On Fri, 5 Dec 2003, Christof Biebricher wrote:
Old music scores where each voice has its own stave should contain neither slurs nor ties. There are unnecessary. Slurs originated in string music where the notation really made sense. It later was introduced to other instrumental music as `imitatio violistica'.
I was aready expecting a link like that when I saw `imitatio violistica' together with slurs in Scheidt's Tabulatura Nova. Do you have other sources obout this topic? I recently discussed with a violinist about articulation and finally we didn't feel competent enough to come to an end.
In later music, I usually omit melismatic slurs, but since the bar is fixed, one has to use ties.
Ties you'll find quite early, together with the first printed scores. The term "Partitur" / "partition" / "partitura" relies on the Italian word "spartire", to separate, to divide into parts and describes the preparing work of the organist/luthist... who had to "devide" the voices in the voice books by inserting vertical bars (helps a lot in counting!) and to write them up in the "spartitura", a score like collection of (reduced) voices, ordered by vertical bars. Still today in Italy a piano reduction is called "spartito". As soon as you have bars you'll need ties. But also slurs turn up quite early in vocal music (Monteverdi, T. Merula, two examples just coming into my mind).
In a hymn setting from M. Praetorius's Musae Sioniae, 'Frohlock o Tochter Zion fast' (1609) which I published yesterday there 2 explicite melismatic slurs. If the first of them (in bar 4) hadn't been present I would have been tempted to apply lyrics syllables otherwise, ie. have one syllable starting on the last note of bar 3 through the subsequent note.
Bernhard
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