunately, the book is difficult to use,
lacks an index, and the writing is frequently circumlocutious,
complex, and abstruse. All material originally appearing i n
Latin remains without translation, and except for our linguis -
tically more gifted Ph.D. candidates, this study will not pro-
vide our graduate students with the kind of accumulated view-
point of the music theory of the German Baroque that we need.

The problem, of course, is two-fold. It is manifestly true that

many of these treatises a r e written in very difficult language,
both Latin and even m o r e complex seventeenth-century G e r -
man. We a r e training very few graduate students to work with
this kind of linguistic problem i n musicological research. Sec-
ondly, we need many comprehensive studies of these theorists,
not to mention the equally prominent group of prolific German
writers of the eighteenth century. No one would pretend that
everything written by Werckmeister, Printz, Beer, Calvisius,
o r Herbst - t o choose but a few of the major figures - is i m -
portant to us today. Yet we must have a sifted, intelligently
analytical survey of these treatises s o that we can begin t o
build a scientific literature upon which to expand our r e -
search. Two models of the kind of approach I have in mind
have appeared in German: the richly informative study of Bur-
meister's treatises by Martin Ruhnke and the recent, particu-
larly valuable study of Kircher's treatises and correspondence
by Scharlau.

In addition to individual studies of the treatises, we will need

a much more imaginative approach t o the seventeenth century
in German theory. It is curious, that after more than a centu-
r y of musicology and at least a half century of growing inter-
e s t in and popular appeal of Baroque music, that the whole
substance of music theory in seventeenth-century Germany i s
still almost virgin territory.

A CHECKLIST OF SOURCES

(**indicates the most important t r e a t i s e s f o r the century; recent r e s e a r c h con-

cerning a theorist i s listed immediately below the l i s t of publications of the theo-
r i s t and indicated by e x t r a indentation. Secondary s o u r c e s of general importance t o
seventeenth-century German theory a r e listed at the end of the list.)

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Somrner-GesprBche (Mwlhausen, 1697);
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.. .
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( N e i s s e , 1613).

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