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I removed from the article an extended quote from Franz Xaver Glöggl, with the edit summary "we can't host this here, as we don't know for sure that the translation is out of copyright (as the underlying German text from 1828 indubitably is)". That was far from clear. What I meant to say was something like "we can't host this here without attribution to the author of the translation, as we don't know for sure that it is out of copyright (as the underlying German text from 1828 indubitably is)". I'm sorry about that. Properly quoted and attributed content can be added in Wikipedia, and I didn't mean to imply otherwise. I'm sorry about that.
HLHJ has suggested that the quote could be added back, with his/her own translation of the German text. I've no strong objection to that, but can't help thinking that the quote serves little purpose, and would be better used as a source for a sentence or two on the function of the equale in funeral rites in Linz. Justlettersandnumbers ( talk) 21:32, 1 January 2017 (UTC)
In der ersten Klasse wird bei Ankunft der Geistlichkeit durch eine kurze Trauermusik (Equal) mit Posaunen oder andern Blasinstrumented das Zeichen zur geistlichen Trauerhandlung fuer die Anwesenden gegeben, nach deren Vollendung sich der Leichenzug in bewegung sesset, welches wieder mittelst der blasenden Trauermusik angezeigt wird, mit welcher dann waerend des Zuges die Gesangmusik, die ein drei- oder vierstimmiges Misserere singet, abwechselt bis zum Eingange der Kirche oder Grabstaette, wo der Einsegnung der Vers.: Requiem aeternam, gesungen wird. Nach erfolgter Einsegnung und dem allgemeinem Gebet wird eine Trauer-Motette gesungen.(source, in blackletter, here: pp.20-21 page, record)
For first-class funerals, the arrival of the clergy will be announced by a short mourning-music (Equale) played on trombones or other wind instruments. This will mark the beginning of the funeral service. After this, the funeral procession will set out, again suitably announced by mourning music on wind instruments. During the procession, this shall be played alternately with a three- or four-voice choral Misserere until arrival at the entrance of the church or graveyard, where the benediction of the Requiem aeternam is sung. After the benediction and common prayer, a mourning motet is sung.
- - Franz Xaver Glöggl, Kapellmeister of Linz Cathedral, Kirchenmusik-Ordnung (Church music regulations), 1828
"The cheerful, hopeful piety of the Moravian people is manifest in their burial customs. When a member of the church dies, it is announced by the tender strains of the trombone choir from the belfry of the church. While the funeral service is being held in the church, the body of the deceased lies in the Corpse House at the rear of the church. After the service, the coffin is placed on a bier and covered with a white cloth, as it is borne to the cemetery. At the grave a beautiful responsive service, participated in by the minister and the people, and with trombone accompaniment, is rendered. Amid the tall trees of the graveyard and surrounded by the graves of the departed, it is said to be a very beautiful and impressive service."
- -1899 Church Review
References
With reference to this edit, I entirely agree that the 1500s are pretty irrelevant to aequales. But Luther's bible translation was in current use in the 1700s and 1800s; indeed, it's still in use in Germany to this day. People playing aequales would have thought of the trombone as the instrument that would raise the dead at the last judgment. They'd think of it as the instrument which accompanied the giving of the Ten Commandments in Exodus 20:18 and the unbearable voice of God in Hebrews 12:19. The trombone topples the walls of Jericho. And so on. Maybe there's a more concise way to convey this emotional background? HLHJ ( talk) 05:31, 15 January 2017 (UTC)
"The term gained popularity during the 16th century among writers on music theory. Equal-voiced music is contrasted with pieces written 'a voce piena, or for a 'full range of voices'.[4]"
Can anyone name a theorist that fits this assertion?
The citation for that merely says "Carey 1991, p. 301" with no clue as to the title of the source, as if the source had been cited previously in this article, which it hasn't. — Preceding unsigned comment added by 23.119.204.117 ( talk) 23:09, 9 November 2017 (UTC)
This is the
talk page for discussing improvements to the
Equale article. This is not a forum for general discussion of the article's subject. |
Article policies
|
Find sources: Google ( books · news · scholar · free images · WP refs) · FENS · JSTOR · TWL |
This article is rated Start-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | ||||||||||||||||||||||||||||
|
I removed from the article an extended quote from Franz Xaver Glöggl, with the edit summary "we can't host this here, as we don't know for sure that the translation is out of copyright (as the underlying German text from 1828 indubitably is)". That was far from clear. What I meant to say was something like "we can't host this here without attribution to the author of the translation, as we don't know for sure that it is out of copyright (as the underlying German text from 1828 indubitably is)". I'm sorry about that. Properly quoted and attributed content can be added in Wikipedia, and I didn't mean to imply otherwise. I'm sorry about that.
HLHJ has suggested that the quote could be added back, with his/her own translation of the German text. I've no strong objection to that, but can't help thinking that the quote serves little purpose, and would be better used as a source for a sentence or two on the function of the equale in funeral rites in Linz. Justlettersandnumbers ( talk) 21:32, 1 January 2017 (UTC)
In der ersten Klasse wird bei Ankunft der Geistlichkeit durch eine kurze Trauermusik (Equal) mit Posaunen oder andern Blasinstrumented das Zeichen zur geistlichen Trauerhandlung fuer die Anwesenden gegeben, nach deren Vollendung sich der Leichenzug in bewegung sesset, welches wieder mittelst der blasenden Trauermusik angezeigt wird, mit welcher dann waerend des Zuges die Gesangmusik, die ein drei- oder vierstimmiges Misserere singet, abwechselt bis zum Eingange der Kirche oder Grabstaette, wo der Einsegnung der Vers.: Requiem aeternam, gesungen wird. Nach erfolgter Einsegnung und dem allgemeinem Gebet wird eine Trauer-Motette gesungen.(source, in blackletter, here: pp.20-21 page, record)
For first-class funerals, the arrival of the clergy will be announced by a short mourning-music (Equale) played on trombones or other wind instruments. This will mark the beginning of the funeral service. After this, the funeral procession will set out, again suitably announced by mourning music on wind instruments. During the procession, this shall be played alternately with a three- or four-voice choral Misserere until arrival at the entrance of the church or graveyard, where the benediction of the Requiem aeternam is sung. After the benediction and common prayer, a mourning motet is sung.
- - Franz Xaver Glöggl, Kapellmeister of Linz Cathedral, Kirchenmusik-Ordnung (Church music regulations), 1828
"The cheerful, hopeful piety of the Moravian people is manifest in their burial customs. When a member of the church dies, it is announced by the tender strains of the trombone choir from the belfry of the church. While the funeral service is being held in the church, the body of the deceased lies in the Corpse House at the rear of the church. After the service, the coffin is placed on a bier and covered with a white cloth, as it is borne to the cemetery. At the grave a beautiful responsive service, participated in by the minister and the people, and with trombone accompaniment, is rendered. Amid the tall trees of the graveyard and surrounded by the graves of the departed, it is said to be a very beautiful and impressive service."
- -1899 Church Review
References
With reference to this edit, I entirely agree that the 1500s are pretty irrelevant to aequales. But Luther's bible translation was in current use in the 1700s and 1800s; indeed, it's still in use in Germany to this day. People playing aequales would have thought of the trombone as the instrument that would raise the dead at the last judgment. They'd think of it as the instrument which accompanied the giving of the Ten Commandments in Exodus 20:18 and the unbearable voice of God in Hebrews 12:19. The trombone topples the walls of Jericho. And so on. Maybe there's a more concise way to convey this emotional background? HLHJ ( talk) 05:31, 15 January 2017 (UTC)
"The term gained popularity during the 16th century among writers on music theory. Equal-voiced music is contrasted with pieces written 'a voce piena, or for a 'full range of voices'.[4]"
Can anyone name a theorist that fits this assertion?
The citation for that merely says "Carey 1991, p. 301" with no clue as to the title of the source, as if the source had been cited previously in this article, which it hasn't. — Preceding unsigned comment added by 23.119.204.117 ( talk) 23:09, 9 November 2017 (UTC)