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Subscriber: null; date: 16 October 2019

Kolorieren (Ger., from Lat. colorare: ‘to ornament’)locked

  • Claus Bockmaier

To introduce Coloration. A term used in German-speaking lands during the late Middle Ages and Renaissance to describe the use of commonplace melodic figures to generate musical textures. During the 15th century, standardized coloration formulae were the starting point for many compositions, especially those which elaborated upon a cantus firmus (see Tactus, (2)); during the 16th century, the term ‘kolorieren’ was applied especially to the art of ornamenting intabulations at the organ. Practitioners (‘Koloristen’) included Bernhard Schmid the elder, E.N. Ammerbach and Jakob Paix.

During the first decades of the 20th century, German musicologists controversially applied the term Kolorierung to several late-medieval vocal repertories, including early 15th-century mass settings and the repertory of English Ordinary tropes, in the belief that such works had been composed from a storehouse of pre-existing melodic formulae.

Bibliography

  • A. Schering: ‘Das kolorierte Orgelmadrigal des Trecento’, SIMG, 13 (1911–12), 172–204
  • R. Ficker: ‘Die Kolorierungstechnik der Trienter Messen’, SMw, 7 (1920), 5–47
  • J. Handschin: ‘Zur Frage der melodischen Paraphrasierung im Mittelalter’, ZMw, 10 (1927–8), 513–59
  • H. Besseler: ‘Von Dufay bis Josquin’, ZMw, 11 (1928–9), 1–22
  • C.W. Young: ‘Keyboard Music to 1600’, MD, 16 (1962), 115–50; xvii (1963), 163–93
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