8/13/2019 About Aldrich Dissertation

http://slidepdf.com/reader/full/about-aldrich-dissertation 1/2

Review: [untitled]Author(s): Hans T. DavidSource: Notes, Second Series, Vol. 9, No. 2 (Mar., 1952), p. 291Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/890230 .

Accessed: 31/05/2011 13:41

Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless

you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you

may use content in the JSTOR archive only for your personal, non-commercial use.

Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at .http://www.jstor.org/action/showPublisher?publisherCode=mulias. .

Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed

page of such transmission.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of 

content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.

 Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes.

http://www.jstor.org

8/13/2019 About Aldrich Dissertation

http://slidepdf.com/reader/full/about-aldrich-dissertation 2/2

Lehrbuch des Kontrapunktes. VonHeinrich Lemacher und Hermann Schroe-der. Mainz: B. Schott's Sihne [dist.in America by Associated Music Pub-

lishers, NYC, 1950]. [119 p., music,

8vo; paper, $2.40]Every thinking teacher of harmony or

counterpoint will feel the desire to writehis own textbooks. Here is a new intro-duction to counterpoint, an intelligentand musical book with few rules and

many references to compositions in divers

styles. The authors aim at a combina-tion of elements of the vocal counter-

point teaching, according to Palestrinaand Fux, and the instrumental one ac-

cording to Bach, to which the treatmentof folk songs is added as a contempor-ary triplum. They deliberately take upan intermediary position-kindness prev-ents us from rendering Vermittlungs-stellung as a form of compromise -between K. Jeppesen's Palestrina-based

Counterpoint, Ernst Kurth's Grundlagendes linearen Kontrapunkts, and Hinde-mith's Craft of Musical Composition.

Holding that counterpoint instruction

should accomplish an introduction to thestudy of distinct styles, this revieweradvocates a stricter separation of his-torical situations than that offered byLemacher and Schroeder. Without thecomposer's concurrence, however, the

musicologist is perhaps not privileged todetermine how far the teaching of coun-

terpoint should rely on historical prin-ciples.

HANST. DAVID

Ornamentation in J. S. Bach's OrganWorks. By PutnamAldrich. New York:Coleman-Ross Co., 1950. [iv, 61 (5) p.,music, 8vo; $2.00]

Putnam Aldrich is the author of amonumental study (originally a Harvarddissertation) of ornamentation in the 17thand 18th centuries, which has been an-nounced for publication this spring orsummer. While awaiting the importantlarger publication we are served thishors d'oeuvre, a smallish book that seemsto suggest omission of essential materialfor lack of space. After a short generalintroduction, the basic forms of ornaments(trill, mordent, appoggiatura, turn, and

Lehrbuch des Kontrapunktes. VonHeinrich Lemacher und Hermann Schroe-der. Mainz: B. Schott's Sihne [dist.in America by Associated Music Pub-

lishers, NYC, 1950]. [119 p., music,

8vo; paper, $2.40]Every thinking teacher of harmony or

counterpoint will feel the desire to writehis own textbooks. Here is a new intro-duction to counterpoint, an intelligentand musical book with few rules and

many references to compositions in divers

styles. The authors aim at a combina-tion of elements of the vocal counter-

point teaching, according to Palestrinaand Fux, and the instrumental one ac-

cording to Bach, to which the treatmentof folk songs is added as a contempor-ary triplum. They deliberately take upan intermediary position-kindness prev-ents us from rendering Vermittlungs-stellung as a form of compromise -between K. Jeppesen's Palestrina-based

Counterpoint, Ernst Kurth's Grundlagendes linearen Kontrapunkts, and Hinde-mith's Craft of Musical Composition.

Holding that counterpoint instruction

should accomplish an introduction to thestudy of distinct styles, this revieweradvocates a stricter separation of his-torical situations than that offered byLemacher and Schroeder. Without thecomposer's concurrence, however, the

musicologist is perhaps not privileged todetermine how far the teaching of coun-

terpoint should rely on historical prin-ciples.

HANST. DAVID

Ornamentation in J. S. Bach's OrganWorks. By PutnamAldrich. New York:Coleman-Ross Co., 1950. [iv, 61 (5) p.,music, 8vo; $2.00]

Putnam Aldrich is the author of amonumental study (originally a Harvarddissertation) of ornamentation in the 17thand 18th centuries, which has been an-nounced for publication this spring orsummer. While awaiting the importantlarger publication we are served thishors d'oeuvre, a smallish book that seemsto suggest omission of essential materialfor lack of space. After a short generalintroduction, the basic forms of ornaments(trill, mordent, appoggiatura, turn, and

Lehrbuch des Kontrapunktes. VonHeinrich Lemacher und Hermann Schroe-der. Mainz: B. Schott's Sihne [dist.in America by Associated Music Pub-

lishers, NYC, 1950]. [119 p., music,

8vo; paper, $2.40]Every thinking teacher of harmony or

counterpoint will feel the desire to writehis own textbooks. Here is a new intro-duction to counterpoint, an intelligentand musical book with few rules and

many references to compositions in divers

styles. The authors aim at a combina-tion of elements of the vocal counter-

point teaching, according to Palestrinaand Fux, and the instrumental one ac-

cording to Bach, to which the treatmentof folk songs is added as a contempor-ary triplum. They deliberately take upan intermediary position-kindness prev-ents us from rendering Vermittlungs-stellung as a form of compromise -between K. Jeppesen's Palestrina-based

Counterpoint, Ernst Kurth's Grundlagendes linearen Kontrapunkts, and Hinde-mith's Craft of Musical Composition.

Holding that counterpoint instruction

should accomplish an introduction to thestudy of distinct styles, this revieweradvocates a stricter separation of his-torical situations than that offered byLemacher and Schroeder. Without thecomposer's concurrence, however, the

musicologist is perhaps not privileged todetermine how far the teaching of coun-

terpoint should rely on historical prin-ciples.

HANST. DAVID

Ornamentation in J. S. Bach's OrganWorks. By PutnamAldrich. New York:Coleman-Ross Co., 1950. [iv, 61 (5) p.,music, 8vo; $2.00]

Putnam Aldrich is the author of amonumental study (originally a Harvarddissertation) of ornamentation in the 17thand 18th centuries, which has been an-nounced for publication this spring orsummer. While awaiting the importantlarger publication we are served thishors d'oeuvre, a smallish book that seemsto suggest omission of essential materialfor lack of space. After a short generalintroduction, the basic forms of ornaments(trill, mordent, appoggiatura, turn, and

composite items) are taken up separately.The author shows a certain predilectionfor slow measured execution. In the caseof the mordent this is in direct contra-diction to Bach's single chart of orna-

ments (from the Clavierbiichlein fiirWilhelm Friedemann Bach, which is heremisdated 1770). While the larger libraryand the mature organist may want the

book, it is hardly suited for a student whohas not mastered the precarious skill of

disagreeing with opinions presented in

print. Perhaps this was in the mind ofauthor and publisher when they supple-mented the material with three blank

pages, headed NOTES.

HANS T. DAVID

Johann Sebastian Bach: Documenta.Herausgegeben durch die Niedersach-sische Staats- und Universititsbibliothekvon Wilhelm Martin Luther zum Bach-fest 1950 in Goittingen.Kassel und Basel:

Barenreiter-Verlag [1950]. [150 p.,illus., 8vo; DM 2.40]

The bicentenary of Bach's death foundhis memory cheerfully astir. The present

catalogrecords in

exemplaryfashion

what must have been a spectacular ex-hibit of Bach items. W. M. Luther, whoin the memorial year also saw throughthe press a splendid facsimile edition ofBach's Sei Solo [sic] for unaccompaniedviolin (Barenreiter-Verlag), took greatpains to cover the entire field of Bach-

iana, including chiefly holographs byBach and his sons, early manuscriptcopies, and original editions of Bach

works, documents,and

portraits.The

informative catalog descriptions are care-

fully worked out.The former Preussische Staatsbiblio-

thek in Berlin (now called Offentlichewissenschaftliche Bibliothek) had beenthe foremost repository of Bach material.The part of t'he collection evacuated tosouthern Germany during the war was en-trusted under the occupation to theUniversititsbibliothek Tiibingen (UBT)and the Westdeutsche Bibliothek in Mar-

burg (WB). The information is roundedout by a pamphlet, Westdeutsche Biblio-thek (Sammlungen der ehemaligenPreussischen Staatsbibliothek), Bach-

Ausstellung 1950, Katalog [xi p., illus.,

composite items) are taken up separately.The author shows a certain predilectionfor slow measured execution. In the caseof the mordent this is in direct contra-diction to Bach's single chart of orna-

ments (from the Clavierbiichlein fiirWilhelm Friedemann Bach, which is heremisdated 1770). While the larger libraryand the mature organist may want the

book, it is hardly suited for a student whohas not mastered the precarious skill of

disagreeing with opinions presented in

print. Perhaps this was in the mind ofauthor and publisher when they supple-mented the material with three blank

pages, headed NOTES.

HANS T. DAVID

Johann Sebastian Bach: Documenta.Herausgegeben durch die Niedersach-sische Staats- und Universititsbibliothekvon Wilhelm Martin Luther zum Bach-fest 1950 in Goittingen.Kassel und Basel:

Barenreiter-Verlag [1950]. [150 p.,illus., 8vo; DM 2.40]

The bicentenary of Bach's death foundhis memory cheerfully astir. The present

catalogrecords in

exemplaryfashion

what must have been a spectacular ex-hibit of Bach items. W. M. Luther, whoin the memorial year also saw throughthe press a splendid facsimile edition ofBach's Sei Solo [sic] for unaccompaniedviolin (Barenreiter-Verlag), took greatpains to cover the entire field of Bach-

iana, including chiefly holographs byBach and his sons, early manuscriptcopies, and original editions of Bach

works, documents,and

portraits.The

informative catalog descriptions are care-

fully worked out.The former Preussische Staatsbiblio-

thek in Berlin (now called Offentlichewissenschaftliche Bibliothek) had beenthe foremost repository of Bach material.The part of t'he collection evacuated tosouthern Germany during the war was en-trusted under the occupation to theUniversititsbibliothek Tiibingen (UBT)and the Westdeutsche Bibliothek in Mar-

burg (WB). The information is roundedout by a pamphlet, Westdeutsche Biblio-thek (Sammlungen der ehemaligenPreussischen Staatsbibliothek), Bach-

Ausstellung 1950, Katalog [xi p., illus.,

composite items) are taken up separately.The author shows a certain predilectionfor slow measured execution. In the caseof the mordent this is in direct contra-diction to Bach's single chart of orna-

ments (from the Clavierbiichlein fiirWilhelm Friedemann Bach, which is heremisdated 1770). While the larger libraryand the mature organist may want the

book, it is hardly suited for a student whohas not mastered the precarious skill of

disagreeing with opinions presented in

print. Perhaps this was in the mind ofauthor and publisher when they supple-mented the material with three blank

pages, headed NOTES.

HANS T. DAVID

Johann Sebastian Bach: Documenta.Herausgegeben durch die Niedersach-sische Staats- und Universititsbibliothekvon Wilhelm Martin Luther zum Bach-fest 1950 in Goittingen.Kassel und Basel:

Barenreiter-Verlag [1950]. [150 p.,illus., 8vo; DM 2.40]

The bicentenary of Bach's death foundhis memory cheerfully astir. The present

catalogrecords in

exemplaryfashion

what must have been a spectacular ex-hibit of Bach items. W. M. Luther, whoin the memorial year also saw throughthe press a splendid facsimile edition ofBach's Sei Solo [sic] for unaccompaniedviolin (Barenreiter-Verlag), took greatpains to cover the entire field of Bach-

iana, including chiefly holographs byBach and his sons, early manuscriptcopies, and original editions of Bach

works, documents,and

portraits.The

informative catalog descriptions are care-

fully worked out.The former Preussische Staatsbiblio-

thek in Berlin (now called Offentlichewissenschaftliche Bibliothek) had beenthe foremost repository of Bach material.The part of t'he collection evacuated tosouthern Germany during the war was en-trusted under the occupation to theUniversititsbibliothek Tiibingen (UBT)and the Westdeutsche Bibliothek in Mar-

burg (WB). The information is roundedout by a pamphlet, Westdeutsche Biblio-thek (Sammlungen der ehemaligenPreussischen Staatsbibliothek), Bach-

Ausstellung 1950, Katalog [xi p., illus.,

2919191