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"He wrote what is thought to be the first German opera, Dafne, performed at Torgau in 1627;"
He was the first German to write and perform a dramma per musica. The Daphne-libretto was used by many composers, including Peri of course, who counts as number one!--188.8.131.52 (talk) 04:05, 2 October 2015 (UTC)
Here are three sentences from the current version of this article: Schütz was one of the last composers to write in a modal style, with non-functional harmonies often resulting from the interplay of voices; contrastingly, much of his music shows a strong tonal pull when approaching cadences. His music makes extensive use of imitation, in which entries often come in irregular order and at varied intervals. Fairly characteristic of Schütz's writing are intense dissonances caused by two or more voices moving correctly through dissonances against the implied harmony.
- That term "non-functional" strikes me as being very unhelpful; when people talk about "functional harmony", in my experience they mean the common-practice Roman numeral I-IV-V-I stuff that Rameau cooked up and that endless undergraduate theory teachers have driven into the ground; I don't think it really applies to Schütz. I might suggest that sentence read as follows: Schütz was one of the last composers to write in a modal style. His harmonies often result from the contrapuntal alignment of voices rather than from any sense of "harmonic motion"; contrastingly, much of his music shows a strong tonal pull when approaching cadences.
- The last half of the second sentence is rather confusing, I think. What's "irregular order?" And the use of the term "interval" is very misleading, since it is more often used to describe things like the interval of a fourth or an octave sounded simultaneously. Maybe it could say something like, "His music includes a great deal of imitation, but structured in such a way that the successive voices do not necessarily enter after the same number of beats or at predictable intervallic distances." That's a bit clunky too so alter as you see fit.
- The last sentence doesn't really make sense to me. How about this: "Schütz's writing often includes intense dissonances caused by the contrapuntal motion of voices moving in correct individual linear motion, but resulting in startling harmonic tension." (Again, somewhat clunky so re-do as needed.) Tallis and Byrd and those guys exploited the same kind of thing, though I don't know how much English music Schütz would have known.
Schütz is a great composer and I have sung and conducted his music, but it's not easy to do, and I also can't lay any claim to being a scholarly expert on him, just an experienced and (I hope) sensitive and sensible musician. Thoughts? --Wspencer11 (talk to me...) 13:10, 29 September 2006 (UTC)
- I have made these changes since there has been no discussion. --Wspencer11 (talk to me...) 15:19, 17 February 2007 (UTC)
Image too big
- I've worked it out but feel free to change the size again if it doesn't suit. --Bobnotts talk 14:09, 28 May 2007 (UTC)
This should link from Maurice Goldman wikipage-broken linkAnnlanding 18:24, 25 September 2007 (UTC)Annlanding
Terminology lacks easy description
There appears many difficult terminology, and their description does not appear either in this article or in linked articles.
For example, I wondered what 'modal style' is, and followed the link on 'modal'. However, I couldn't understand the meaning of 'modal style' any better by reading that article, 'musical mode'. Only after adding footnotes for terms like this (if it is too demanding to make a new article), will this article come within reach for most musical novices.
Below is the terms that I found difficult. You may contribute by either explaining them or expanding the list.
- modal style: What style came next? What were the differences between them?
- harmonic motion: What's the difference between this and the harmony made by the counterpoint?
- tonal pull: Maybe this means the procession from V to I ?
Es steh Gott auf
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