The present article provides arecontextualization of Wolfgang Caspar Printz’s (1641–1717) landmark music history published in 1690 (Historische Beschreibung der edelen Sing- und Kling-Kunst). later commentators have read it as a primitive, naïve and even failed attempt at writing the history of music. Still, they seem to agree that the text, in virtue of its subject matter, forms part of a canon of music historiography. The present article will seek the interpretative key in the wider intellectual context, outside of the narrow confines of texts about the musical past. It will advance the thesis that Printz built his music historiography from elements of the natural history tradition. Two arguments support this thesis. First, it will be argued that the organization of the material in chapters XIv, Xv and XvI betrays the influence of a classical version of taxonomy closely associated with the natural history tradition. Secondly, that Printz’s inquiry into the purpose of music reveals his reliance on a concept of nature similarly rooted in natural history.
This text is a review of Marek Nahajowski's book entitled Od Printza do Forkela. Wizje dziejów muzyki europejskiej w historiografii XVIII wieku [From Printz to Forkel. Visions of the history of European music in the historiography of the 18th century] published in 2019 by the Grażyna and Kiejstut Bacewicz Academy of Music in Lodz. In the book, the author showed the development of music historiography in the eighteenth century. The article is complemented by references to the results of previous musicological research on the subject.
PL
Niniejszy tekst stanowi recenzję książki Marka Nahajowskiego pt. Od Printza do Forkela. Wizje dziejów muzyki europejskiej w historiografii XVIII wieku wydanej w roku 2019 przez Akademię Muzyczną im. Grażyny i Kiejstuta Bacewiczów w Łodzi. W książce autor ukazał rozwój historiografii muzycznej w wieku XVIII. Wywód dopełniają odniesienia do wyników dotychczasowych badań muzykologicznych na podjęty temat.
Studie Janky Petőczové se zabývá osobností hudebního skladatele Jána Šimráka (Johann Schimrack) a věnuje se také problému varianty jména Šimbracký, která byla v slovenské muzikologii užívána ještě nedávno.
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