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UniversiV MicrOTlms International 300 N. Zeeb Road Ann Arbor, Ml 48106 8510585 Jacoby, Stephen Dunn THE SALMINGER ANTHOLOGIES The Ohio State University Ph.D. 1985 University Microfilms I nternâtiOnâ!300 N. zeeb Road, Ann Arbor, Ml 48106 Copyright 1984 by Jacoby, Stephen Dunn All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark £_ 1. Glossy photographs or pages. 2. Colored illustrations, paper or print______ 3. Photographs with dark background______ 4. Illustrations are poor copy______ 5. Pages with black marks, not original copy. 6. Print shows through as there is text on both sides of page_ 7. Indistinct, broken or small print on several pages l / 8. Print exceeds margin requirements______ 9. Tightly bound copy with print lost in spine______ 10. Computer printout pages with indistinct print 11. Page(s)____________ lacking when material received, and not available from school or author. 12. Pagefs)____________ seem to be missing in numbering only as text follows. 13. Two pages num bered ____________ . Text follows. 14. Curling and wrinkled pages______ 15. Other ______________________________________________________________ ____________ University Microfilms International THE SALMINGER ANTHOLOGIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Stephen Dunn Jacoby, B.M., M.A. ***** The Ohio State University 1985 Reading Committee: Approved By Peter Gano Herbert Livingston Keith Mixter Advise^ School of Music Copyright by Stephen Dunn Jacoby 1984 ACRNUWLtiA»ntJNl-b First and foremost I must express my respect and gratitude to Dr. Herbert Livingston, my adviser, who has generously shared his knowledge, experience, and time throughout this project. His insistence on clarity and precision in writing has been constant. At the same time he seemed to know instinctively when I needed to be pressured, and when I did not. The other two readers, Drs. Peter Gano and Keith Mixter, provided comments and criticisms which in every case resulted in a more readable and more useful document. Microfilm copies of the Salminger anthologies were graciously supplied by the Deutsches Musikgeschichtliches Archiv, Kassel, West Germany. The staffs, collections, and facilities of both The Ohio State University Music Library, Dr. nramas Heck, Librarian, and the Bluffton College Library, Dr. Delbert Gratz, Librarian, have been placed at my disposal under the most favorable conditions and have been indispensable to the project's feasibility and completion. For Latin translations I am indebted to David George, doctoral candidate in Classics at the Ohio State University. For assistance with idiomatic and archaic German I thank Heidrun Awad, who provided insights that could come only from one whose native tongue is German. Special gratitude goes to Dr. Michael Edmiston, Professor of Chemistry and Director of Academic Computer Services at Bluffton College, who i i wrote software to meet my needs and transformed a cumbersome machine into a sophisticated word processor. It is impossible to fully express my love and gratitude to my wife, Nancy, and my daughters, Katie and Liza, who (unknowingly) provided me with my strongest support, and whose h=?rdships in the process were far greater than my own. i i i VITA February 16, 1942.............Born - Columbus, Ohio 1964 ........................ B.M., cum laude. The Ohio State University, Columbus, Ohio 1964-1966.................... Graduate Teaching Assistant, School of Music, The Ohio State University, Columbus, Ohio 1966 ........................ M.A., The Ohio State University, Columbus, Ohio 1966-1984.................... Associate Professor of Music, Bluffton College, Bluffton, Ohio FIELDS OF STUDY Major Field: Music History Studies in Music History. Professors Richard Hoppin, Herbert Livingston, Alexander Main, and Keith Mixter Studies in Music Theory: Gertrude Kuehefuhs, Norman Phelps Studies in Organ Performance and Church Music: Wilbur Held IV Tonr IT mr rnKmrvrrc ACKNOWLEDGMENTS.......................................... ii VITA ...................................................iii LIST OF ABBREVIATIONS..................................... vi INTRODUCTION .......................................... 1 Chapter I. SIGMUND SALMINGER ............................... 7 II. AUGSBURG IN THE REFORMATION ERA......................18 III. THE SELECTISSIMAE NECNON FAMILIARISSIMAE CANTIONES.........................................41 IV. THE CONCENTUS NOVI................................ 104 V. THE CONCENTUS OCTO. SEX. OUINOUE. & OUATUOR VOCUM . 115 VI. THE CANTIONES SEPTEM. SEX ET OUINOUE VOCUM.......... 142 VII. THE CANTIONES SELECTISSIMAE. Book O n e .............168 VIII. THE CANTIONES SELECTISSIMAE. Book Tw o ................181 IX. THE QUALITY OF SALMINGER'S WORK AS EDITOR........... 192 X. CONCLUSIONS........................................203 APPENDIXES A. MUSICAL WORKS IN THE SALMINGER ANTHOLOGIES: ALPHABETICAL LIST................................ 209 B. MUSICAL WORKS IN THE SALMINGER ANTHOLOGIES; COMPOSER LIST.................................... 215 C. SIXTEENTH CENTURY PRINTED SOURCES CONTAINING INSTRUMENTAL ARRANGEMENTS OF WORKS IN THE SALMINGER ANTHOLOGIES..................... 223 BIBLIOGRAPHY ........................................ 230 V LIST OF ABBREVIATIONS Ant iphonale Antiphonale sacrosanctae Romanae ecclesiae pro diumis Boris B Bassus CtT Contratenor D Discantus DTO DenkmSler der Tonkunst in Osterreich DDT Denkmaier deutscher Tonkunst DKL Ameln, Konrad, Markus Jenny, and Walther Lipphardt, eds. Das Deutsche Kirchenlied. Volume B/VIII of RISM. EDM Das Erbe deutscher Musik Graduale Graduale Roroanum de Tempore et de Sanctis JAMS Journal of the American Muslcoloqical Society MGG Die Musik in Geschichte und Geqenwart MQ The Musical Ouarterlv New Grove New Grove Dictionary of Music and Musicians 0 Quintus RISM Repertoire International des Sources Musicales Sigla from volume A/I, Einzeldrucke vor 1800. take the following form: letter-space-number. Sigla from volume B/I, Recueils Imprimes XVI-- XVII- siècles take the following form: date with superscript. Sx Sextus T Tenor For manuscripts the library sigla given in New Grove are used here. Vi Introduction The Reformation era, commonly dated from the posting of Martin Luther's ninety-five theses in 1517 to the Peace of Augsburg in 1555, was a period of prolific activity by the printers of Germany. The use of the printing press as a tool of the German reformers for the advancement of their ideas is well-known. The Reformation leaders also used the printers to supply musical materials for worship in their churches. This activity resulted in many anthologies of choral polyphony which not only provide examples of the music used in the specific worship traditions of the period, but also are among the earliest printed sources of choral music to have survived. The former is most clearly evident in the work of Georg Rhau in Wittenberg, whose series of publications in the 1530s and 1540s provided music for Lutheran worship in a comprehensive and systemic way.^ Next to Wittenberg, the two most active protestant centers of music printing in Germany in this period were Nuremberg and Augsburg. Notable among the collections printed by the Nuremberg firm of See Ron Gould, "The Latin Lutheran Mass at Wittenberg, 1523-1545; A Survey of the Early Reformation Mass and the Lutheran