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• W3160563603 abstract "Reviewed by: Musical Authorship from Schütz to Bach by Stephen Rose Samuel J. Brannon Musical Authorship from Schütz to Bach. By Stephen Rose. (Music Performance and Reception.) Cambridge: Cambridge University Press, 2019. [xvi, 243 pp. ISBN 9781108421072, $99.99; also available as e-book, ISBN and price vary.] Illustrations, music examples, bibliography, index. Middles, historiographically speaking, are tricky things. For example, how do we describe what happened between the fall of the Roman Empire and the Renaissance? The widely accepted answer—the Middle Ages—has been critiqued rightly for its framing in anachronistically teleological terms. Stephen Rose's new book tackles a similar question: How do we describe what happened in Lutheran German music between the end of the Renaissance [End Page 595] and the apex of the Baroque? The long seventeenth century recently has become a fashionable answer, to which Rose's book offers a refinement by positing Heinrich Schütz and Johann Sebastian Bach as central figures in the conception of musical authorship. Rose avoids the trap of teleology by adopting a topical approach instead of a more familiar one like political or stylistic history. In this way, Rose's richly documented book offers scholarly interventions that open up fascinating new questions about the ideological forces that shaped Lutheran musical life. The book's introduction presents Rose's scope and method: to explore authorship as an interplay between notions of authority and individuality (p. 10) as witnessed in a range of musical, theological and philosophical writings of the period (p. 15). The introduction also outlines cultural and musical developments in Lutheran Germany during the long seventeenth century; this provides a helpful frame of reference for the following chapters, which jump around chronologically. Rose makes short work of postmodern notions of authorship, proposing that applying such theories to historical evidence tends to result in anachronism: as for Schütz and Bach, their statements of authorial identity need to be understood within the discourses of authorship and authority current at the time (p. 4). Although the introduction contains a brief literature review, mostly to signal his intellectual forebears, Rose waits until later chapters to critique the most relevant scholarship and to unpack the implications of his arguments for performers and scholars. In the first chapter, Rose proposes three distinct attitudes to what he calls musical creativity: the theological, the humanistic, and the artisanal views of what it meant to write, perform, or think about music. In the theological view, humans receive musical agency from God. Rose traces the adoption of this view by musicians throughout Lutheran Germany, as demonstrated by inscriptions of JJ (Jesu Juva [Jesus help]) and SDG (Soli Deo Gloria [to God alone be the glory]) on their music (pp. 20–21). In contrast to other scholars who interpret individuals' inscriptions as evidence of their specific beliefs, Rose interprets the aggregate of inscriptions as evidence of how musicians conceived their role in society (p. 24). In the humanistic view, humans receive musical agency from their individual talent (ingenium, which others have translated as genius). Rose traces the origins of this idea in classical authors and its embrace by musicians working in universities, schools, courts, and churches. An essential character of the humanistic view is that authors create durable works motivated by a desire for glory and immortality (p. 28) rather than for worship or single occasions. In the artisanal view, humans achieve musical agency through craftsmanship. Rose traces the spread of artisanal thinking through musicians' references to tools, work, and the body. Here Rose reminds us that the artisanal emphasis on manual labor denotes hands, a symbol for a musician's presence and authority throughout the book. In Rose's typology, each of these views complements the others, all of which may coexist without contradiction in one work, individual, place, or time. The remainder of the first chapter uses these views to illuminate the subject of musical invention (the devising of initial ideas such as a contrapuntal subject or concerto ritornello [p. 34]). Through numerous examples, Rose shows that these three views provide an essential frame for understanding musical creativity. Bach exemplifies this through his simultaneous insistence on the importance of a musician's natural talent..." @default.
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• W3160563603 title "Musical Authorship from Schütz to Bach by Stephen Rose" @default.
• W3160563603 doi "https://doi.org/10.1353/not.2021.0041" @default.
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