Semantic Syncretism in the Hymn “Allein Gott in der Höh’ sei Her” (“The Song of Angels”) and the Principle of Decoration of the Initial by the Means of Musical Language
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Abstract
The article is devoted to the specific features of melodicism of
the early Protestant chorales. The author asserts the necessity of
researching musical synesthesia, typical for the artistic thought of
the Renaissance period. The analytical procedure is demonstrated
in the article on the example of the hymn by Nikolaus Decius
“Allein Gott in der Höh’ sei Her” (1522): the melody of the
chorale theme is divided into “units of meaning” and visualized
by means of a scheme and a diagram. The method of “mirror ring
connection,” very widespread during the Renaissance period, is
used to obtain the visual contour of the chorale theme. Thereby the
symbolic pattern of the hymn is revealed. A similar phenomenon
can also be found in the practice of initialis, i.e. decorating the
primary capital letter with which the text of a book, chapter or
paragraph began, and which symbolically reflected the main idea
of that text.
Keywords: Protestantism, Protestant chorale, music of the
Renaissance, musical synesthesia, semantic syncretism, musical
religious symbolism
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