German-speaking countries

F. Blume: ‘Zur Lage der deutschen Musikforschung’, Mf, v (1952), 97–109

K. Hahn, ed.: Musikstudium in Deutschland: Musik, Musikerziehung, Musikwissenschaft: Studienführer (Mainz, 1960, 10/1992 ed. R. Jakoby and E. Kraus)

C. Dahlhaus and others: ‘Memorandum über die Lage der Musikwissenschaft in der Bundesrepublik Deutschland’, Mf, xxix (1976), 249–56

K.W. Niemöller and others, eds.: Einheit und Spaltung der Gesellschaft für Musikforschung: zur Wissenschaftsgeschichte im geteilten Deutschland: eine Dokumentation (Kassel, 1993)

Italy

R. Dalmonte: ‘Le discipline musicali nella prospettiva della riforma universitaria’, RIM, xiii (1978), 203–11

M. Baroni and others: ‘Progetto di riassetto degli studi musicologici universitarii’, RIM, xiv (1979), 203–22

P. Petrobelli: ‘La musica nelle università’, Didattica della storia della musica: Florence 1985, 109–12

G and T. Gialdroni, eds.: Convegno di studi : 8 settembre 1991: le discipline musicali e l'università (Rimini, 1992)

T. Gialdroni, ed.: Le discipline musicologiche e l'università (Rome, 1994)

G. La Face Bianconi: ‘I dottorati di ricerca in discipline musicali’, Saggiatore musicale, i (1994), 197–207

The usa

S. Goldthwaite: ‘The Growth and Influence of Musicology in the United States’, AcM, xxxiii (1961), 72–9

J. LaRue: ‘Codetta: some Details of Musicology in the United States’, AcM, xxxiii (1961), 79–83

F. Harrison, M. Hood and C.V. Palisca: Musicology (Englewood Cliffs, NJ, 1963)

A.P. Merriam: The Anthropology of Music (Evanston, IL, 1964)

J. Kerman: ‘A Profile for American Musicology’, JAMS, xviii (1965), 61–9

E.E. Lowinsky: ‘Character and Purposes of American Musicology: a Reply to Joseph Kerman’, JAMS, xviii (1965), 222–34

G.S. McPeek: ‘Musicology in the United States: a Survey of Recent Trends’, Studies in Musicology: Essays in Memory of Glen Haydon, ed. J.W. Pruett (Chapel Hill, 1969/R), 260–75

D.-R. Lerma: ‘Preface: the Black Music Center and its Projects’, Reflections on Afro-American Music (Kent, OH, 1973), 1–12

R. Crawford: American Studies and American Musicology: a Point of View and a Case in Point (Brooklyn, NY, 1975)

B.S. Brook: ‘Musicology and Musicological Training in the United States’, MMA, x (1979), 158–65

D.K. Holoman and C.V. Palisca, eds.: Musicology in the 1980s: Methods, Goals, Opportunities (New York, 1982)

J. Kerman: Musicology (London, 1985)

D. Beach: ‘The Current State of Schenkerian Research’, AcM, lvii (1985), 275–99

L. Porter: ‘Jazz in American Education Today’, College Music Symposium, xxix (1989), 134–9

J. Kerman: ‘American Musicology in the 1990's’, JM, ix (1991), 131–44

B. Nettl: ‘The Dual Nature of Ethnomusicology in North America: the Contributions of Charles Seeger and George Herzog’, Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology, ed. B. Nettl and P.V. Bohlman (Chicago, 1991), 266–74

B. Coeyman: ‘Applications of Feminist Pedagogy to the College Music Major Curriculum: an Introduction to the Issues’, College Music Symposium, xxxvi (1996), 73–90

E.E. Helm: The Canon and the Curricula: a Study of Musicology and Ethnomusicology Programs in America (Stuyvesant, NY, 1994)

C. Wilkinson: ‘Deforming/Reforming the Canon: Challenges of a Multicultural Music History Course’, Black Music Research Journal, xvi (1996), 259–77

L.R. Wyatt: ‘The Inclusion of Concert Music of African-American Composers in Music History Courses’, Black Music Research Journal, xvi (1996), 239–57

D. Joyner: ‘50 Years of Jazz Education at North Texas’, Jazz Educators Journal, xxx (1997), 53–62

S. Flandreau: ‘Black Music in the Academy: the Center for Black Music Research’, Notes, lv (1998–9), 26–36

Great britain

Grove6 (‘Education in Music’)

F. Howes: Music, 1945–50 (London, 1951), 36–8

N. Long: Music in English Education (London, 1959)

W. Mellers: ‘Connecting it All: from Bach to the Beatles and Back’, Times Educational Supplement (29 January 1964)

P.M. Davies: ‘The Young Composer in America’, Tempo, no.72 (1965), 2–6

‘The Study of Music at University’, MT, cxiv (1973) [articles by P. Evans, 129–31; W. Mellers, 245–9; I. Keys, 369–70; P. Doe, 480–83; A. Goehr, 588–90; L. Lockwood, 783–7; L. Finscher, 887–90; G. Rochberg, 1108–12]

J. Harvey: ‘Composition Teaching at a University’, Composer, no.53 (1974–5), 27–8; no.54 (1975), 31–2

Training Musicians: a Report to the Calouste Gulbenkian Foundation (London, 1978)

D. Fallows, A. Whittall, J. Blacking and N. Fortune: ‘Musicology in Great Britain since 1945’, AcM, lii (1980), 36–68

Report by the National Assocation of University Music Staff to the Music Working-Party of the Arts Sub-Committee of the University Grants Committee (May 1988)

C. Kennett: ‘Criticism and Theory’, The Twentieth Century, ed. S. Banfield (London, 1995), 503–18

Unterbrechung

(Ger.). See Interruption.

Untergreifen

(Ger.). See Motion from an inner voice.

Unterholtzer [Underholtzer, Niederholtzer], Rupert [Ruprecht]

(b Salzburg, c1505–10; d ?Venice, ?after 1542). Austrian composer. His father was Thomas Unterholtzer, a tailor who had business links with Venice. He is described (in CH-Bu F.X.1–4, Nr.90) as ‘discipulus illius Finckii Salisburgensis’. Heinrich Finck went to Salzburg with Cardinal Matthäus Lang in 1519 after the latter's enthronement as archbishop and remained as composer to the cathedral chapter probably until 1527. If Unterholtzer was born about 1510, he could have been a choirboy in Finck's Kapelle and later could have learned composition from him. He was ordained and in 1528 studied at Ingolstadt University, but he then became a merchant like his father. He went to Venice on business and married an Italian. In 1556 his son Thomas was made a citizen of Salzburg.

Unterholtzer studied music seriously only in his youth, but nonetheless he left his mark. Together with Gregor Peschin, Johannes Stomius and Wilhelm Waldner he belonged to that group of composers in Salzburg in the early 16th century who took part in the humanistic movement and who were certainly influenced by Paul Hofhaimer, also working in Salzburg. Unterholtzer's motets and secular songs appeared in several collections of the time, but were also circulated in manuscripts as far afield as Regensburg, Basle and Hamburg. The extent of his output is not known, and a study of his work and its dependence on that of Finck has not been made.

WORKS

Ad Dominum cum tribulare, 4vv, 15399; Ecco ego mitto vos, 5vv, 15407; Laudate pueri Dominum, 4vv, 15426; Oime patientia, 3vv, 15412; Oime patientia, 4vv, ed. in Rhau: Musikdrucke, iii (1959), 25; O Thoma Didyme, 3vv, 15412; Valde honorandus est, 4vv, ed. in Rhau: Musikdrucke, iii (1959), 117; Was nit sol sein, 4vv, ed. in MMg, xxvi (1894), 96; Patris sapientia, 4vv, CH-Bu F.X.1–4, Nr.90; 3 Latin tricinia in D-Rp B.220–22

BIBLIOGRAPHY

H.J. Moser: Paul Hofhaimer: ein Lied- und Orgelmeister des deutschen Humanismus (Stuttgart and Berlin, 1929, enlarged 2/1966)

H. Spies: ‘Geschichte der Domschule zu Salzburg’, Mitteilungen der Gesellschaft für Salzburger Landeskunde, lxxviii (1938), 1–88

H. Spies: ‘Beiträge zur Musikgeschichte Salzburgs im Spätmittelalter und zu Anfang der Renaissancezeit’, Mitteilungen der Gesellschaft für Salzburger Landeskunde, lxxxi (1941), 41–96

L. Hoffmann-Erbrecht: Henricus Finck, musicus excellentissimus (1445–1527) (Cologne, 1982), 53

LOTHAR HOFFMANN-ERBRECHT

Unterklang

(Ger.).

See under Klang (ii).

Untersatz

(Ger.).

The term for pipes of the larger pedal stops, placed on a chest below (and at the back of) the main chest of organs in north and central Germany, c1575–1825. See under Organ stop.

Unverdorben [Unferdorfer], Marx [Marc, Max]

(fl ?mid-16th century). German lute maker, active mainly in Italy. He was a cousin of Luca and Sigismondo (i) Maler and married Angela, the daughter of Giovanni Gisoli (also known as Batilori), with whom Luca Maler made a contract in 1527. In 1530 Maler's son Sigismondo (ii) was apprenticed to Unverdorben for a year, and Unverdorben is mentioned as a beneficiary in Luca Maler's first will, also dated 1530. Shortly afterwards he appears to have moved to Venice, although legacies to the daughters of ‘Marco Oserdoni, lute maker of Venice’ in Maler's second and last will of 1552 suggest that the family connection was maintained.

The Fugger inventory of 1566 (see Stockbauer, and Smith) includes ‘Eine grosse alte Lauten von Max Unverdorben’. A few of his instruments survive, though none are in original condition. These include a fine multi-rib yew instrument (in Fenton House, London), labelled ‘Marx Unverdorben in Venetia 158…’, which was rebuilt as a 13-course baroque lute by Buchstetter of Regensburg in 1747. The Victoria and Albert Museum, London, has a very striking lute back composed of a complex and unsupported marquetry of different woods (no.193-1882). The Museo Municipal della Musica, Barcelona, has a seven-course lute with a 13-rib back of quilted maple (no.408). The Lobkowitz collection in the Czech Republic has one instrument converted in the 18th century (this was formerly in the Národní Muzeum, Prague). Another instrument, remade as a theorbo, is in the Museo di Strumenti Musicali, Rome (no.37).

The stylistic disparity and the date of the Fenton House lute suggest that at least two generations of Unverdorbens are represented in the surviving instruments.

BIBLIOGRAPHY

VannesE

J. Stockbauer: Die Kunstbestrebungen am bayerischen Hofe (Vienna, 1874/R)

M.W. Prynne: ‘A Note on Marx Unverdorben’, LSJ, i (1959), 58 only

C. Challen: ‘The Unverdorben Lute at Fenton House: Conservation in Practice’, EMc, vii (1979), 166–73

D.A. Smith: ‘The Musical Instrument Inventory of Raymond Fugger’, GSJ, xxxiii (1980), 36–44

C. Gonzales Marcos: ‘Les Luths du Museu de la Mùsica de Barcelone’, Musique ancienne, xix (1985), 62–77

S. Toffolo: Antichi strumenti veneziani: 1500–1800, quattro secoli di liuteria e cembalaria (Venice, 1987)

S. Pasqual: ‘Laux Maler (c.1485–1552)’, Bollettino della società italiana del liuto, xxii (1997), 3–11; xxiii (1997), 4–13; Eng. trans. in Lute News, no.51 (1999), 5–15

LYNDA SAYCE

Unverricht, Hubert

(b Liegnitz, Silesia [now Legnica, Poland], 4 July 1927). German musicologist. From 1947 he studied musicology at the Humboldt University in Berlin under Vetter, Meyer and Dräger with German philology and philosophy as secondary subjects, and from 1952 under Gerstenberg at the Free University, Berlin, where he took the doctorate in 1953 with a dissertation on programme elements in instrumental music to 1750. After acting as research assistant at the Joseph Haydn-Institut in Cologne (1956–62), he became assistant lecturer at the musicology institute of Mainz University (1962–7). He completed the Habilitation in musicology at Mainz in 1967 with a study of the history of the string trio. In 1971 he was appointed research fellow and professor at Mainz and from 1980 he was professor at the Catholic University of Eichstätt. He retired in 1991. His chief work has been the study of source materials and the music of Viennese Classicism, particularly Haydn and Beethoven, as well as research on chamber music and the music history of Silesia and the Rhineland.

WRITINGS

Hörbare Vorbilder in der Instrumentalmusik bis 1750: Untersuchungen zur Vorgeschichte der Programmusik (diss., Free U. of Berlin, 1953)

‘Die Wiedergabe von Strich und Punkt in praktischen Ausgaben und die Mozart-Forschung zu Strich und Punkt’, Die Bedeutung der Zeichen Keil, Strich und Punkt bei Mozart, ed. H. Albrecht (Kassel, 1957), 22–53

with G. Feder: ‘Urtext und Urtextausgaben’, Mf, xii (1959), 432–54

Die Eigenschriften und die Originalausgaben von Werken Beethovens in ihrer Bedeutung für die moderne Textkritik (Kassel, 1960)

‘Die Simrock-Drucke von Haydns Londoner Sinfonien: Simrocks Verbindungen mit Haydn’, Festschrift Karl Gustav Fellerer zum sechzigsten Geburtstag, ed. H. Hüschen (Regensburg, 1962), 235–59

‘Die gesammelten Briefe und Tagebücher Joseph Haydns’, Mf, xvi (1963), 53–62; xviii (1965), 40–45; xxi (1968), 57–61

Geschichte des Streichtrios (Habilitationsschrift, U. of Mainz, 1967; Tutzing, 1969)

with A. Gottron and A. Tyson: Die beiden Hoffstetter: zwei Komponistenporträts mit Werkverzeichnissen (Mainz, 1968)

ed., with F.W. Riedel: Symbolae historiae musicae: Hellmut Federhofer zum 65. Geburtstag (Mainz, 1971) [incl. ‘Zur Chronologie der Barytontrios von Joseph Haydn’, 180–89]

Die Kammermusik (Cologne, 1972; Eng. trans., 1975)

ed.: Musik und Musiker am Mittelrhein: ein biographisches, orts- und landesgeschichtliches Nachschlagewerk, i (Mainz, 1974)

‘Die orchesterbegleitete Kirchenmusik von den Neapolitanern bis Schubert’, Geschichte der katholischen Kirchenmusik, ed. K.G. Fellerer, ii (Kassel, 1976), 157–72

‘Bemerkungen zum geschichtlichen Ort von Beethovens früher Kammermusik’, BeJb 1973–7, 501–29

‘Beziehungen schlesischer Komponisten und Musiker zur Wiener Klassik’, Die musikalischen Wechselbeziehungen Schlesien-Österreich (Dülmen, 1977), 47–76

ed., with K. Oehl: Musik in Darmstadt zwischen den beiden Weltkriegen (Mainz, 1980)

‘Joseph Haydns “Die sieben Worte Christi am Kreuze” in der Bearbeitung des Passauer Hofkapellmeisters Joseph Friebert’, KJb, lxv (1981), 83–94

‘Die Breslauer Organistenschule im 19. Jahrhundert’, Zur Orgelmusik im 19. Jahrhundert, ed. W. Salmen (Innsbruck, 1983), 101–14

‘Joseph Haydns briefliche und persönliche Begegnung mit Mainzer Musikern’, Florilegium musicologicum: Festschrift Helmut Federhofer zum 75. Geburtstag, ed. C.-H. Mahling (Tutzing, 1988), 427–43

‘Polnische und französische Stileinflüsse in den Kammermusikwerken von Peter Hänsel’, Deutsche Musik im Wegekreuz zwischen Polen und Frankreich: Mainz 1988, 259–65

ed., with W. Bein: Carl Ditters von Dittersdorf, 1739–1799, i–iii (Würzburg, 1989–91)

‘Traditionelles in neuer Struktur: zu Weberns Streichtrio op.20’, Altes im Neuen: Festschrift Theodor Göllner zum 65. Geburtstag, ed. B. Edelmann and M.H. Schmid (Tutzing, 1995), 377–85

‘Carl von Winterfelds Einschätzung des Palestrina-Stils’, Festschrift für Winfried Kirsch (Tutzing, 1996), 228–37

EDITIONS

Joseph Haydn: Werke, xiv/2–4: Barytontrios (Munich, 1958–64); iv: Die Sieben letzten Worte unseres Erlösers am Kreuze [orch version] (Munich, 1959); xxviii/2: Die Sieben letzten Worte [orat version] (Munich, 1961); i/18: Londoner Sinfonien (Munich, 1963)

Peter Hänsel: Streichtrios, op.40, nos.1–3 (Bad Schwalbach, 1989–95)

BIBLIOGRAPHY

K. Schlager, ed.: Festschrift Hubert Unverricht, ed. K. Schlager (Tutzing, 1992) [incl. list of pubns]

HANS HEINRICH EGGEBRECHT/WOLFGANG RUF

Unverzagte [Unvuortzaghete], Der

(fl late 13th century). German poet and composer of Sangsprüche. He was probably of noble birth, and was among the most prominent Spruch poets of his time. His name may derive from his bold expressions of open criticism, directed not so much at political or socio-political situations (as with Walther von der Vogelweide) as at the personal characteristics of kings and royal lords, their generosity or meanness, justice or injustice, artistic sensitivity or philistinism, and so on. In addition, he cultivated the traditional themes of pleading for his lord’s favour, praising and upbraiding his patron, or instructing young people. Ez ist ein lobelîchiu kunst is informative with regard to contemporary artistic practice in stating that singing should be more highly regarded than mere instrumental music. There are no religious poems. The Jenaer Liederhandschrift (D-Ju E1.f.101) contains Der Unverzagte’s 22 Spruch stanzas: they are formulated in three different Töne (see Ton (i)), the three melodies of which also appear in this manuscript. Although his work is not outstanding in either form or content he seems to have been well regarded by his contemporaries, since he is mentioned together with Konrad von Würzburg and Der Meissner in a polemical work by the Rumslant.

WORKS

music ed. in Taylor, i, 93ff

Edition: Minnesinger: deutsche Liederdichter des zwölften, dreizehnten und vierzehnten Jahrhunderts, ed. F.H. von der Hagen, iii (Leipzig, 1838/R), no.14 [texts]

Der Künec Ruodolf minnet Got

Ez ist ein lobelîchiu kunst

Iunger Man von zwenzic Jâren

BIBLIOGRAPHY

R.J. Taylor, ed.: The Art of the Minnesinger (Cardiff, 1968), ii, 138ff

E. Pickerodt-Uthleb: Die Jenaer Liederhandschrift: metrische und musikalische Untersuchungen (Göppingen, 1975), 444–6

F. Schanze: ‘Der Unverzagte’, Die deutsche Literatur des Mittelalters: Verfasserlexikon, ed. K. Ruh and others (Berlin, 2/1977–)

H. Brunner and B. Wachinger, eds.: Repertorium der Sangsprüche und Meisterlieder, v (Tübingen, 1991), 450–53

For further bibliography see Minnesang.

BURKHARD KIPPENBERG/LORENZ WELKER

Unvollkommene Kadenz

(Ger.).

See Plagal cadence.

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