Die Fermate im evangelischen Kirchenlied
The fermata sign has been used since the 15th century for two different meanings, and has had numerous names. Several of these, for example figura, corona, diadema or hemycyclus cum punctulo, simply describe the outer appearance of the sign. Other expressions, however, refer to two very different me...
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Format: | Electronic Article |
Language: | German |
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Published: |
Vandenhoeck & Ruprecht
1990
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In: |
Jahrbuch für Liturgik und Hymnologie
Year: 1990, Volume: 33, Pages: 95-110 |
Online Access: |
Volltext (lizenzpflichtig) |
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520 | |a The fermata sign has been used since the 15th century for two different meanings, and has had numerous names. Several of these, for example figura, corona, diadema or hemycyclus cum punctulo, simply describe the outer appearance of the sign. Other expressions, however, refer to two very different meanings: on the one hand a quietantia (rest), mora (temporary delay), and signum mantionis (hesitation sign); on the other hand a cardinalis (turning point), signum concordantiae (a sign of union or harmony of the various voices) or signum convenientiae (a sign of meeting or coming together of the voices). The author's original contribution, published in 1931, has been lengthened by an appendix in which he reproduces examples from a theory treatise and from hymnals. He refers to numerous facsimile editions in which such examples are to be found, and he proves that the fermata in evangelical hymns and especially in the four-part chorales of J. S. Bach, belongs to the group of purely division signs which have been used since the Middle Ages without disrupting the metrical rhythm. Le signe de point d'orgue (fermata) a été utilisé à partir au moins du 15e siècle dans deux significations differentes et il a été désigné par de nombreux noms, dont quelques-uns ne représentent qu'une description de l'apparence graphique du signe, par exemple figura, corona, diadema, hemicyclus cum punctulo. D'autres lui attribuent deux significations: D'une part, il s'agit de la quietantia (tranquillisation), mora et signum mantionis (arrêt), d'autre part il est appelé cardinalis (point tournant), signum concordantiae ou convenientiae (signe de réunion). L'auteur a complété sa contribution, publiée pour la première fois en 1931, par un supplément dans lequel il donne des exemples pris d'un traité de théorie musicale et de plusieurs recueils de chorals, et il renvoie à des éditions fac-similé contenant de tels exemples. Son objectif est de prouver que le signe de point d'orgue dans les chorals protestants et surtout aussi dans les chorals à quatre voix de J. S. Bach appartient aux signes purement diviseurs qui étaient utilisés depuis le moyen âge sans être liés à un retardement de la mesure. | ||
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