Joachim Burmeister and his musical-rhetorical figures
ฝัง
- เผยแพร่เมื่อ 28 พ.ค. 2024
- For the footnotes and other extra information see the following link:
www.earlymusicsources.com/you...
Recording of Orlando di Lasso’s “In me transierunt” by Profeti della Quinta:
Voice: Doron Schleifer, Lior Leibovici, Ivo Haun, Jacob Lawrence, Elam Rotem
Organ: Sharon Prushansky
Sound engineer: Karel Valter
LINK: • Orlando di Lasso / In ...
0:00 Introduction
1:10 The musical rhetorical figures
06:28 Lasso's "In me transierunt" - analysis
21:02 Legacy
Get Burmeister's figures on beautiful game cards here: www.makeplayingcards.com/sell...
Created by Elam Rotem, February 2022.
Special thanks to Anne Smith, Catherine Motuz and Josef Laming.
www.earlymusicsources.com
Support us on PATREON: / earlymusicsources
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A thesis as embryonic as the metamorphosing world around him. Child of the dying Hanseatic league, Lutheran Kantor in once Roman Churches, Burmeister analyzes an Italian trained Belgian Catholic in the brief Golden interregnum between the Reformation and the 30 years war, soon to depopulate much of central Europe. Joachim's ears rang with the new form of plaintive wailing, Lutheran Chorale, which to this day takes a backseat to none in dark harmony. By contrast, Orlande's laments sound a mannerist frolic. Inspiring episode, thank you!
Always a joy to come across a new video from Early Music Sources.
Manchmal versuche ich, "sixteenth and seventeenth centuries" zu sagen, ohne hängenzubleiben! // Der Koalabär
ist sehr süß!!🧡 // Ich schaue Ihre Videos mit großem Vergnügen! Die Mischung aus vertrauten und neuen, sach-
lichen und charmanten Einzelheiten ist sooo gut! Vielen Dank für diese außerordentlichen Geschenke! 😎😘
You are the top teacher in early music online. כל הכבוד.
Terrors🥰🥰 how beautiful. thank you very much indeed. It is the first time i hear burmeister's works. These are fascinating so the work is. your compositions as well. 🦚
Elam your eyes look so tired, I hope all is going well for you. Thanks for your work.
I was thinking that. He looks like he hasn't slept in days.
Thanks guys. I'm sleeping well 😄
Elam Rota and Early Music Sources make life a lot better! Love your work! Thanks so much.
Great video as always. Now we need Burmeister's rhetorical figures as a deck of cards! It'd be a fun way to learn, teach or even compose! I see that the designs are already made. 😎
Loving the presentation!
(that theme would make a great card game)
You activated my trap card: Fauxbourdon + Syncopa!
Thank you for your excellent work, Dr Rotem! Amazing research and production quality.
Thankyou for this video! You are helping me a lot! Thats just amazing to have access to this content
This is a doctoral dissertation in and of itself! A wonderful presentation. Although the music is clearly composed and analyzed within the framework of the mode, I am struck by how much the composition sounds as if it was conceived in the key of A minor, seeming to foreshadow the use of keys and chords.
Loving it, thank You👋🏻😍
Yaaay!! New video. After a difficult morning, you made my day. Thanks for such an amazing job and for sharing such knowledge to this platmorf. I've learnt so much and discovered new music and authors through your work.
Love you all, Early Music Sources !!
Great stuff for my brain! Thanks
You are wonderful.
I am doing music research, and I am always astonished by your way of organising topics in a clear, compelling, structured, and stylish way. Your videos and your amazing way to make complexities interesting and approachable also helped me starting to understand renaissance music much more efficiently than specific courses at the university. I think you are really further on in exploring a new revolutionary way of disseminating knowledge, in a field that truly requires it (especially because of the still very present distance between theory and praxis, musicians and musicologists).
Thank you very very much!!!
Thanks a lot for this most unique, interesting, full of info. (just in 23:30 which were far better than all my years in the musicology-department, many many years ago :) ) and performing Lasso's beautiful music.
Great episode‼ Thank you very much!!
A very good content. If possible, could you make a video about musical rethoric figures applied to Late baroque music? Thanks.
commenting for the algorithm
Fantastic, as always! 🐨
Great video! Thank you!
I really love your work!
Thank you 😊 absolutely perfect as always...I thoroughly enjoy and appreciate these lectures...till the next one, cheers, Evan
This is the best YT channel by far. Hugely thankful for your work, Mr. Rotem.
Priceless
Your quality is super
Maravilloso, como siempre. Gracias por hacer estos vídeos.
Always a pleasure when you post a new video! I'm particularly intrigued by the Latin text complete with Eszett. It makes sense as the writer is German, but it's admittedly not something I expected to see. Always lots of little surprises when consulting old manuscripts.
תודה רבה! הסרטונים שלך מעניינים מאוד
An absolute treasure; this site is outstanding; thank you as always for revealing such interesting insights into early music🙏🙏🙏
Muchas Gracias por los subtítulos :D
I adore your videos and your compositions as well. How about a video where you talk us through the composition process of "The Lamentation of David"? I am listening to the piece all day and would love to learn more about the composition techniques that you used, how you selected the texts, etc. Just an idea! :)
Danke!
Genial el video y el texto, gracias !
Non ho parole per ringraziarvi abbastanza per questa master class.,
This is very solid effort. You clearly put a lot of work and knowledge into both the video and the pdf. This is of such high quality that it could easily benefit musical schooling en masse.
Comme chaque fois, présentation passionnante (même si c'est difficile de tout assimiler !) On se sent plus intelligent après, et surtout la musique devient encore plus belle à écouter et savourer !
Really amazing work, thank you. The editing is impressive and is of enormous help for understanding all this. It's fascinating how the use of rhetorical figure was so decisive for composing music. Even for memorizing it! Thanks a lot.
Beautiful. Perfect. Excellent. I adore your work. Thank you :)
Si conservi, Maestro.
La vedo stanco.
The only thing which sounds a bit weird to me is the final chord because, from a modern viewpoint, it's essentially a major triad on the dominant (i.e. it's as if you're expecting the tonic but it doesn't come).
I'm going to have to look at the PDF. but his method looked about as reliable a measuring the length of jelly with an elastic band.
🤣
Well, Burmeister might reply, one has to start somewhere. It would be interesting to see how successors -- e.g., Kircher, or Forkel -- built on it and perhaps made the measuring tape less elastic!
tyvm :D
Thank you for your amazing work !
10:11 Isn't there also some instances of 'Parrhesia' in the opening when there is b versus c ? These transitus-figures in semibreves on the light beats of the mensure are often seen in pieces where there are painful affects to be expressed, or does the term describe another phenomenon and I mixed something up? There is this amazing funeral motet by Alonso Lobo 'Versa est in luctum' which has the entire opening in 'Hypellage' entries of the hexachord, massing up to insane clumps of dissonances. I thought that this might be a textbook example of 'Parrhesia'. Palestrina also uses this technique, but only in very few examples, and only when the text demands it.
Super interesting !!! Love all your videos
Once again thank you and bravo.
Thanks enormous for this!
Fascinating !
Great stuff.
fantastic, ever more resourceful! Thank you! The musical rhetoric is still a subject of fierce controversy amongst modern composers. As an analytical tool it is certainly very welcome. Composers, however, who consciously rely on it can become vexing as the inherent musical flow gets continuously disrupted by contrived effects: Gesualdo being a troubling example.
Amazing video
Great, thanks alot Elam!!
This texts also seems to be an early model for musical analysis
I’ve never thought about what you mentioned at the end, the idea that terminology actually shapes musical practice. I guess it does in the way that a foreign language with its own particular inflection and grammar, handed down from generation to generation, shapes the poetry that can be created in that language.
What would be a cool idea is if a composer set up all the sections with “one half” ready to go whereas a soloist reads the sheet music seeing all but that half to replicate anadiplosis. Perhaps it would match emotional decisions to limited notes in music theory in soloism as a new way of thought.
Toda una joya!
I'd be interested in that card game. תודה.
10:21!!👀🎼🗣🎶⭐️❤️
NICE
could you talk about the influence of maqam and the similarities of maqam and early music? Thanks. Also the prevalence of half flats if any.
By maqam I mean the classical musics of the middle east.
Hi can you do an episode devoted to Correa de Arauxo?
His Facultad Organica served as a pedagogical purpose but many of these pieces are quite wild. Was his style normal in Spain at the time? Has there been mention of him by his contemporaries?
You are irreplacable!
Does anyone know how to accomplish the scrolling example?
All We Like Sheep in Handel's Messiah is probably one of the most outstanding achievements in todays subject. I find myself just putting the music down and staring at the wall wondering if anything more needs to be said which, ironically or perhaps not so ironically, it applies literally to today's world as well.
A friend pointed out the word painting to me in All We Like Sheep, with the phrase "...have gone astra-a-a-a-a-a-a-a-ay" sounding something like bleating sheep.
This is simply wonderful! I remember going through a few of these rhetoric devices during my undergrad in Brazil... I always wanted to go back to this! (And now I will)
Just one small thing. I might have missed it, but what's the source for the citation at around 2'03"?
"so that the artfulness with which each period takes shape can be studied and adopted for imitation"
Please check the footnotes: www.earlymusicsources.com/youtube/burmeister
(it's in cap. 15 of his 1606 Musica Poetica)
@@EarlyMusicSources Oh, I definitely missed that one! Thanks again! Wonderful video (as usual)! :D
How does one learn to compose in this style in this day and age?
Supplementum =coda?
I have a question about musica ficta: in your performance of "In me transierunt," in the eighth measure, in the middle voice, why is the [edit: "-rae" of "irae] not sharpened to G# to make a cantizans? Is it because what would be the tenorizans is above the cantizans, making it a third instead of a sixth?
it could be sharpened if one wishes
@@EarlyMusicSources Thank you!
I know it's a bit outside your period, but have you ever considered analyzing a Bach piece? Sort of as a practical culmination of all the theoretical work that preceeded him
How much can a Koala Bear
😀
It appears that over-codification and pedantry were not restricted to our own benighted age. I am sure that the old masters regarded Burmeister’s overwrought formulations as something of a joke.
is that a Koala or a Drop Bear? :D
You must read latin fluently, to study all these 16th century studies. Kudos. I read only the simplest of classical latin.
I don't know Latin, sadly. I check different translations, and with the musical examples you can get an idea.