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RECONSTRUCTION PROBLEMS OF 17TH-CENTURY MUSICAL COMPOSITIONS WRITTEN IN NEW GERMAN ORGAN TABLATURE NOTATION WITH SPECIFIC EXAMPLES FROM LEVOCSKA ZBIERKA HUDOBNIN [ THE LEVOCA MUSIC COLLECTION]
Abstract
This paper explores transcription and reconstruction problems of manuscript musical sources preserved in new German organ tablature notation. The printed form of this musical notation was used for the first time by Elias Nicolas Ammerbach (ca. 1530 – 1597) in his work Orgel oder Instrument Tabulatur [Organ or Instrumental Tablature] (1571). Later, in 17th-century Central Europe, it was used in Lutheran churches mainly to write manuscripts with vocal (or vocal-instrumental) compositions, so-called intabulation. As an example connected with primary sources from Slovak territory, we can compare Ammerbach's original concept with individual copyists' deviations in Levočska zbierka hudobnin [The Levoča Music Collection]. The main aim of this study is the resolution of transcription problems, as well as the completion of selected compositions by the Silesian musician M. Apelles von Lowenstern (1594 – 1648). Crucial information about melody, lyrics or instrumentation can be also obtained from vocal parts. Therefore, it is essential to view them as a significant element without which a relevant reconstruction is almost impossible.
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References14
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