User:Pfold/sandbox

Other Sandboxes
=Heinrich von Morungen=
 * User:Pfold/sandbox2
 * User:Pfold/sandbox3
 * User:Pfold/sandbox-ohg
 * User:Pfold/sandbox-mhg
 * User:Pfold/sandbox-mhg-texts
 * User:Pfold/sandbox-enhg

Influences
One of the characteristics which sets Morungen's work apart from that of his contemporaries is his adoption of motifs from classical literature. The "Narcissus Song" (MF 145,1), the treatment of the beloved as a Venus and the topos of the swansong in (MF 138,17)

Discography
Morungen. Songs From A Visionary Musical https://schottmusiclondon.com/shop/morungen-no91500.html

https://www.discogs.com/master/409747-Various-Sammlung-Deutscher-Gedichte-011

=Neidhart=

Authenticity
In the first critical edition of Neidhart's songs, Moriz Haupt in 1858 took the view that the Riedegg manuscript from the late 13th century preserved authentic songs and that additional material in the later paper manuscripts, notably the largest, MS c, from the 15th century, was the work of imitators, so-called "Neidhartianer" and should be excluded from the main body of the edition. This left a corpus of 66 "Authentic" songs and 17 melodies, largely unchallenged in later editions by other scholars, with the remaining songs dismissed as "Pseudo-Neidharts".

The manuscripts with Neidhart's songs fall into three main groups, centred in Vienna, South Western Germany, and Nuremberg (see below). Thirty-five of the songs are common to all three, but otherwise variety of their texts suggests that the MSS represent not only geographical differences in Neidhart's reception but different views of Neidhart's œuvre.

Many of the songs attributed to Neidhart are recorded in more than one manuscript, though there is considerable variation in wording and in the number and order of strophes for a song. This and the fact that the manuscripts cover a period of three centuries suggest that not everything is the work of Neidhart himself but reflects a broader "Neidhart tradition". Indeed, by the start of the 14th century, his name had become a common noun for a type of song, "a Neidhart" (ain neithart).

In both themes and structures, Neidhart's songs provided a well-defined model, so it must have given rise to imitations even in the poet's lifetime. And by the time the first surviving manuscripts were written, the originals and imitations would have been indistinguishable for the contemporary audience, who would in any case have no interest in the "authenticity" or otherwise of the songs.

However, while the continuing interest in Neidhart's songs makes it certain that some of the material in the MSS is not his work, no objective criteria have been found to to support an identification of "authentic" material. This is underlined by the fact that there is nothing in the melodies to distinguish "genuine" songs.

For many of the songs preserved in more than one manuscript there are variations not only in wording, but in the number and order of the strophes.

The result is that, until recently, editions of Neidhart's songs have typically excluded from the main corpus all material found only in the paper manuscripts of the 15th century, amounting to over half the 150 or so songs. These have been termed "Pseudo-Neidharts". However, the implication that the early MSS (notably R and C) held a definitive collection of songs is without foundation, as is the view that a song found only in a late MS cannot have been composed in the 13th century.

One of the problems of the 150 songs under Neidhart's name is that the first critical edition of the songs categorized only 66 of them as written by Neidhart himslf, with the rest classed as "Pseudo-Neidharts", written by later imitators. This view was then accepted by most subsequent schlars until the late 20th century. However, the modern view is that Haupt's is lacking in objectivity and consistency.

In both themes and structures, Neidhart's songs provided a well-defined model, so it must have given rise to imitations even in the poet's lifetime. And by the time the first surviving manuscripts were written, the originals and imitations would have been indistinguishable for the contemporary audience, who would in any case have no interest in the "authenticity" or otherwise of the songs.

Since Neidhart himself claims to have written over 100 songs and certain types of song are poorly represented in R, it is not implausible to assume that the compiler of R may have made a selection from the evailable songs. Alt







Music

 * O: Frankfurter Neidhart-Fragment (ca. 1300) – 5 Melodien
 * fr: Fribourger Neidhart-Eintrag (ca. 1400) – 1 Melodie
 * s: Sterzinger Miszellaneen-Handschrift (ca. 1410) – 9 Melodien
 * w: Wiener Neidhart-Handschrift (ca. 1430) – 9 Melodien
 * ko: Kolmarer Liederhandschrift (ca. 1460) – 1 Melodie
 * x: Meistersinger-Handschrift x (nach 1672) – 1 Melodie


 * (Salzburger Neidhart-Edition)

Sound Shift
Bach, Geschichte der deutschen Sprache
 * SS:: Section II, A - pp. 101-112
 * th>d: Section II.B p.131 - single brief mention, with separate mention of "Ausbretung der Ahd. Laatverschiebug"

Sonderegger, Althochdeutsche Sprache und Literatur
 * SS: pp.260-61
 * th>d: with section on othe consonant changes, p.275

Bergmann, Moulin, Ruge: pp 63-68, no mention of th>d.

Meinecke, Schwerdt,
 * SS; section C.5, pp.208-236
 * th>d: section C.6 th>d included among other examples of Spirantenschwächung

Wells
 * SS; Appendix A (6 pages)
 * No mention of th>d

Braune: Ahd. Grammatik (16th edn)