bluuebunny/crossref_metadata_2025 huggingface dataset:
Production, consumption and political function of seventeenth-century opera
Authors: Bianconi Lorenzo , Walker Thomas
Published: December 2008

This article was first planned in 1976. It owes its existence to Pierluigi Petrobelli who, charged with organising a round table on seventeenth-century music drama for the Twelfth Congress of the International Musicological Society, Berkeley 1977, invited the authors to prepare a paper as a focus for discussion and offered them constant encouragement throughout its preparatory stages. It is our pleasant duty to mention that during the time of preparation of the paper Lorenzo Bianconi held scholarships from the Centro Tedesco di Studi Veneziani and the Istituto Storico Germanico of Rome.
Caron, Hayne, Compère: a transmission reassessment
Authors: Montagna Gerald
Published: December 2008

Despite the diligent efforts of archivists, there are a number of fifteenth-century composers for whom are lacking most or all of their biographical details. Not all of these are minor figures. Caron, Hayne van Ghizeghem and Loyset Compère were all active composers who achieved a large degree of contemporary esteem, evidenced not only by the number of concordances but even by direct references. Yet Caron has become so obscure that not even his forename is certain. Hayne van Ghizeghem disappears from Burgundian records while still a relatively young man. There are no records at all for Compère's early years, and his later career is plagued by gaps. At this point, it is not likely that much more documentation will be found to shed light on any of these individuals.
Montecassino and the Old Beneventan chant
Authors: Kelly Thomas Forrest
Published: December 2008

The term ‘Old Beneventan’ describes the archaic non-Gregorian chant found chiefly in two eleventh-century Graduals in the chapter library at Benevento. This is perhaps in part a translation of Dom Hesbert's ‘Ancien rit bénéventain’, with a hint of analogy to the ‘Old Roman’ chant. The term means that this chant is ‘Old’, that is, that it pre-dates the introduction of Gregorian chant into southern Italy; and that it is ‘Beneventan’. But both words need to be evaluated carefully.
The reconstruction of the abbey church at St-Denis (1231–81): the interplay of music and ceremony with architecture and politics
Authors: Walters Anne
Published: December 2008

During the Middle Ages, the construction or renovation of a great church was a vast undertaking in terms of time and of money. An array of cathedrals that still rise above the cities and towns of northern France bears witness to medieval ingenuity and industry. The first structure which embodies many of the elements that are now called Gothic was begun at St-Denis in 1140. The church as we know it, however, was not entirely the work of the twelfth century. Only much later, between 1231 and 1281, was St-Denis finally completed. Substantial evidence of the thirteenth-century rebuilding is found in the monument which stands just to the north of Paris. But the stones of St-Denis do not tell the entire story: a small handful of documents refer to stages of the fifty-year reconstruction of the abbey, and now, new witness exists in the form of the liturgical manuscripts which have survived from the thirteenth century.
A Florentine chansonnier of the early sixteenth century: Florence, Biblioteca Nazionale Centrale, MS Magliabechi xix 117
Authors: Bernstein Lawrence F.
Published: December 2008

The legacy of Pierre Attaingnant, Royal Printer of Music, has done much to clarify our knowledge of the French polyphonic chanson during the first half of the sixteenth century. The great Parisian printer's invention and introduction of music printing with movable type in 1528 contributed to an increasing coalescence in the style of the chansons composed in France between 1530 and 1550. By midcentury, composers at the French royal court and throughout the provinces, too, routinely composed what came to be known as Parisian chansons, the genre most clearly exemplified in the works of Claudin de Sermisy.
Some non-conflicting attributions, and some newly anonymous compositions, from the early sixteenth century
Authors: Boorman Stanley
Published: December 2008

A surprisingly large number of early madrigals carry conflicting attributions in the printed sources of the 1530s and early 1540s. For example, twenty-four of the ninety-five settings listed in Hans Musch's recent book on Festa appear in various sources under at least two composers' names; among other pieces in the same position are some ascribed to Arcadelt or Verdelot – or at least appearing in volumes dedicated to those composers and carrying no other names at the head of the page.
Guillaume Du Fay's benefices and his relationship to the court of Burgundy
Authors: Planchart Alejandro Enrique
Published: December 2008

In the years since Craig Wright published his study of Du Fay at Cambrai interest in the composer has grown apace. In his recent study of the composer David Fallows has given us a ‘rich harvest of “adjusted” information’ concerning Du Fay's life as well as valuable insights into the music. This study is a continuation of the process of adjusting details in our view of Du Fay's life and his work. It presents new documents and some hypotheses based upon them and upon consideration of the cultural and liturgical traditions that shaped Du Fay's life and his work. I shall start with what is perhaps the most tenuous of these hypotheses because it comes chronologically at the beginning: it concerns the matter of Du Fay's birth date.
Music-printing in late sixteenth- and early seventeenth-century Florence: Giorgio Marescotti, Cristofano Marescotti and Zanobi Pignoni
Authors: Carter Tim
Published: December 2008

A number of scholars have begun to explore the activities of music-printers in sixteenth-century Italy. The first music-print produced by movable type was issued by Ottaviano Petrucci in 1501, and by the 1540s improvements in printing techniques, and particularly the introduction of single-impression printing, had set music-printing on a firm commercial footing, first and foremost in Venice, the centre of the printing trade on the peninsula. The two chief Venetian music-printers in the mid-century, Antonio Gardano and Girolamo Scotto, headed commercial enterprises the organisation of which merits close study by economic historians. But the activities of these and other music-printers must also be examined for their effect on contemporary musical culture. Through their editorial policies and commercial strategies, printers such as Gardano and Scotto had an undeniable influence on the composition and dissemination of music in this period, creating and defining a market or markets for their wares which increasingly directed the activities of contemporary composers.
‘Figura poetica molto vaga’: structure and meaning in Rinuccini'sEuridice
Authors: Bujić Bojan
Published: December 2008

Early Italian opera with its diverse roots, streching into the history of music, Classical and Renaissance literature, and the culture of the late Cinquecento, continues to attract historians of culture and musicologists. If one only glances over the work done in this area during the last twenty-five or so years one cannot fail to be impressed by the important writings on early opera by Nino Pirrotta, on the Florentine Camerata by Claude Palisca, on the Classical literary tradition in the early librettos by F. W. Sternfeld and on early Mantuan opera by Iain Fenlon. We also owe a detailed account of the first performance of Peri's and Caccini'sEuridiceto Claude Palisca, and a study of Peri'sEuridiceto Tim Carter. In the latter two studies the stress was on the final result of the collaboration between Ottavio Rinuccini, Jacopo Peri and Giulio Caccini. It seems, however, that a detailed look at one of the components, Rinuccini's dramatic poemEuridice, may offer some valuable insights into the very foundation of Peri's and Caccini's completed artistic effort and also throw new light on some aspects of Striggio'sOrfeo.
Parisian nobles, a Scottish princess, and the woman's voice in late medieval song
Authors: Higgins Paula
Published: December 2008

Perhaps the best-known songs of Antoine Busnoys are those whose texts conceal in acrostics or puns some form of the name ‘Jacqueline d'Aqueville’ (for the song texts and translations see Appendix 1).The first letters in each line ofA vous sans autre(no. 2) andJe ne puis vivre ainsi toujours(no. 3) yield the acrostics ‘A Iaqveljne’ and ‘Jaqueljne d'Aqvevjle’ respectively; the first line ofA que ville est abhominable(no. 4) makes a pun on the surname ‘Aqueville’; and the incipit ofJa que lui ne si actende(no. 1) forms an ambiguous series of monosyllables that can also be read as the name ‘Jaqueline’.
The earliest sources of Notker's sequences: St Gallen, Vadiana 317, and Paris, Bibliothèque Nationale lat. 10587
Authors: Rankin Susan
Published: December 2008

‘This little book has verses of composedmodulamen, so that he who wishes to be retentive may hold on to his breath.’ With this elegiac distich Notker Balbulus concluded the preface dedicating hisLiber ymnorumto Liutward, Bishop of Vercelli, abbot of Bobbio, archchaplain and chancellor to the then emperor, Charles the Fat. The collection of sequences must have been sent to Liutward during 884, since by December of that year Notker had broken off work on hisMetrum de vita sancti Galli, mentioned in the preface to theLiber ymnorumas in the process of preparation. The genesis of the book of sequences can be traced farther back: Notker tells in his preface how, on showing verses to his teacher Iso, corrections were proposed. Later he presented some ‘little verses’ to his teacher Marcellus (the Irish monk Moengal) who ‘with joy’ collected them on parchment scrolls (rotulae) and gave them to his students to sing. Marcellus died at St Gallen in 871, Iso in the same year at the monastery of Moutier-Grandval, where he had been sent to teach some time previously. Many of the ‘versus modulaminis apti’ must have been composed already by 871.
Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century
Authors: Brown Howard Mayer
Published: December 2008

By praising rulers, whose magnificence formed a crucial part of the world order, Pierre de Ronsard and his French colleagues in the second half of the sixteenth century often depicted the world not as it was but as it ought to be. This idea informs Margaret McGowan's book on ideal forms in the age of Ronsard, in which she explores the ways poets and painters extolled the virtues and the theatrical magnificence of perfect princes following the Horatian dictumut pictura poesis: as is painting so is poetry. McGowan demonstrates the virtuosity of the painters and poets of the sixteenth century in shaping their hymns of praise from the subject matter and ideals of ancient Greece and Rome by following Horace's advice to regard paintings as mute poems and poems as speaking pictures. McGowan shows how artists and intellectuals pursued their goals by creating four kinds of ideal form: iconic forms, sacred images derived from classical literary sources offering princes some guarantee of immortality; triumphal forms that evoke the heroic imperial past; ideal forms of beauty to be found in contemplating the beloved; and dancing forms that mirror rituals of celebration. McGowan claims that such ideal forms were intended to enlighten the ruler himself as much as they celebrated his grandeur in the eyes of others.
Ronsard, the Lyric Sonnet and the Late Sixteenth-Century Chanson
Authors: Brooks Jeanice
Published: December 2008

Music was an important metaphor for Ronsard, and references to music and musical instruments are frequently found in his poetry. His writings about music are few, however. In his article ‘Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century’ Howard Brown has referred to two of the most explicit examples of such writing: the preface to Le Roy and Ballard's Livre de meslanges (1560) and the passage from Ronsard's Abbregé de l'art poëtique françois (1565) on the desirability of union between poetry and music. Such passages are important in illuminating poets' attitudes towards music and in demonstrating ways in which the relationship between text and music could be conceptualised in the sixteenth century. They are frustratingly vague, however, about how the poets' ideals should be achieved, and they leave many practical questions unanswered. Did poets have any influence on composers' choices of texts? Did movements in poetic circles ever affect the pitches or rhythms of musical settings – that is, could poets influence the way music sounded?
Claude Le Jeune, Adrian Willaert and the Art of Musical Translation
Authors: Freedman Richard
Published: December 2008

In calling for a new history of French music and musical life of the second half of the sixteenth century, Howard Mayer Brown's paper has presented scholars with a number of formidable challenges. It admonishes us to re-examine nearly every facet of what remains largely an enigma of music history. Simultaneously exacting and encyclopedic, it considers in turn each of four themes: the relation of words and music; the means and character of print culture; musical styles and genres; and (perhaps most important of all) the social context of the chanson itself – what Brown called ‘the anthropology of the French chanson’. His essay concerns the problems and perspectives of Renaissance musicology: how we hear and how we explain the music of the past in relation to those who first made and heard it. It thus requires us to reconsider our assumptions about the nature and workings of historical change, the status of canonical styles and those who promoted them, and the very place of music in culture.
Italianism and Claude Le Jeune
Authors: His Isabelle
Published: December 2008

In sectioniiiof his paper ‘Ut musica poesis’, Howard Mayer Brown remarked upon Italian musical presence in France in three main areas: music theory, techniques of composition and interpretation, and poetry. The works of Claude Le Jeune (c.1530–1600) seem to me to illustrate his comments in a particularly striking fashion, and although my study of Italian influence on Le Jeune's work is incomplete, I think it is possible to make some preliminary observations.
Reading Aron reading Petrucci: the music examples of the Trattato della natura et cognitione di tutti gli tuoni (1525)
Authors: Judd Cristle Collins
Published: December 2008

It has often been noted that Pietro Aron's Trattato della natura et cognitione di tutti gli tuoni (1525) links traditional eight-mode theory with polyphony by naming actual compositions and asserting the modal categories to which they belonged. The significance of Aron's connection of mode and polyphony has been the subject of a wide variety of historical and theoretical interpretation: in particular, Leeman Perkins based a study of modality in the masses of Josquin on the Trattato, while Peter Bergquist argued that Aron's classifications were essentially irrelevant for polyphony. The most recent interpretation of Aron's text appeared in an article by Harold Powers provocatively entitled ‘Is Mode Real?’ There, Powers proposed understanding Aron literally and deduced Aron's methods of modal categorisation from a close reading relying solely on the internal evidence of the treatise.
Song masses in the Trent Codices: the Austrian connection
Authors: Leverett Adelyn Peck
Published: December 2008

The seven Trent Codices preserve much of the sacred vocal polyphony that has survived from the middle decades of the fifteenth century. With some 1500 individual pieces, the collection is a rich compendium of liturgical and paraliturgical genres, large and small. The codices are perhaps most valuable, however, as sources for the cyclic mass Ordinary, the most ambitious of fifteenth-century polyphonic forms.
Preface to the study of the Alleluia
Authors: McKinnon James W.
Published: December 2008

There is a passage in Willi Apel's discussion of the Alleluia of the Mass that nicely epitomises several of the difficulties that music historians have experienced with the genre. Apel found himself faced with a dilemma: on the one hand there was that undeniably late characteristic of the Alleluia, its notorious instability of liturgical assignment; and on the other hand there was literary evidence of the Alleluia's antiquity, its appearance in fourth-century patristic literature as the melismaticjubilus, and Gregory I's late sixth-century letter in which he admitted to extending the use of the Alleluia beyond Paschaltime.
Modal discourse and fourteenth-century French song: A ‘medieval’ perspective recovered?
Authors: Fuller Sarah
Published: December 2008

Writing about a late-fourteenth-century ballade in honour of Mathieu de Foix, Howard Mayer Brown candidly aired his uncertainty about the proper theoretical perspective from which to engage the music. ‘How should we in the twentieth century interpret this music: from the point of view of emerging tonality, as an example of polyphonic modality, or of the influence the extended system of hexachords had on compositional decisions, or should we use some other conceptual framework?’ In his catalogue of choices, Brown alludes to a variegated lot of modern approaches that range across appropriation (sometimes formal, sometimes casual) of terms from functional tonality, modal descriptions founded on octave species and finals, mappings of hexachordal areas, empirical observation of pitch emphases and tonal orientations.
The dialectic between Occitania and France in the thirteenth century
Authors: Aubrey Elizabeth
Published: December 2008

The thirteenth century was a time of turmoil in Occitania, starting with the buildup to the Albigensian Crusade during the first decade and its eruption in the second and third, which resulted in the establishment of the university in Toulouse in 1229, the founding of the Order of Friars Preachers a short time later and the unleashing of several decades of inquisition led by these Dominicans, and ultimately the dissolution of the powerful county of Toulouse. France profited both economically and politically from this plundering of the rich culture to its south: the consolidation of power by the late Capetian monarchy owed much to the absorption of Occitania into its holdings. The inhabitants of the Midi continued to demonstrate their fierce independence from their conquerors in myriad ways, some overt, some subversive. But the tempestuous events in their homeland caused some trauma among the troubadours, and although this did not necessarily result in a general deterioration in the quality of the songs that they produced, it probably is at least partly to blame for a decline in the number of both songs and composers.
Citation and allusion in the late Ars nova: The case of Esperance and the En attendant songs
Authors: Plumley Yolanda
Published: December 2008

In his Prologue, Guillaume de Machaut lists the ballade entée, or ‘grafted ballade’, as one of the many genres he is inspired to write to praise and honour all ladies. It is unclear from this fleeting reference, however, exactly what type of work Machaut meant by this term and whether he was referring to a purely poetic form or to one that involved music. That the practice of citation in lyric poetry was well established at this time is demonstrated by Machaut's own output, which reveals him to have been a master of this art; this literary tradition was to continue to thrive in the later fourteenth century.
A new look at Old Roman chant
Authors: Levy Kenneth
Published: December 2008

Historians of plainchant continue to puzzle over the existence of two monophonic repertories, each with claims to Roman origin.The ‘Gregorian’ chant (GREG) is spread throughout Europe: there are thousands of manuscripts and printed editions; the earliest, lacking neumatic notation, reach back to the late eighth century; with notation they date from the late ninth century; the repertory has remained in continuous use. The ‘Old Roman’ chant (ROM) is found in fewer than half a dozen complete manuscripts and a handful of fragments; they date between the eleventh and early thirteenth centuries, and nearly all are from the region of Rome. GREG and ROM are very similar in their verbal texts and liturgical provisions. But ROM has the more archaic Roman traits and clearly represents the city's usage, while there is little trace of GREG's use at Rome before the thirteenth century. As for the music, where there are corresponding liturgical texts, they tend to share some underlying musical substance. But the nature and patterns of the musical sharings are not clear, and how the relationships came about has not been satisfactorily explained.
Ritual and ceremony in the Spanish royal chapel,c.1559–c.1561
Authors: Nelson Bernadette
Published: December 2008

On the abdication of his father Charles V from the Spanish throne in 1556, Philip II was to inherit probably the most important and prestigious court chapel in Europe. Its history, structure and musical eminence were well established during the time of the Burgundian dukes in the fifteenth century, under whose patronage some of the most prominent musicians and composers found their livelihood; as an institution, it was also partly indebted to traditions and an infrastructure inherited from the Castilian court of Ferdinand and Isabella which was passed on to Charles V following the death of Ferdinand in 1516. When Philip II came to power, the amalgamation of his own court and chapel with that of the Emperor resulted in an organisation of unheard proportions, even though many officers of the Imperial court were to accompany Charles V on his retirement to the monastery in Yuste, in Spain, and others of Philip's own train were to return independently to their homeland on periods of extended leave. This was evidently a time of considerable upheaval, during which membership fluctuated and the structural organisation necessarily underwent a period of some adjustment.
Royal image-making and textual interplay in Gilbert Banaster'sO Maria et Elizabeth
Authors: Williamson Magnus
Published: December 2008

This essay stems from the recent discovery of the cantus firmus of the motetO Maria et Elizabethby Gilbert Banaster (d. 1487). The chant, which will be discussed in detail, is the respondRegnum mundi. Banaster's motet is known to the scholarly community on account of its unusual text, which concludes with a prayer for an unspecified king. It will be argued that Banaster choseRegnum mundias his cantus firmus on account of its thematic relevance to the motet text, and that in so doing he collaborated in the appropriation of devotional means to serve dynastic ends.
Modal representation in polyphonic offertories
Authors: Powers Harold S.
Published: December 2008

In 1957 Nino Pirrotta expressed his view of Palestrina's music and the Tridentine reforms as follows:

The composers were directed to avoid too open an intrusion of secular elements, and to preserve the comprehensibility of the text so far as possible. That the latter would have been attainable through the avoidance of canons and other developed contrapuntal procedures (Animuccia, preface to Laude, Libro ii, 1570) is only in part true, if the noteworthy complexity of Palestrina's polyphonic composition is taken into account. In fact the problem had to be solved more from the spiritual than from the purely technical side. The true contribution of Palestrina and some of his contemporaries (e.g. de Kerle and Animuccia) to its solution — dramatised in anecdotes which do not withstand historical criticism — consists in the deep and inner religiosity which his works unquestionably express. This religiosity, joined to the responsibility for interpreting the official attitude of the Church, influenced the style in that it led to extreme circumspection in taking up the new means of emphasis and expression, be it because they had arisen from secular music (above all after the rise of the madrigal) or because they seemed incompatible with the restraint becoming to the divine service (since they tended towards the description and expression of personal feelings).
Computerizing the Bay Area German Project
Authors: Rauch Irmengard , Schiffman Byron , Trauth Gregory
Published: December 2008

With an IBM-AT with 30 megabyte hard disk and eight-color plotter, significant configurations were uncovered among an ensemble of linguistic and sociolinguistic factors immediately accountable for the variable weak/strong inflection in a given set of contemporary German verbs. A spreadsheet produced matrices which show, in nine figures, the intersection of linguistic data with demographic data such as length of Bay Area residency, occupation, education, sex, geographic origin, as well as differential results based on two distinct methods of fieldwork data elicitation. Twenty-six native speakers of German residing in the San Francisco Bay Area served as informants.
Noun Modifier Inflection in German: A Morphological System in Flux
Authors: Fichtner Edward G.
Published: December 2008

Traditionally, noun modifiers in German fall into two classes, the so-called der- and ein-words, and descriptive or attributive adjectives. In the noun phrase, members of these word classes are inflected by the addition of one or another of two sets of endings, i.e., the primary, strong, or pronominal endings, or the secondary, weak, or nominal endings, in highly predictable combinations. In the data collected by Ljungerud (1955), however, sequences of endings in noun phrases containing nine modifiers occur with noticeable departures from the norm, i.e., folgend, sämtlich, ander-, einig-, viel-, manch-, welch-, irgendwelch-, and solch-. It is concluded that the anomalous sequences of endings in phrases containing these modifers are motivated by the growing association of certain sequences of endings with the feature +/-Generality as a component of the meaning of the noun phrase as a whole.
The development of the directional adverb hin in an Alemannic dialect: From sociolinguistic marker to stereotype
Authors: Lippi-Green Rosina
Published: December 2008

In a small community of approximately 760 High Alemannic speakers, four reflexes of the MHG directional particle anhin co-occur: (aje), (ae), (ahe) and (ane) in a case of active variation leading to change. The distribution patterns indicate that the most active variants, (aje) and (ane), are evaluated differently by different segments of the community. In the adult population we find speakers for whom the variation is still active and subconscious as well as those for whom the change is complete or otherwise inactive. In contrast, the children and adolescents use the conservative variant as a sociolinguistic stereotype. This pattern suggests that the classical sociolinguistic definition of speech community may be inadequate.
The Heidelberg version of a textual portion otherwise lost from the Livonian Rhymed Chronicle
Authors: Zitzelsberger Otto J.
Published: December 2008

Nineteenth-century editors of the Livonian Rhymed Chronicle regarded the now lost Riga MS (= R) as primary, asserting that the only other extant MS for the chronicle, Cpg. 367 (= H), though actually a sister-manuscript, was an ortho-graphically debased copy ofthe former. Obliged because of a large lacuna in R to resort to H (207va, 37–215va, 15) for textual continuity, they proceeded, in line with then established practice for MHG, to normalize these lines, thereby sweeping away various details that would have shed light on the dialectal features of H. On the basis of an examination of such details taken from the manuscript portion in question it is argued that the dialect area in which H was written is East Central German.
Translation: A vehicle for change? Evidence from Pennsylvania German
Authors: Huffines Marion Lois
Published: December 2008

The long-term practice of translating within a social context where both a dominant and receding language are spoken promotes linguistic convergence: speakers alter grammatical structures of the receding language to match the structures of the dominant language. During individual acts of translating, speakers often resort to two enabling strategies: the speaker attempts structures which are no longer regularly used in the community and thereby promotes the maintenance of conservative norms; or the speaker uses the language being translated as a model and thereby contributes toward convergence. In both cases, translation biases language forms and produces an inaccurate picture of the language skills current in the speech community. Evidence is provided from translated and free discourse in two Pennsylvania German communities: among nonsectarians, where Pennsylvania German is dying, and among Amish and Men-nonite sectarians, where Pennsylvania German continues to be used for daily discourse.
Germanic accent, syllabication and the origin of Scandinavian accentuation
Authors: d'Alquen Richard
Published: December 2008

A proposal to abandon the assumption of word accent (either pitch or stress) for Germanic is seen overall as unprofitable. The dilemma of syllable division is resolved against CVC.V and for CV.CV on general considerations following Murray and Vennemann and specific considerations allowing a better analysis of the conditions surrounding Verner's Law. It is proposed that a new Germanic heavy syllable accent, when double-peaked on words with heavy suffixes gave rise to Scandinavian accent 2, and when single-peaked on heavy roots with light suffixes, gave rise to accent 1 and to Danish stød.
Double accusatives in German: An application of CRMS-theory
Authors: Lutzeier Peter Rolf
Published: December 2008

This article addresses a problem at the interface between morpho-syntax and semantics: How to treat “double-accusative” constructions in German. The solution is given in relational terms, which suits the framework of CRMS-theory*. With regard to the first type of “double accusative” constructions [sie lehrt ihn die deutsche sprache‘she teaches him the German language’], the option of different case marking is explained by general principles of CRMS-theory. With regard to the second type [sie nennt ihn einen lügner‘she calls him a liar’], the clue for its full understanding comes from the following observation: in addition to the accusative marking of both complements there is a strong semantic tie between the two. That is why traditional grammar rightly speaks of such forms aseinen lügneras an “accusative of identification”. As this idea of identification is realized at the content level in my approach, I do not see any reason for establishing a special relation “predicative” for the second type.
Ger. erbarmen and the unpredictable OHG prefix bi-
Authors: Lloyd Albert L.
Published: December 2008

Although it has long been recognized that the i of OHG gi-could be lost before vowels and certain consonants, the handbooks recognize no loss of i in bi-. This is one reason why many scholars are reluctant to derive OHG irbarmên from *ir-bi-armên and irbunnan from *ir-bi-unnan, instead positing an original prefix ab- and comparing semantically similar forms such as OE ofearmian. In fact, however, loss of i in hi-, though highly sporadic, is attested before vowels and before r and l from the 8th century on, and provides a basis for the etymology of two hitherto unexplained words in Notker: ferbrasên and prázelig. There are thus clear parallels for a similar explanation of irbarmên and irbunnan.
Reflexivized motion verbs in Old Saxon: Semantics, syntax and semiotics
Authors: Clopton Laura Dale
Published: December 2008

This paper examines four dative reflexive verbs of motion in Old Saxon:faran, gangan, kuman and giuuitan. The linguistic universals of GB syntax and the universal phenomenological categories of Peircean semiotics provide the theoretical framework for this paper. Various syntactic and semantic aspects of the dative reflexive verbs are targeted in the analysis: binding of the reflexive, word order patterns and subject types. The article suggests that a link exists between subject types, V1 syntactic configurations and the appearance of the dative reflexive — only human, animate subjects can license a dative reflexive and the reflexivized verbs exhibit a strong tendency to appear in the narratively visible V1 structure.
A Note on MHGschulde(n)in the Nibelungenlied
Authors: Salmons Joe
Published: December 2008

This word study traces the use ofschulde(n)through theNibelungenliedfocusing on the central episodes in âventiuren 14–19. Considerable synchronic variability exists in the lexical semantics of MHGschulde(n).This variability is explicable in terms of the etymological development ofschulde(n), a variability which is systematically exploited throughout the work. As the plot unfolds, the occurrences of this word and its closest derivational relatives shift steadily from semantically bleached uses and the neutral meaning of ‘obligation’ toward the narrow meaning ‘guilt’.
Issues in Early American English: Using evidence from the journal of Madam Knight
Authors: Brink Daniel
Published: December 2008

A much underused resource in the study of Early American English is the anecdotal commentaries provided by the rather large number of contemporary journals which often provide evidence about an important issue in Early American English. This paper addresses the question of “leveling” in Colonial American English: did it take place, and, if so, when, where, and in what form, and shows how at least one contemporary journal provides rather impressive indications of the presence of strong, entrenched dialect differences at the turn ot the 18th century, suggesting that leveling, at least on the scale sometimes assumed by modern commentators, had not occurred by Madam Knight's day.
A reply to Herbert Penzl's “Historiographie und Sprachgeschichte: Zur Beschreibung des ahd. i−Umlauts”
Authors: Voyles Joseph
Published: December 2008

Two incompatible theories of OHG i−umlaut are briefly described—the one proposed by Twaddell in 1938, the other by Voyles in 1991. Five arguments recently adduced by Penzl in defense of the Twaddellian theory are discussed. These five points are critiqued in some detail because they are crucial for understanding and evaluating the two theories.
Another Look at Open Syllable Lengthening in Dutch
Authors: Seynnaeve Johan
Published: December 2008

This article takes as its point of departure two complicating factors in a well-known sound change in Dutch: when vowels lengthened in open syllables, (i) a long mid vowel emerged for each of the high vowels; and (ii) the high and mid vowels in the front series merged when lengthened. As with many other sound changes, the traditional formulation of open syllable lengthening states only the terminal points of a development; it says nothing about the intermediate stages. This article visualizes at least three intermediate steps—diphthongization, prominence shift, and monophthongization—which offer a rationale for the lowering of the high vowels and the merger in the front series.
On the Investigation of 1920s Vienna Jewish Speech: Ideology and Linguistics
Authors: Jacobs Neil G.
Published: December 2008

This paper aims to establish a framework for the investigation of Vienna Jewish speech (VJS)—the German spoken natively by Jews in Vienna during the 1920s and 1930s. The role of the ideological approach or perspective in the investigation of Jewish ethnolects of German (JG) is discussed at length. It is argued that the investigation of VJS—and of JG generally—must recognize the context of Yiddish linguistics in the broader sense. The paper also considers possible Jewish varieties of German that may have served as models for VJS. Consideration of VJS sheds light on the general linguistic discussion of borrowing vs. language shift.
The Attributive Genitive in Early New High German: A Semantic Analysis
Authors: Lanouette Ruth Lunt
Published: December 2008

In this paper I examine the effect of the semantic relationship between an attributive genitive and its head noun on the relative ordering of the two during the ENHG period. Data were collected from five sources, all written between 1500 and 1550 by men who were natives of the city Nuremburg. Since it has been shown that personal genitives more frequently preceded the head noun, while nonpersonal genitives more often followed, the data were broken down into those two categories. It is shown that personal subjective and objective genitives are more likely to follow the head noun than personal genitives in general, while personal possessive and relational genitives are more likely to precede.
Thege- Participle Prefix in Early New High German and the Modern Dialects
Authors: Fertig David
Published: December 2008

During much of the Early New High German period, a small group of verbs with stem-initialg− and k− commonly formed their past participle without the prefixge-.The standard account attributes this development to Upper German syncope. Quantitative data from a large collection of Nuremberg texts strongly suggests that this account is untenable, and a careful examination of the modern dialects shows that it is in fact the nonsyncopating Central German dialects that most strongly resemble the Early New High German situation. This paper proposes an alternative account involving inflectional haplology as the mechanism responsible for the loss of the prefix in theg-lk-verbs. This analysis answers many questions that the standard account raises, as well as explaining some striking patterns that the previous literature does not mention.
On the Origins of German Uvular [R]: The Yiddish Evidence
Authors: King Robert D. , Beach Stephanie A.
Published: December 2008

Yiddish provides a compelling argument that uvular [R] was present early in German (well before any possible French influence). Eastern European Yiddishrwas uvular despite the fact that therof eastern European languages sharing territory with Yiddish has always been overwhelmingly apical. Jews came from Germany to eastern Europe between 1100 and 1650. Thus, the testimony of Yiddish provides independent confirmation of other recent arguments for early uvular [R] on German-speaking territory. The weight of all the evidence leads to one conclusion: the theory that German uvular [R] came from France is no longer tenable.
A Lexical-Functional Analysis of Predicate Topicalization in German
Authors: Webelhuth Gert , Ackerman Farrell
Published: December 2008

In this paper we examine the topicalization paradigm for ten different verbal constructions in German. We argue that a uniform explanation for the observed behaviors follows from the interpretation of the relevant expressions as (parts of) lexical representations. To this end we motivate a revision of Functional Uncertainty as proposed in Kaplan and Zaenen 1989 to account for filler/gap relations in long-distance dependencies. We assume with the original formulation of this principle that topicalized elements share values with the (grammatical) function status of an entity an indeterminate distance away. We appeal to the inventory of functions posited within LEXICAL-FUNCTIONAL GRAMMAR (LFG), inclusive of the frequently neglected PREDICATE function, which, we argue, is associated with both simple and complex predicates. In addition we show that topicalization, given this function-based proposal, should not be limited to maximal categories. We argue that the need to posit a PREDICATE function for German topicalization is supported by an independent line of research within LFG concerning the analysis of complex predicates. For this purpose we employ the proposals of T. Mohanan (1990/1994), which argue for the independence of the construct PREDICATE from its categorial realization. We show that this type of proposal extends to provide a uniform account of the German topicalization paradigm. This permits us to explain the similarities and differences in the behaviors of various sorts of predicators as well as certain idiomatic expressions interpreted as complex predicates.
Dutch, Swedish, and English Elements in the Development of Pidgin Delaware
Authors: Buccini Anthony F.
Published: December 2008

This paper investigates the influence of Dutch, Swedish, and English on the syntax of Pidgin Delaware, a contact language used in the Middle Atlantic region in the seventeenth century. Arguments are presented against Thomason's (1980) view that the pidgin predated European contact; instead, the structures of the pidgin are viewed from the perspective of Dutch speakers attempting to learn the Delaware language. The theoretical framework of Van Coetsem 1988 is used to explain which Algonquian features were successfully acquired by the Dutch and where the Dutch imposed features from their native language in the early, formational stage of the pidgin. In addition, subsequent changes in Pidgin Delaware are attributed to its use by Swedish and English speakers.
The Metrical Reorganization of Type E in the Heliand
Authors: Suzuki Seiichi
Published: December 2008

In the Heliand, type E (/ / × /) shows a graded preference for the b-verse according to the composition of its first three positions. In Beowulf, by contrast, the same metrical type occurs with consistent preference for the b-verse. This paper claims that the gradation of type E unique to the Heliand arose as a consequence of the reorganization of the first drop of type A, whereby the traditional binary categorization of the normal and heavy drops was replaced by a single prototype-based graded category, as demonstrated in Suzuki 2000.
Null Subjects in Gothic
Authors: Fertig David
Published: December 2008

Several kinds of systematic deviations from the Greek original, including simple insertions and omissions of subject pronouns and transformations of nonfinite or impersonal Greek constructions into personal finite clauses, provide evidence concerning the distribution of null and overt referential subject pronouns in Gothic. While the evidence leaves no doubt that Gothic was a null-subject language, it also reveals a tendency, not found in Ancient Greek, toward the use of overt subjects for nontopic antecedents. This Gothic pattern is reminiscent of what a number of researchers have found recently in some other null-subject languages such as Italian, but Gothic appears to occupy an intermediate position between Ancient Greek and Italian.*
Rudolf Hildebrand's Impression on Friedrich Kluge
Authors: Bloomer Robert K.
Published: December 2008

In the mid 1870s, Friedrich Kluge spent four semesters in Leipzig studying comparative linguistics and classical philology under the Neogrammarians Georg Curtius, Friedrich Zarncke, Hermann Osthoff, and Wilhelm Braune. Although Kluge applied and refined their methods for many years to come, he was even more deeply impressed by another teacher in Leipzig, the non-Neogrammarian Rudolf Hildebrand. Within the context of Kluge's famousEtymologisches Wörterbuch, of which Kluge oversaw the first (1881–1883) through the tenth (1924) editions, this article asks: In what way did Hildebrand's research come to bear on Kluge's own work? And to what extent did Kluge acknowledge Hildebrand's influence? The answer to the first question entails a fundamental shift in Kluge's view on the goal of etymology, while the response to the second one, which must also be pursued in other writings by Kluge, can be interpreted further by examining certain statements made by Kluge in the dictionary.
Etymological Opacity, Hybridization, and the Afrikaans Brace Negation
Authors: Roberge Paul T.
Published: December 2008

One of the enduring cruxes in Afrikaans historical linguistics has been the origin of the so-called “double” or more properly “brace” negation, specifically with respect to the negative particleniein sentence-final position. Though bipartite negation is well represented in the Germanic languages, the Afrikaans pattern stands alone. The brace negation is an innovation that came about through the reanalysis of a discourse-dependent (pragmatically conditioned) structure in metropolitan Dutch. The agents of the change were Khoikhoi and enslaved peoples at the Cape in the context of wholesale language shift and basilectalization under the pressure of a socioeconomic order based on caste. Given the intensive mixing between mesolectal and basilectal varieties as part of a shared repertoire, the innovation was accepted by rural, lower-class Europeans living in closest proximity to indigenes and slaves, with stylistic and social variation.
On the Origin of Preaspiration in Scandinavian
Authors: Page B. Richard
Published: December 2008

The peripheral location of Scandinavian dialects with preaspiration supports the view that preaspiration was present in Common Scandinavian. Sound changes in Common Scandinavian and resulting morphophonemic alternations in the older Scandinavian languages exhibit the articulatory timing characteristic of preaspiration and sonorant devoicing and further bolster the argument that Common Scandinavian is theterminus ad quemfor the origin of preaspiration. Dialectal and historical data also indicate that preaspiration is primarily, but not exclusively, a West Scandinavian phenomenon. Finally, it is argued that the reconstruction of preaspiration and sonorant devoicing for Common Scandinavian motivates the development of West Jutlandic stød and the distribution of Common Danish stød in West Jutlandic.
Positivism and ‘Hocus-pocus’ in Germanic and English Linguistics
Authors: Penzl Herbert
Published: December 2008

The modern history of Germanic and English (synchronic and diachronic) linguistics reveals two main types of scholarly approach to language data: positivism (labelled ‘God's truth’) and theoreticism (labelled ‘hocus-pocus’ by American structuralists). The latter seems to have been dominant in the last decade.
Laryngeals in Germanic
Authors: Voyles Joseph B.
Published: December 2008

The influence of IE laryngeal segments and their physical presence in early Germanic have frequently been adduced to explain some five classes of problematic phenomena of the early Gmc. languages. These problems are: first, that of the past forms of the seventh-class strong verbs; second, the so-called Verschärfung; third, the Gmc. ē2-vowel; fourth, thee-to-ichange; and finally, various Gmc. etymologies. The laryngeal explanations of these five phenomena are deficient and alternative explanations are preferable. Therefore, there exists no hard evidence for the presence of laryngeal segments in later pre-Gmc. Indo-European nor in early Germanic.
Germanic locative adverbs in *-on-
Authors: Shields Kenneth
Published: December 2008

In this paper it is proposed that Germanic locative adverbs in *-on- bear an etymological relationship to Hittite ablatives in -anzaand therefore yield additional evidence for the archaic nature of the Germanic dialect group.
Clause linkage typology: Luther 1522 versus Luther 1546
Authors: Listen Paul H.
Published: December 2008

A significant aspect of the changes in Martin Luther's style over the years can be characterized linguistically in terms of clause linkage. In order to analyze such diachronies incisively, we need a framework which can deal with the shifting and overlapping iconicities of morphology, syntax, lexicon, and discourse. Lehmann's (1988) clause linkage typology construct provides such a systematic framework. With it we are able to characterize rigorously the varying clause linkage strategies in two versions of Luther'sRomans. Categorization of some 60 sentence pairs from these corpora yields incontrovertible evidence favoring change toward semanto-syntactic compression, and it suggests a typological shift toward more compressed structures. In turn, Lehmann's typological framework is further strengthened by its application to the ENHG Luther data.