The collection of essays, “Ieglicher sang sein eigen ticht”, is the result of a symposium at the monastery Neustift near Brixen, where germanists and musicologists talked about song in the late Middle Ages. The interdisciplinary focus is reflected by this publication: Ten scholars risk plumbing the depths of the relationship of music and text on a new basis. Fields of interest are the transmission in manuscript sources as well as aesthetics of imitation and plagiarism in the late Middle Ages and methodological consequences resulting from this interdisciplinary approach.
The collection of essays, “Ieglicher sang sein eigen ticht”, is the result of a symposium at the monastery Neustift near Brixen, where germanists and musicologists talked about song in the late Middle Ages. This interdisciplinary focus is reflected by this publication: Ten scholars take the commonplace remark, that lyric of the Middle Ages has to be sung, seriously and risk taking a look beyond the confines of their own discipline. One of the musicological main emphases are the songs of Oswald von Wolkenstein, for which a hitherto unknown French model can be identified, and the existence of another canon can be shown (Isabel Kraft; Michael Shields). Questions of original and imitation, in the end the question of the concept of “work”, are dealt with in discussing the examples of the early German text “Hirsch und Hinde” and the “Schedelsches Liederbuch” (Michael Klaper; Martin Kirnbauer).
The view of German studies on songs of the late Middle Ages between tradition and improvisation is shown by bringing up the topics of deconstruction, reconstruction and recombination in various songs (Manfred Kern; Nicola Zotz). Starting from these considerations, aspects of diversity appear with regard to adaptions of the familiar and by analyzing song incipits (Gisela Kornrumpf). Furthermore, questions of typology i.e. considerations regarding song genres are discussed in Christoph März’s contribution. Finally, two essays deal with the transmission of musical texts: a catalogue of neumes in German texts and an essay on the sublime relationship of text and music (Ernst Hellgardt; Max Schiendorfer).
„Obwohl es sich um einen Verbund von Einzelstudien handelt, bietet der Band vielfältige Anregungen zur Spannung zwischen handschriftlicher Überlieferung und Performanz sowie zu grundsätzlichen methodischen Fragen der interdisziplinären Erforschung des mittelalterlichen Liedes“
Von Stefan Morent
In: Die Musikforschung, Jg. 67, 2014, 1, S. 62-63.
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Wenngleich die Beiträge zum vorliegenden Band bereits im Juni 2001 als Vorträge auf einer Tagung im Kloster Neustift bei Brixen gehalten wurden, verzögerte sich die Publikation bis jetzt, weil tragischerweise am 9.Nov. 2006 Christoph März aus dem Leben schied (...). Dessen ungeachtet enthält aber dieser Band eine Fülle weiterhin sehr spannender und aussagekräftiger Studien zu germanistischen und musikwissenschaftlichen Themen des Mittelalters, das hier relativ breit gespannt verstanden wird, gibt es ja Aufsätze ebenso zum althochdeutschen Lied (...) wie auch zur ,Volkslied’dichtung des 15. Jahrhunderts.
Albrecht Classen
In: Mediaevistik (2012) Heft 25 S.231-232.
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„Der qualitätvolle Sammelband enthält vorwiegend Beiträge einer altgermanistisch-musikwissenschaftlichen Liedtagung, die 2011 in Neustift bei Brixen stattfand. Die lange Verzögerung des Erscheinens ist vor allem dem unerwarteten Tod von Christoph März (...) geschuldet. (...)
Abgeschlossen wird die Reihe der durchweg sehr lesens- und bedenkenswerten Aufsätze durch einen nützlichen Beitrag von Ernst Hellgardt: „Neumen in Handschriften mit deutschem Text. Ein Katalog“ (...), in dem erstmals das gesamte Material, geordnet nach den besitzenden Bibliotheken, zusammengestellt ist.“
Horst Brunner
In: ZfdA. 141 (2012) Heft 1. S. 118-122.
Christoph März was born in 1956. He studied German language and literature, musicology and Latin. He was an academic assistent at Erlangen University and was granted a Heisenberg Fellowship afterwards. He worked as a lecturer at Leipzig University, and in 2002, he became Professor for Medieval German Literature and Language at the Freie Universität in Berlin. He died prematurely on November 9th 2006. His publications include studies on comparative musicology and philology, medieval poetry and literature in the early Middle Ages.
Lorenz Welker is doctor of medicine, psychoanalyst and musicologist; since 1996 he is professor of musicology at the Ludwig-Maximilians-University in Munich. There, he is a member of the Human Science Centre and Director of the Zentrum Seniorenstudium.
His researches in historical musicology relate to the music of the late Middle Ages and the Baroque, questions of historical performance practice and interdisciplinary medieval studies. Furthermore, he is dedicated to questions concerning borderline areas between humanities and sciences, especially with respect to the biological basis of the making and perception of music.
In 1988, he was honoured with the E. Sigerist-Award of the Swiss Society for the History of Medicine and Sciences. In 1994, he was awarded the Dent-Medal of the Royal Musical Association and the International Musicological Society.
Nicola Zotz studied German and French languages and literatures. From 1997 to 2002, she worked in the project “Die deutsche Literatur des Mittelalters. Verfasserlexikon”. From 2002 to 2010, she was academic asistent at the Universities of Freiburg i. Br., Berlin (FU) and Vienna. Since 2010 she works at Vienna University as a Post-doctoral Researcher in the project “The Dynamics of the Medieval Manuscript” (HERA). In her research work, she focuses on medieval poetry, Old High German literature, Romanic-German literary relations.
Preface
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