Friedrich Ludwig (musicologist)

Friedrich Ludwig ( born May 8, 1872 in Potsdam; † 3 October 1930 in Göttingen ) was a German historian, musicologist and university professor. His name is closely associated with the discovery and rediscovery of the music of the Middle Ages in the 20th century, especially with the compositional technique of isorhythmical motet in the Ars nova.

Life

After graduating from the Victoria -Gymnasium, the Helmholtz -Gymnasium Potsdam today, Louis studied history at the University of Strasbourg, where he earned his Ph.D. in 1896 as a student Harry Bresslaus. He owed his musical education on the one hand Gustav Jacobsthal, the one-time single Ordinary Professor of Historical Musicology in Germany, on the other hand, Albert Schweitzer and Hans Pfitzner, who he had met in Strasbourg and to whom he was acquainted. For about a decade, he made ​​numerous trips through Europe, which he used to explore the sources of medieval music. In 1905 he qualified as a professor and was the successor of the same emeritus Jacobsthal, first as a lecturer, from 1910 as Associate Professor of Music History. After the end of World War II, he was expelled from the now belonging to France Strasbourg. From 1920 he was Professor at the Georg -August- University Göttingen, whose rector he was 1929/30.

Work

Friedrich Ludwig was one of the cultural studies scholars, the Baroque polyphony no longer considered as opposed to the traditional from the Romantic perspective as an absolute value, but their historical development and deployment researched and as an exploration and re-evaluation of old music ushered through which the music of the was reclaimed medieval theory and practice. His area of ​​research was the music of Palestrina, ie Ars antiqua Ars nova and the Dutch polyphony. As a historian Ludwig was familiar with the cultural unity in European history from the late Middle Ages and looked at it in the sense of Leopold von Ranke, whose grand-disciple he was by Bresslau. The Slavic cultures he moved here in his perspective. Unlike the musical intuition of the 19th century, the issue addressed in the sequence of Georg Wilhelm Friedrich Hegel's Phenomenology of Spirit (1807 ) Music as an art in itself, Ludwig explored the music in the sense of a systematic method in their relationships with other cultural phenomena such as architecture and literature, especially as a unit with the gasket in the medieval languages. For this purpose he used the Philology of the Middle High German, the Middle Latin and medieval Romance languages ​​, the chorale and the time history. He used the first source and style comparisons to the dating of musical works and introduced these methods in the history of music work.

Ludwig's services include the exploration of the organum, the deciphering of the early square notation, the discovery of Modalrhythmik in unanimous songs of the 13th century, the systematic presentation of Notre -Dame- era and the motets of the Ars nova compositions. He transferred into a variety of polyphonic works from the 15th century and published them in critical editions. He discovered the principle of composition of Isorhythmie whose name he also coined.

Publications (selection)

  • The polyphonic music of the 14th century. In: anthologies of the International Music Company. Volume 4, 1902/ 03, pp. 16-69
  • The 50 examples Coussemaker 's from the manuscript of Montpellier. In: anthologies of the International Music Company. Volume 5, 1903/ 04, pp. 177-244
  • The polyphonic music of the oldest epoch in the service of the liturgy. A more coherent Sankt -Jakobs - Offizium of the 12th century. In: Church Musical Yearbook. Volume 19, 1905, pp. 1-16
  • On the Origin and the first development of Latin and French motet in musical relationship. In: anthologies of the International Music Company. Volume 7, 1905/ 06, pp. 514-528
  • The research tasks in the field of medieval music history. Strasbourg 1906
  • The polyphonic works of the manuscript Engelberg 314 Add: Church Musical Yearbook. Volume 21, 1908, pp. 48-61
  • The liturgical Organa Leonins and Perotins. In: Festschrift for Hugo Riemann. Leipzig 1909, pp. 200-213
  • The polyphonic music of the 11th and 12th century. In: Congress report for Haydn centenary. Vienna 1909, pp. 101-108
  • Repertory organorum recentioris et motetorum vetustissimi stylized. I. Catalogue raisonné of the sources, Division 1 manuscripts in square notation. Niemeyer, Halle 1910
  • Perotinus Magnus. In: Archives of Musicology. Volume 3, 1921, pp. 361-370
  • The sources of motets oldest style. In: Archives of Musicology. Volume 5, 1923, pp. 185-222 and Volume 6, 1924, pp. 245 f
  • The spiritual is not liturgical, secular monophonic and polyphonic music of the Middle Ages to the early 15th century. In: Guido Adler (eds. ): Handbook of music history. dtv, München 1924/1930, pp. 157-195
  • The more voices of the 14th century show. In: Archives of Musicology. Volume 7 1925, pp. 417-435 and Volume 8, 1926, p 130
  • Purported transfer of the motets Herenthals No. 4 and 5, in: Journal of Musicology. Volume 8, 1925/26, pp. 196-200
  • Beethoven's Leonore. 1930
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