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11# r r r i
Lau - da, lau - da
Resolutio ,/-
[## v r'
Accentus Accentus
-
majorascendingminordescending
2 Putnam
Aldrich, 'The Principal Agrements of the Seventeenth and Eighteenth
Centuries', unpublished Harvard dissertation (I942), p. 457.
8 A few are listed here to point to the risk of such reasoning: Tomas de Santa Maria,
'Libro llamado Arte de tafer Fantasia' (Valladolid, I565), fo. 48V, calls it Quiebrosenzillo
(simple shake); Michael Praetorius, 'Syntagma Musicum' (Wolfenbiittel, I619), iii,
p. 235, lists it under tremoletti;Daniel Friderici, 'Musica Figuralis', 4th ed. (Rostock, I649)
and identical 6th ed. (Rostock, I677), ch. 8, regula I3; Johann Andreas Herbst, 'Musica
Moderna Prattica' (Frankfurt, I658), p. 7, based on Praetorius; Johann Cruger, 'Musicae
Practicae Praecepta Brevia' (Berlin, I66o), p. 25, sub-form of tremulus;Wolfgang Caspar
Printz, 'Musica Modulatoria Vocalis' (Schweidnitz, 1678), pp. 45 and 53, figura corta;
id., 'Compendium Musicae Signatoriae & Modulatoriae' (Dresden, 1689), p. 47, species
of accentus;Moritz Feyertag, 'Syntaxis Minor zur Sing-Kunst' (Dudenstadt, 1695), p. 206,
accentuscircumflexus.Quite apart from these and other quotations, a single look at the
extravagance of improvised coloraturas and cadenzas that were still current in the
eighteenth century would seem to discredit the idea that nobody used the Schnellerbecause
it was not yet invented.
320
l" i br Ir r
I"-
ei- ne See
Mei - ne_
- le warSee - le__ war - let
- IL 2 =FT
as we have been conditioned-by unjustified generalization-to
assume that this had to be a downbeat pattern resulting in four equal
semiquavers. Examples like these can be multiplied where a single
quotation, however categorical its formulation, is an incomplete
representation of the author's ideas.
(4) Closely related is the next point of too narrow interpretation.
Often a treatise will present a rule that is not explicitly qualified
though it ought to have been. Such omission may be an oversight,
but more often than not it is prompted by eminently sound pedagogi-
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9 See my article 'External Evidence and Uneven Notes', The Musical Quarterly,lii
(I966), pp. 448-64.
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