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that musicians can span centuries and, so to speak, com- scholars’ dissertations and articles. Friderici’s German
municate with each other on shared interests. is generally quite simple, as one might expect for a text
intended for schoolboys. There are the orthographical
changes typical of the early seventeenth century and a
NOTES few grammatical and syntactical differences. The most

difficult problems are in idiosyncratic terminology, also
1 Figural [i.e. mensural] Music, or New Clear Correct and consistent with the time, and idiomatic expressions, such
Comprehensible Instruction in the Art of Singing. as the Kalekunscher Hahn of Rule 1.
2 Friderici’s book appears in facsimile along with works 10 IMSLP Petrucci, https://imslp.org/wiki/Main_Page.
by Johann Herbst and Johann Crüger in Deutsche 11 The original of the 1677 edition is in the collection of
Gesangstraktate des 17. Jahrhunderts, ed. Florian Grampp the Staatsbibliothek zu Berlin – PK, which graciously

(Kassel: Bärenreiter, 2006). Unfortunately for readers, offers the edition for use in public domain and may be
the original copy from which the facsimile was made is accessed at https://digital.staatsbibliothek-berlin.de/
in poor condition with much discoloration and bleed- werkansicht/?PPN=PPN773019987, as well as through
through of the printing. The publisher had little choice, IMSLP Petrucci.
RISM B VI reports only two surviving copies! All the 12 Conrad is probably most accessible through my article in
more reason that the rules should appear in some form this same journal as cited above. The relevant passage
v
v
more accessible, legible, and in translation from the in Finck appears on Ssiii to Ssiv ; Schneegass’s are Iiv v
r
sometimes rather obscure, early seventeenth-century to Iv ; Praetorius’s in volume 3, 229-231; my English
German. translation of Bernhard can be found at https://www.
3 Victor Coelho and Keith Polk, Instrumentalists and Renaissance uco.edu/cfad/academics/music/brisch/translation-
Culture, 1420-1600 (Cambridge: Cambridge University, series, mostly in Item 40; Beyer’s appear on page 65;
2016), 3-4. Sperling’s on page 86; and Quirsfeld’s on page 27.
4 Martin Ruhnke, “Friderici, Daniel,” in Oxford Music Online, 13 An abbreviation of my credentials and experience appear in
rev. by Dorothea Schröder, accessed February 3, 2020, note 9. Fortuitously, while this article was under revision I
https://www.oxfordmusiconline.com/. received an email from a German scholar complimenting
5 Klaus Niemöller gives the best explanation of these choral me on the excellence of the Historical Translation Series
institutions in Germany, Untersuchungen zu Musikpfl ege und as a whole and my translation of the Bernhard text in
Musikunterricht an den deutschen Lateinschulen vom ausgehenden particular.
Mittelalter bis um 1600 (Regensburg: Gustav Bosse, 1969), 14 Grimm says this is a corruption of kalekutischer Hahn, off ering
669-674. no further explanation. The entry provides several literary
6 Hence the title of Friderici’s book Musica Figuralis. citations, s.v. “Kalekutischer,” in Deutsches Wörterbuch, reprint,
7 Deutsche Gesangstraktate, 9 1991. The assumption seems to be either that this breed
8 Sion M. Honea, “Conrad von Zabern’s De Modo Bene had a red head or that it crowed very loudly, probably
Cantandi and Early Choral Pedagogy,” Choral Journal 57, the former.
no. 10 (2017): 6-16. 15 This appears to be an allusion to natural vibrato.
9 The author, though ABD in musicology and former head 16 The first half is the same as Rule 3 of the 1619 edition.

of Rare Books at Sibley Music Library, Eastman School The sense seems to be that only one boy should sing the
of Music, is a trained linguist with a PhD in classical starting pitch and the rest take it from him mentally. If
languages and a minor in classical linguistics and has all try to set the starting pitch, then it would only cause
published a variety of articles in peer reviewed journals confusion. The second half is new to the 1638 edition.
that utilize his own translations from various languages. 17 The rules are directed to boys in training, but there are other
He has also produced a Historical Translation Series adult singers in the choir, the concentores.
(https://www.uco.edu/cfad/academics/music/brisch/ 18 Walter Atcherson, “Key and Mode in Seventeenth-Century
translation-series) that has been a source for several Music Theory Books,” Journal of Music Theory 17, no. 2

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