The chorale through four hundred years of musical development as a congregational hymn / by Edwin Liemohn.
| Author/creator | Liemohn, Edwin |
| Format | Book |
| Publication Info | Philadelphia : Muhlenberg Press, [1953] |
| Description | xii, 170 pages : music ; 21 cm |
| Subjects |
| Contents | Monodic and polyphonic techniques 1524-1586. The state of music in the early sixteenth century ; Early Reformation music in Germany (The adaptation and influence of the chorale ; Luther's problem and solution ; The use of secular melodies ; Luther's contribution ; Music in the early evangelical service ; Early German publications) ; Monodic chorale in Sweden (The pre-Reformation period ; The Reformation movement ; Early Lutheran hymnody) ; Monodic chorale in Denmark and Norway (The pre-Reformation period ; Early Lutheran hymnody) -- Early homophonic and harmonic techniques 1586-1680. Poet-composers and poets ; Transition to harmony (The use of the organ ; Music notation ; Ornamentation) ; The harmonic chorale in Sweden (Foreign influence ; Swedish publications) ; The harmonic chorale in Denmark and Norway -- The end of an era 1680-1750. The German chorale (The pietistic movement ; Increased use of the organ ; Publications ; J. S. Bach ; Chorale examples) ; The Swedish chorale (Tendency toward uniformity ; Svedberg's hymnal ; The Koralpsalmboken ; The use of the organ) ; The Danish-Norwegian chorale. Pontoppidan's hymnal -- Reform and devitalization 1750-1817. In Germany (Rationalism ; Hymn writers ; Musical settings) ; In Sweden (Rationalism ; Hymn revisions ; Chorale books) ; In Denmark and Norway (F. C. Breitendich ; Niels Schiorring ; H. C. O. Zinck) -- Revival 1817-1936. In Germany (Reform from rationalism ; The Eisenach chorale book ; Hymn writers ; Musical examples) ; In Sweden (Wallin's hymnal ; Haeffner's chorale book of 1820-1821 ; Continued reform ; The friends of church song) ; In Norway (Independence ; Ole Andreas Lindeman ; Hymnals ; Ludwig M. Lindeman ; Eric Hoff) ; In Denmark (Reorganization ; Bishop Grundtvig ; Chorale publications) -- The chorale in America. In churches of German background (German publications in America ; English publications in America) ; In churches of Swedish background (Swedish publications in America ; English publications in America) ; In churches of Norwegian background (Norwegian publications used in America ; English publications) ; In churches of Danish background -- Present chorale problems. The melody ; The unison of music and poetry ; Rhythmic versus nonrhythmic chorales -- Appendix. Early Lutheran songbooks ; Hymns by Martin Luther ; An explanation of the figured bass system. |
| Abstract | "Music, as we recognize it today, has its roots in the development of the chorale--the musical setting of hymns. More than 120 musical illustrations in THE CHORALE analyze the development of the musical settings of congregational hymns, tracing their growth from the early Gregorian chant through 400 years of change. In the early centuries, music belonged only to the church. By the Reformation era, only the clergy any longer understood the words of the Gregorian chant. Hymns in the language of the people were not available, with the result that congregational singing had disappeared. The importance of congregational participation in the music of the church was realized by Martin Luther, in Germany, and by the reformers of that era in the Scandinavian countries. To themselves they assigned the task of breaking language barriers by translating the early hymns of the church into the vernacular. Congregational singing did not become popular overnight. It was a gradual change that went through many phases. But important to the development of music was the introduction of the organ into the church to accompany singing. Church organists, recognizing the limitations of unison singing, began embellishing the music of the hymns by the introduction of other melodies--including the popular ballads of the day. Sterner minds, however, foresaw the evils that might arise from these impromptu arrangements. They began developing a more scientific approach to the art of music. Thus, through the years, the early simple chorale melody, notated without bar lines and meter signatures, was transformed into a more formal composition with a simple harmonic setting of the melody. Eventually, this became a powerful medium which hastened and popularized the tendency to base composition on harmony rather than counterpoint. The era of musical growth sparkles with great names in music. Such early church musicians as Osiander, Eccard, Vulpius, and Praetorius stand out as foundation stones supporting the entire structure of the chorale. The contribution of these composers and many others sets the pattern of chorale harmonization which was later to be amplified by such masters as Telemann and Bach. The influence of the German composers was felt also in Scandinavian countries and later in America. The clash between the schooled German technique and the more primitive folk music of Scandinavian created one of the animated phases of chorale history. As their native culture developed to the point where they were self-sufficient musically, the Scandinavians asserted their independence of the German style which had been the accepted pattern."--Dust jacket. |
| Bibliography note | Includes bibliography (pages 160-166) and index. |
| Biographical note | "Edwin Liemohn, SMD, is chairman of the music department at Wartburg College in Waverly, Iowa, where he teaches music theory and directs the Wartburg Choir. Born near Estelline, South Dakota, in 1903, his musical education has included the earning of degrees in music from Chicago Musical College, MacPhail School of Music and the Eastman School of Music. His doctorate was earned in 1945 at the School of Sacred Music of Union Seminary. The Wartburg Choir has become a favorite of musical audiences as a result of extensive concert tours, radio programs, and recordings. A number of Dr. Liemohn's choir compositions have been published."--Dust jacket. |
| LCCN | 53010130 |