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Belingham, Bruce Allan. (Ch.4) The Bicinium in the Lutheran Latin Schools
During the e!ormation "erio#.$ "hD #iss., %ni&ersity o! Toronto, '()'
Ch. 4
*Biographical e&i#ence re&eale# that each author ha# some o!!icial
connection +ith the Latin schools, usually in the position o! rector or cantor.
The titles, !ore+or#s, an# #e#ications o! the boo,s +hich these teachers
compile# attest !urther to the musical acti&ities in their schools, so that i! the
or#inances #i# not speci!y the use o! such boo,s, it can be conclu#e# +ith
some certainly that the author-s teaching manual +as employe# at the school
in +hich he hel# a teaching position. The contents o! such manuals pro&i#e
#ocumentation o! Lutheran musical instruction. But the manuals +ere not
inten#e# to be use# e.clusi&ely. /ther supplementary materials +ere
recommen#e# by the or#inances an# by the teachers, although only in
isolate# instances +ere #e!inite #etails gi&en. To establish the relation o! such
supplementary music to the teaching boo,s, its nature, an# its use in the Latin
schools is the purpose o! the !ollo+ing stu#y.$ (Belingham, Bruce Allan. (Ch.4)
The Bicinium in the Lutheran Latin Schools During the e!ormation "erio#.$
"hD #iss., %ni&ersity o! Toronto, '()', '01)
Ch. 3
*2aber-s A# 3usicam "racticam 4ntro#uctio pro&i#e# a smooth continuation
!or more a#&ance# stu#ents, an# +as #i&i#e# into t+o parts (+hich, ho+e&er,
+ill be seen to #i!!er !rom earlier t+o*part boo,s). The !irst part, !or beginners
in the upper classes, inclu#es (!ol. B
5
&
)6
Clauis, 7o., Cantus, 3utatio, 2igura, Syncopatio, Clauis transposition, 3o#us, Tonus 8
Solmisatio.
"itch names, he.achor#sm types o! melo#y, he.achor# mutation, note*&alues (simple an#
ligate#), syncopation, change o! cle!s, inter&als, church mo#es an# solmi9ation.
This material correspon#s almost e.actly (e.cept !or syncopation an# mo#es)
+ith that presente# by 2aber in his Compen#iolum, but +hat +as taught +ithin
si.teen !olios in the beginning han#boo, no+ occupies almost !orty !olios.
:e+ an# more a#&ance# sub;ects are presente# in the secon# part, an#
these correspon# to the tra#itional hea#ings !oun# in earlier boo,s (!ol. L
5
&
)6
<'
=ra#us, Signum, Augmentatio, Diminutio, Tactus, "unctus, imper!ection, Alteratio 8 "roportio.
3ensuration, signs, augmentation, #iminution tactus, #otte# notes, imper!ection, alteration
an# proportion.
4t may be seen that this secon# part is an e.act e.tension o! the !irst part,
+hich in turn is an elaboration o! the Compen#iolum (see Table 444). 2aber
pro&i#e# a !urther insight into his intentions o! +riting these boo,s, an# the
le&els at +hich they +ere to be use#, in the #e#ication o! his 4ntro#uctio (!ol.
A
<
&
)6
:e autem orbruantur ingenia puerorum, huc us>? usus sum hac in tra#en#a 3usica ratione6
Singulis heb#oma#ibus #usbus classibus superioribus, hoc sta#ium e.ercetur. Tyronibus curo
praelegi praecepta in #usbus chartis, seorsim e.cusa, Dein#e progressi primam huius
opusculi partem #iscount6 @ua bene percepta, a##itur tan#em #octrina #e gra#ibus, 8
#iuersis signis.
4n or#er that the min#s o! the boys not be +eighe# #o+n, 4 ha&e up to this time ma#e use o!
the !ollo+ing system in musical instruction6 A&ery +ee, the stu#y o! music is practice# !or at
least t+o hours, an# in the three upper classes. 4n the case o! beginners, 4 see to it that
<5
the
rules are rea# out to them !rom t+o charts printe# separately, an# then those +ho ha&e
a#&ance# learn the !irst part o! this present +or,. /nce this has been thoroughly learne#,
!inally there is a##e# the teaching o! temporal le&els an# the &arious musical signs.
The se>uence o! using the complementary Compen#iolum an# 4ntro#uctio is
clari!ie# by this e.planation an# the passage >uote# at the beginning o! this
section (page '55). The Compen#iolum +as use# in the lo+est class
<<
!or
teaching the boys to rea# mensural music. %pon their promotion to an upper
class, this material +as re&ie+e# +ith the ai# o! a summary
<4
an# the
4ntro#uctio +as presente#.
<B
$ (Belingham, Bruce Allan. (Ch.4) The Bicinium in
the Lutheran Latin Schools During the e!ormation "erio#.$ "hD #iss.,
%ni&ersity o! Toronto, '()', '55*'54)
Ch. 2
*4nspiration !or the #e&elopment o! ne+ #i#actic metho#s emanate#
principally !rom the institution +hich ha# !ostere# the e!ormation C the centre
o! e&angelical proselyti9ation an# inno&ation C the %ni&ersity o! Dittenberg.
The mo#el !or all Lutheran teachers +as the "raeceptor =ermaniae$, "hilipp
3elanchthon, +ho +rote =ree, an# oman grammar boo,s an# boo,s on
Dialectic an# hetoric !or his uni&ersity classes. Eis in!luence on the many
music teachers +ho +ere his associates or stu#ents, especially in his use o! a
#ialogue !ormat in his boo,s, +as ac,no+le#ge# by Spangenberg an#
Agricola in their boo,s, +hose titles bear the +or# @uaestiones$.
1F
Arotematic
or catechetical teaching +as not an inno&ation o! the Lutheran teachers,
1(
but
since Luther an# 3elanchthon the >uestion !ormat +as ta,en up ane+ an#
the musicians !ollo+e# +ith great 9eal$.
)0
4n a 'B44 letter to his !ormat pupil,
Lucas Lossius, 3elanchthon a#&ise#6
Der Lehrer mGge nicht nur seinen Sto!! &ortragen, son#ern6 ac utilissimum est pueritatiae,
e.ercere per Arotemata.
)'
The teacher shoul# not only present this sub;ect*matter, but it is also most bene!icial !or youth
to e.ercise by means o! >uestions.
The &alue o! the erotematic metho# +as brought to the notice o! his rea#ers
by Lampa#ius (!ol. Aiii;)6
CHtra.imus igitur e. huius artis clarissimis pro!essoribus, tantum Canonum 8 praeceptorum
3usicae, >uantum tenerae aetatulae satis esse putauimus, in breues 8 apertas
>uestiunculas,I
Accor#ingly, 4 ha&e gathere# together !rom the most #istinguishe# pro!essors
o! this art such general rules an# precepts as 4 thought su!!icient !or those o!
ten#er age, set !orth in the !orm o! short an# clear >uestions.
An# Sebal# Eey#en e.plaine# the reason !or his e.pan#e# 'B<) treatise in a
passage (!ol. Ai;
&
) similar to that gi&en by Eeinrich 2aber (see abo&e, page
'<')6
A#eo, ut nH recognitam illam, se# penitus re!ormatam, aliam>? !actam nunc ui#eas. :am
>uo# illic perpetua narration tra#ebJ, i# hic per Arotemata agree magis placuit, @uo#
>uestions crebris puerorum e.erciti;s commo#iores sint, 8 teneriusculis ingeni;s tenacious
inhaerescant.
:o+ you see it Kthe re&ise# boo,L as something not easily recogni9e#, but totally trans!orme#
an# ma#e into a #i!!erent +or,. 2or +hat 4 imparte# in the pre&ious +or, by continuous
narration, here 4 ha&e #eci#e# to impart more by >uestions an# ans+ers, since >uestions are
more suite# to the !re>uent practicing o! boys an# cling more tenaciously in their ten#er
min#s.
3elanchthon-s in!luence on Eeinrich 2aber +as not #irect, but operate#
through 2aber-s champion, :icolaus 3e#ler. During his :aumberg acti&ity
('B<1*'B4B) as superinten#ent o! the St. =eorge school, 3e#ler pro#uce# a
manuscript Ancyclopae#ia #e arithmetica, astronomia, geometria, #ialectica,
rhetorica, #e hebrea lingua, +hich +as e&i#ently use# in the Eo! Latin
school.
)5
A!ter his mo&e to Braunsch+eig, he publishe# his Compen#ia
=rammaticae, Dialecticae an# hetoricae, +hich +ere abstracts, also in
>uestion !ormat, !rom 3elanchthon-s school +ritings. 4n the !ore+or# to the
Compen#ium hetoricae ('B4F), #e#icate# to his o+n three sons,
)<
3e#ler
+rote6
Sicut antea et Dominum 3agistrum Eeinricum 2abrum, Syncerum amicum
nostrum, hortatus sum, ut ea#em bre&itate >uo>ue 3usicae praecepta nobis
tra#eret6 itaI.
)4
An# ;ust as pre&iously 4 urge# the principal teacher, 3aster Eeinrich 2aber,
my true !rien#, that C using the same conciseness C he pro&i#e us +ith rules
o! music also, thusI.
2rom this e&i#ence, Sannemann conclu#es that it +as 3e#ler +ho in&ite#
2aber to ne+ly re&ise his teaching boo, o! musical instruction +hich ha#
alrea#y appeare# pre&iously.
)B
The e.cerpts o! 3e#ler !rom the larger
3elanchthon boo,s +ere to ser&e as a mo#el. 4t +as the great pe#agogical
an# metho#ological +is#om o! 3elanchthon +hich e&entually assiste#
2aber-s unpretentious little boo,, t+o !ascicles in si9e, to its une.pecte#
success. 2rom the appearance o! this han#boo,, +hich came to be esteeme#
as a mo#el !or its short an# concise >uestion !ormat, can be #ate# the
pre#ominance o! the erotematic teaching metho# in the music boo,s o! the
'1th an# ')th centuries$.
)1
7ery !e+ authors utili9e# the ol# lecturing !orm a!ter the mi##le o! the
si.teenth century. 2rom the categori9ation o! the teaching boo,s accor#ing to
the metho# employe# prepare# by Sannemann,
))
the !ollo+ing list presents
the titles o! the boo,s +hich +ere +ritten in a catechetical !ormat6
Spangenberg C @uestiones 'B<1 =. 2aber C Arotemata 'BB5
Lampa#ius C Compen#ium 'B<) Manger C "raecepta 'BB4
Eey#en C Arte Canen#i 'B<) Lossius C Arotemata 'B1<
(secon# e#ition, 'B40) Dil!!lingse#er C 3usica teutsch 'B1'
Agricola C @uaestiones 'B4<
E. 2aber C Compen#iolum 'B4F Dil!!lingse#er C Arotemata 'B1<
The lecturing metho# +as suite# more to a#&ance# stu#ents but !ell into
#ecline e&en in the upper classes aroun# the mi#*century6
Cochlaeus C Tetrachor#um 'B''
)F
Eey#en C 3usicae NStoicheiosis-'B<5
/rnitoparcus C 3usice actiue 'B')
hau C Anchiri#ion 'B'FO'B50 Listenius C musica 'B<< ('B<))
Agricola C Purt9 #eu#sche 3usica 'B5F E. 2aber C 4ntro#uctio 'BB0
Agricola C u#imenta 'B<( /ri#ryus C "ract. 3usicae 'BB)
Agricola C Duo libri musices 'B1' 2igulus C Deutsche 3usica
(Agricola) 'B10
Sannemann points out
)(
that catechetical teaching ha# the a#&antage o&er
the lecturing metho# in that the stu#ents- participation in the instruction +as
controlle#, an# thereby their attention +as increase#. 4t +as 3elanchthon-s
policy in teaching all sub;ects in the Latin schools that the teacher shoul# !irst
present a rule (praeceptum) +hich he +oul# then illustrate (e.emplum) an#
gi&e the stu#ents to learn as home+or,. The rules +ere to be learne# by
memory (memoria complectuntur), an# in the ne.t class perio# +ere repeate#
(imitatio).
F0
2urther e.amples +ere presente# to pro&i#e practical e.ercise
(usus) in the ac>uire# s,ills. The +or, +as !acilitate# by memory &erses, an#
+as carrie# through +ith >uestions an# ans+ers (erotemata). The teacher
pose# the >uestions, an# his pupils ga&e the rules learne# !rom memory as
the ans+ers.
F'
Such proce#ures +ere eminently suite# to musical instruction.
A hypothetical music lesson +hich coul# ha&e ta,en place in the Latin schools
is #ra+n up by Sannemann,
F5
+ho obser&es6 This erotematic metho# is only
possible i! the ans+er to the >uestion is a mere summary o! the e.planations
gi&en by the teachers$.
F<
The &arious #esigns o! the teaching boo,s, there!ore, +ere not inten#e# to
#ictate #o+n to the last #etail the #irection an# content o! e&ery music class.
F4
4n#i&i#ual sections o! some boo,s ser&e# as repetitions or recapitulations o!
the material alrea#y presente# by the teacher to his stu#ents. The more
#irectly a teaching boo, presente# its material, the more popular the boo,
+as +ith other music teachers, !or such a boo, +oul# ma,e the teachers-
tas,s easier by relie&ing them o! the necessity o! copying out charts an#
e.amples !or the boys.$ (Belingham, Bruce Allan. (Ch.4) The Bicinium in the
Lutheran Latin Schools During the e!ormation "erio#.$ "hD #iss., %ni&ersity
o! Toronto, '()', '<F * '4<)
The Lutheran Teaching Boo,s C =eneral Contents an# 2ormat
*The or#er, e.tent, an# #egree o! #i!!iculty o! the teaching material in the
&arious boo,s #i!!ere#, #epen#ing upon such local circumstances as the
number o! classes, the hours o! teaching, an# the le&el o! achie&ement
e.pecte# !rom the stu#ents. The elementary material usually inclu#e#6 pitch
names, cle! signs, he.achor#s, solmi9ation, he.achor# mutation, types o!
melo#y, inter&als, an# church mo#es.
'F
3ore a#&ance# topics consi#ere#
+ere6 note &alues (simple an# in ligatures), #otte# notes, mensuration (mo#e,
tactus, prolation), augmentation, #iminution, an# proportions.
'(
A comparison
o! the contents o! three typical boo,s liste# in Table 444 (page ''1) +ill sho+
their similarity in or#er an# contents. Some authors inclu#e# e.tra topics
+hich +ere a#&ertise# in their titles6 !or e.ample, Lampa#ius ga&e illustrate#
rules !or composition at the en# o! his Compen#ium,
50
an# li,e a number o!
other authors, presente# the !ormulas !or "salm*tones an# intonation.
5'
$
(Belingham, Bruce Allan. (Ch.4) The Bicinium in the Lutheran Latin Schools
During the e!ormation "erio#.$ "hD #iss., %ni&ersity o! Toronto, '()', ''B*
''))
*4t +as at the le&el o! the Latin school that most teaching boo,s +ere use#
an# mensural music +as taught. Thus, the ma;ority o! Latin school teaching
boo,s treate# both plainchant an# mensural music, or a single boo, treate#
only mensural music on the basis o! the stu#ents- pre&ious =erman school
training. The titles o! many o! the Lutheran teaching boo,s announce the
types o! music to be stu#ie#6
hau C Anchiri#ion 7trius>ue 3usicae "racticae 'B'FO50
A#ricola C 3usica !iguralis #eu#sch 'B<5
Listenius C u#imenta musicae 'B<<
Lampa#ius C Compen#ium musicae, tam !igurati >uam plani 'B<)
Eey#en C 3usica NStoicheiosis- 'B<5
Eet#en C 3usicae, i# est, Artis Canen#i 'B<)
Eey#en C De Arte Canen#i 'B40
E. 2aber C Compen#iolum 3usicae 'B4F
E. 2aber C As 3usicam "racticam 4ntro#uctio 'BB0
=. 2aber C 3usices "racticae Arotematum 'BB<
Manger C "racticae 3usicae "raecepta 'BB4
/ri#ryus C "racticae 3usicae utrius>ue praecepta 'BB)
2igulus (Agricola) C Deutsche 3usica un# =esangbQchlin 'B10
Agricola C Duo libri 3usices 'B1'
Dil!!lingse#er C 3usica Teutsch 'B1'
Dil!!lingse#er C Arotemata 3usices "racticae 'B1<
Lossius C Arotemata musicae practicae 'B1<.
5B
Be!ore the mi#*century, the authors ma#e a #istinction bet+een Nmusica
choralis- (plainchant) an# Nmusica !iguralis- (polyphony).Sannemann cites
=eorg hau-s title Ean#boo, o! both ,in#s o! musical practice$ as an
e.ample o! this #istinction,
51
to +hich can be a##e# the Lampa#ius an#
/ri#ryus boo,*titles.
5)
The !act that hau printe# his o+n boo, +ith both
sections boun# together (plainchant an# mensural music) or only the 3usica
mensuralis$ section C but ne&er printe# the 3usica "lana$ section alone
5F
C
attests to a #ecline in the use i! plainchant !or stu#ying elementary theory.$
(Belingham, Bruce Allan. (Ch.4) The Bicinium in the Lutheran Latin Schools
During the e!ormation "erio#.$ "hD #iss., %ni&ersity o! Toronto, '()', ''F*
''()
*By about the mi##le o! the century, the titles o! the ma;ority o! the teaching
boo,s sho+ the change in emphasis6 2aber-s title, A# 3usicam "racticam
4ntro#uctio is representati&e o! the #irect re!erence to practical application o!
the theoretical ,no+le#ge. The boo, #eals entirely +ith the stu#y o! mensural
music. "lainchant remaine# in the Lutheran churches as ceremonial music,
supplemente# C an# in many cases, superse#e# C be =erman hymns or
polyphonic music.
5(
$ (Belingham, Bruce Allan. (Ch.4) The Bicinium in the
Lutheran Latin Schools During the e!ormation "erio#.$ "hD #iss., %ni&ersity
o! Toronto, '()', ''(*'50)
*2: <B6 2or those stu#ents +ho complete# the 4ntro#uctio, 2aber ha#
prepare# the 3usica poetica +hich remaine# in manuscript (see abo&e, page
(F). The #e!inition o! the three parts o! music, +hich he ga&e in his three
boo,s6 "artes 3usicae sunt tres. Theorica Kthe !un#amentals learne# in the
Compen#iolum an# e.pan#e# in the 4ntro#uctioL, "ractica Kthe practice o!
e.ercises in both boo,sL, 8 "oetica$ Kthe composition o! musicL.$ (Belingham,
Bruce Allan. (Ch.4) The Bicinium in the Lutheran Latin Schools During the
e!ormation "erio#.$ "hD #iss., %ni&ersity o! Toronto, '()', '54)