Cologne Cathedral Research Articles

«ПЛИВУЧИ РЕЙНОМ, Я МАВ У РУКАХ ПРИДБАНІ У КЕЛЬНІ RHEIN- SAGEN І ЧИТАВ ЇХ, ЗВІРЯЮЧИ МІСЦЕВОСТІ, ЯКІ У НИХ ЗГАДУВАЛИСЯ НА САМІЙ ПРИРОДІ»: ПОГЛЯД НА НІМЕЦЬКІ ЗЕМЛІ МАНДРІВНИКІВ З НАДДНІПРЯНСЬКОЇ УКРАЇНИ У ХІХ НА ПОЧАТКУ ХХ СТ.

The article considers a range of issues related to travel to Germany in the 19 th – the beginning of the 20th century. Attention is drawn to the purpose of travel, routes, choice of objects for review, interethnic cultural contacts. It was established that the purpose of the trips to Germany were rest, treatment and education. Travelers got to Germany in different ways: by steamboat from Saint Petersburg through Sweden or overland through Radzivyliv, Lemberg and the Czech or Polish lands. Guidebooks printed in Germany became useful for travelers. They helped to develop of the travel route, choose the residence, objects for review and decide on means of transportation. The cities that attracted travelers the most were Berlin, Heidelberg, Leipzig, Munich, as well as the resorts of Baden-Baden and Kissingen. During of the 19th century, under the influence of changes in movement in European art – from romanticism to modernism, accents shifted, and interest arosed to various monuments and artistic masterpieces. While in the first half of the 19th century travelers were admired by Gothic architecture, works of the Renaissance, classical opera, ethnographic customs of the local population, in the second half of the 19 th century, attention was paid to modern art, achievements of science and technology, lifestyle, shops, cafes, etc. People, who traveled to Germany, expanded of social circle. There travelers were able to get to know representatives of European elites, leading scientists and practitioners, compatriots. Established contacts were usually long-lasting and multi-year. Sometimes under the influence of new acquaintances and European culture, imperial ideological stereotypes were destroyed and self-identification of travelers from Dnieper Ukraine took place. Keywords: travels, Germany, architectural monuments, memories, M. Rigelman, M. Kostomarov, Dresden Gallery, Cologne Cathedral.

쾰른 대성당의 게르하르트 리히터(Gerhard Richter)의 〈창문(The Cologne Cathedral Window)〉

2007년 8월 25일 한 미사를 통해 완성되어 쾰른 대성당의 새로운 남쪽 트렌셉트 스테인드글라스로 봉헌된 게르하르트 리히터(Gerhard Richter)의 〈창문(The Cologne Cathedral Window)〉은 기존의 쾰른 대성당 스테인드글라스에 전례를 찾아보기 힘든 추상적이고 기하학적인 모티프로 충격을 안겨주었다. 리히터의 스테인드글라스에서 특히 주목되는 것은 특수하게 제작된 컴퓨터 프로그래밍을 통해 우연이라는 질서와 리듬을 동반한 색들이 무작위적인 방식으로 도출되어 무한하게 증식하고 증폭하는 셀 수도 없는 거대하고 무수한 색면들이 색유리창을 뒤덮고 있는 모습으로 혼돈과 무한함을 부여하고 있다는 것이다. 본 논문은 리히터의 작업에 반복적으로 등장하는 우연의 연원을 추적하고, 그 이면에 숨은 의미를 숭고 미학과 숭고 체험의 관점과 조응해서 어떠한 방식들로 중세 고딕 대성당과 전복적 관계를 구축하고 탄생시킬 수 있었는지에 대해 조명하고자 한다. 무엇보다 리히터의 스테인드글라스에 적용된 우연이라는 방식과 의미를 밝히고, 독일 낭만주의와 모더니즘 추상회화의 연장선상에서 연계되어 형성된 숭고의 체험이 그의 예술적 수단이자 여정으로 어떠한 위치를 차지하고 있는지를 밝히는 데 있다.

Review: Framing the Church: The Social and Artistic Power of Buttresses in French Gothic Architecture

Review: <i>Framing the Church: The Social and Artistic Power of Buttresses in French Gothic Architecture</i>

Heritage Impact Assessment, beyond an Assessment Tool: A comparative analysis of urban development impact on visual integrity in four UNESCO World Heritage Properties

Abstract Urban growth and modernisation are inevitable phenomena in the developing and developed countries, in which, cultural heritage properties as sensitive urban components may encounter irreparable losses. In the context of UNESCO World Heritage, the uprising conflict between urban development policies and heritage conservation in recent years has drawn more attention to Heritage Impact Assessment (HIA) as an assessment tool to identify and analyse human-induced impacts on cultural heritage properties by the aim of maintaining a balance between cultural heritage protection and urban development needs towards sustainability. This paper aims to review the consequence of urban development pressure on cultural World Heritage properties. It further aims to explore the role of Heritage Impact Assessment (HIA), as an assessment instrument, in recognising and analysing the potential threats in advance and in solving the potential conflicts to safeguard the heritage values. The challenge of conservation of cultural heritage within the broader urban development policies is conducted through reviewing the relevant reports and guidelines. Furthermore, a comparative analysis of four World Heritage properties, that their visual integrity has been affected by urban development projects, is carried out to show the different procedures in mitigating the impact and the role of HIA in the processes. Respectively, this paper compares two World Heritage properties of Meidan Emam (Esfahan, Iran) and Cologne Cathedral (Cologne, Germany) which faced a similar urban development threat at the same time. It further elaborates on how the state parties responded to the identical uprising conflict differently. Moreover, the two cases of Golestan Palace (Tehran, Iran) and Historic Centre of Vienna (Vienna, Austria) are reviewed to emphasise the need for multi-sectoral cooperation and capacity-building in the area of HIA, beyond its assessment methodology, to adequately manage the urban development pressure in the future.

Да строим или да печатаме

Some of the most impressive architectural masterpieces of the past, such as the Cologne Cathedral or the Cathedral in Milan, have taken several centuries for their creation and have involved thousands of people. Today, a glossy office building in Dubai has been built or rather printed in just 17 days, with 29 workers involved. Three-dimensional printing has been identified as the Fourth Industrial Revolution and is increasingly replacing traditional construction methods. There is no doubt that 3D printing will affect the design and production of buildings. Does the fact that 3D printing can be used means that it should replace analog with digital construction?

Missing link in Late Antiquity? A critical examination of Hollstein’s Central European Oak Chronology

In 1980 Ernst Hollstein published his Central European Oak Chronology, which covers a period from 724 BCE to 1974 CE. Besides a later correction of the end date of the sampling site chronologies Kirnsulzbach (Germany) and Gustavsburg (Germany) this master chronology has since not been changed and still remains one of the most important bases for dendrochronological dating in western Germany. It stands out in so far as it provides comprehensive graphical findspot series for each individual sampled site and year to year growth values for eight regional sub-chronologies in addition to the combined Central European reference curve.Particularly due to the fact of Hollstein’s chronology being publicly available, it has frequently been criticized for its insufficient data to bridge the Late Antiquity between 350 and 400 CE with only three sampling sites (tomb near Beerlegem, Belgium; tomb inside of Cologne Cathedral, Germany; subfossil trees near Broichweiden, Germany) and that these site chronologies cover those decades with inadequate correlation coefficients. With regard to recent statistical threshold values for crossdating, Hollstein’s Late Antiquity bridging needs to be reconsidered.Therefore, in a combined effort, the dendrochronological laboratories at Rheinisches Landesmuseum Trier (RLM), the University of Cologne and Albert-Ludwigs-University Freiburg re-evaluated Hollstein’s findings for Late Antiquity by including the respective dendrochronological examinations conducted in Rhineland-Palatinate, North Rhine-Westphalia and north-eastern France during the past 40 years. A total of 62 site chronologies were compiled to establish a new Late Antiquity chronology. Thirteen of these site chronologies could be used to support Hollstein’s original bridging series between 350 and 400 CE while the mean series for Broichweiden had to be corrected from end date 365 to 503 CE. Furthermore, this new bridging chronology could be validated by comparing it to an independent chronology from southern Germany. This study thus proves that the integrity of Hollstein’s Central European Oak Chronology is not compromised by a flawed Late Antiquity bridging and that therefore dating based on the Roman part of this chronology can still be considered as absolute.

Les aménagements liturgiques des cathédrales de Genève, du ve au ixe siècle. Étude chronologique comparative

The aim of this paper is to study the liturgical arrangements realized in the transition space between the choir and the nave of the church, in order to obtain a better understanding of the link between the cathedral and the other monuments of the cult, in particular the baptisteries. The presented data are related to the one published on other sites: the cathedrals of Aosta, Tournai, Cologne, and Trier, and other buildings in western Europe. In the southern cathedral of Geneva, we observe, with a certain precocity, the emergence of a solea and an ambo, as in Aosta (half a century earlier), in Grado and Boppard during the same period, and in Tournai a little later. During the 6th century, this type of architectural element spreads throughout western Europe, and is in competition (or in complementarity) with more opened arrangements connecting the cathedral to the baptistery, as it is the case in the northern cathedral of Aosta, recently modified. During the 7th-8th centuries, the situation became more complex in Geneva, when, on the east of the baptistery, a third church was constructed, whose liturgical arrangements were those of a martyrial church. In the Carolingian period, this building was considerably enlarged on the western side (at exactly the same place where the baptistery was disappearing) and provided with arrangements similar to those of the cathedral of Cologne at the same time. This shows that it was now used as a cathedral, at the detriment of the two ancient churches that disappeared soon after. These constructions can be seen in relation with the application of the Carolingian liturgical reform, which was inspired by the image of Rome, as it can be seen in the Ordo Romanus IV, written in the Frankish kingdom.

Terrestrial laser scanning for heritage conservation: the Cologne Cathedral documentation project

Abstract. Contemporary terrestrial laser scanners and photogrammetric imaging systems are an invaluable tool in providing objectively precise, as-built records of existing architectural, engineering and industrial sites. The comprehensive three-dimensional (3D) recording of culturally important sites such as heritage buildings, monuments, and sites can serve a variety of invaluable purposes; the data can assist in the conservation, management, and repair of a structure, as well as provide a visually engaging educational resource for both the public and scholars. The acquired data acts as a form of digital preservation, a timeless virtual representation of the as-built structure. The technical capability of these systems is particularly suited for the documentation of a richly articulated and detailed building such as the high Gothic Cologne Cathedral. The 3D documentation of the Cologne Cathedral UNESCO World Heritage Site is a multiphase project developed by Heriot-Watt University, Edinburgh in partnership with the Fresenius University of Applied Sciences, Cologne, and the Metropolitankapitel der Hohen Domkirche Köln Dombauhütte. The project has also received generous support from Zoller + Fröhlich (Z+F) and the City of Cologne.

Appunti sulla venerazione agli angeli extrabiblici nel Medioevo occidentale. Inomina archangelorume l’enigmatica fortuna di Pantasaron

This article examines the Nomina archangelorum, a text probably earlier than the end of the 8th cent., in which seven archangels (Gabriel, Michael, Raphael, Uriel, Raguel, Barachiel and Pantasaron) are listed to whom one should turn in different vicissitudes of life on earth. The author examines the contents and compares them with the numerous contemporary incantations and prayers involving non-biblical angels and describes the diffusion of the text, which exists in four other redactions all later than that in the Cologne Cathedral Library of the 9-10th cent., which was edited by Leclercq. The author examines the origin and destiny of their mysterious protagonist: archangel Pantasaron, perhaps of Jewish provenance, who at the moment is not attested in any earlier source than the Nomina.

From the Mast-Head

From the Mast-Head Samuel Otter With a special section in this second “Melville at 200” issue, we honor the achievement of The Writings of Herman Melville, published by Northwestern University Press and the Newberry Library, a monumental project to make available a complete scholarly edition of Melville’s work. The effort began in 1965, under the direction of Northwestern University professor Harrison Hayford, and concluded in 15 volumes with the publication in 2017 of “Billy Budd, Sailor” and Other Uncompleted Writings. For the first time, readers now have access to meticulously prepared texts of Melville’s published and unpublished writings, edited according to guidelines established by the MLA’s Center for Editions of American Authors, along with indispensable historical notes, textual notes, and related documents. Whatever our critical and readerly investments, whatever necessary debates have arisen about editorial principles and choices, all who value Melville’s texts are in debt to the expertise and devotion of Harrison Hayford (who served as General Editor until his death in 2001), Hershel Parker (Associate General Editor from 1965 to 2001 and then General Editor from 2001 to 2017), G. Thomas Tanselle (Bibliographical Editor from 1965 to 2017), and their collaborating editors and scholars. Such editorial and contextual work, sometimes taken for granted, provides the foundation for the literary critical enterprise. To acknowledge the project’s completion, we invited participants to reflect on their experience and on the aims and value of the undertaking. The special section includes six contributions by Parker, Tanselle, Dennis Berthold, Alma A. MacDougall, Robert D. Madison, and Robert A. Sandberg. Tanselle also has supplied an introductory “Brief History of the Northwestern-Newberry Edition.” Contributors offer an inside view of why, how, where, and with whom the work on The Writings of Herman Melville was done. Across the special section, the figure of Harrison Hayford is palpable: as General Editor for the first 13 volumes in the series (credit is also given to him for his editorial contributions to the final two volumes, published after his death) and also as dissertation director, mentor, colleague, friend, and book collector. On April 6, 2019, I had the pleasure of attending “Making Melville Legible,” a symposium held at the Newberry Library in Chicago to acknowledge the completion of the Northwestern-Newberry Edition. Presentations were given by, among others, G. Thomas Tanselle, the project’s Bibliographical Editor for [End Page 1] its entire run; Alma A. MacDougall, Editorial Coordinator from 1981 to 2008 and then Executive Editor from 2009 to 2017; and John Bryant, Editor of the Melville Electronic Library. April 6 was also the last day of the superb “Melville: Finding America at Sea” exhibit on Melville’s career, life, and times, curated by Will Hansen of the Newberry (see Fig. 1). Fittingly, part of the exhibition space was once the Newberry’s Melville Room, in which editors and researchers labored during an early phase of the Northwestern-Newberry project. One of the display cases in the exhibit showcased items associated with The Writings of Herman Melville, including a prospectus and Harrison Hayford’s funding proposal (see Figs. 2 and 3). With the copestone now in place for The Writings of Herman Melville, the mandate, as General Editor Hershel Parker puts it in his contribution to the special section, has been fulfilled. With the closing flourish of Melville’s “Cetology” chapter in mind, we might appreciate the “Time, Strength, Cash, and Patience” it has taken to complete this scholarly Cathedral of Cologne. This issue of Leviathan also contains three essays analyzing from different perspectives the Melville book that continues to be the focus for a wider reading public and for the academy, transformed by critical and theoretical developments and in turn challenging its interpreters: the “hypercanonical” (Jerome McGann’s phrase in his essay for this issue) Moby-Dick; or, The Whale. In “The Great Final Hash of Moby-Dick,” McGann draws attention away from the cynosures Ahab and Ishmael, marking out their narrative functions and the limits of their perspectives. McGann’s Moby-Dick is a texture of parodies (he attends specifically to the Bible and to Byron), distinguished by parataxis and discontinuity, an expansive meditation on failure. “In Navigating Dualisms...

Dissociable cerebellar activity during spatial navigation and visual memory in bilateral vestibular failure

Objective: Spatial orientation and navigation depends on information from the vestibular system. Previous work suggested impaired spatial navigation in patients with bilateral vestibular failure (BVF). The aim of this study was to investigate event-related brain activity by functional magnetic resonance imaging (fMRI) during spatial navigation and visual memory tasks in BVF patients. Methods: Twenty-three BVF patients and healthy age- and gender matched control subjects performed learning sessions of spatial navigation by watching short films taking them through various streets from a driver’s perspective along a route to the Cathedral of Cologne using virtual reality videos (adopted and modified from Google Earth®). In the scanner, participants were asked to respond to questions testing for visual memory or spatial navigation while they viewed short video clips. From a similar but not identical perspective depicted video frames of routes were displayed which they had previously seen or which were completely novel to them. Results: Compared with controls, posterior cerebellar activity in BVF patients was higher during spatial navigation than during visual memory tasks, in the absence of performance differences. This cerebellar activity correlated with disease duration. Conclusions: Cerebellar activity during spatial navigation in BVF patients may reflect increased non-vestibular efforts to counteract the development of spatial navigation deficits in BVF. Conceivably, cerebellar activity indicates a change in navigational strategy of BVF patients, i.e. from a more allocentric, landmark or place-based strategy (hippocampus) to a more sequence-based strategy. This interpretation would be in accord with recent evidence for a cerebellar role in sequence-based navigation.

독일 쾰른 대성당의 비례 분석에 관한 연구

This article deals with a proportional analysis of Cologne Cathedral with regard to the medieval tradition of geometry and figurate numbers that were commonly used in the medieval period. It first outlines symbolic and geometric notions of the geometry and numbers during the medieval period, and then, interprets the proportional design of the plan and section of the cathedral in analogy with the notion. It concludes that the proportional design of the cathedral was not quite arbitrary but carefully designed for the systematic and symbolic quality of the medieval aesthetic tradition.

West-östliche Divan and the “Abduction/Seduction of Europe”: World Literature and the Circulation of Culture

For Reza in Gottingen1World literature does not require that its readers travel; instead, the texts are brought to us, so that we do not need to go out into the world to find them.1 By the nineteenth century, several generations of academics had already compiled and translated narratives acquired through global exploration. Enlightenment scholars gave precedence to travelogues and memoirs when formulating their own anthropological theories about distant societies.2 To be sure, armchair anthropologists were always subject to criticisms from world travelers, yet at the start of the nineteenth century Europeans interested in learning Mandarin, Persian, or Sanskrit were more likely to visit the royal libraries than they were to cross the Indian Ocean.3 A parallel emerged between Europeans' consumption of Asian luxury products and their reading of foreign literature. Already at the start of the eighteenth century, the consumption of fine goods such as tea, porcelain, spices, and perfumes set an aesthetic precedent for the intellectual engagement with foreign literature. Paris and London were the most important nodal points in the European network that amassed books, goods, and art together in large collections. These concentrations allowed consumers to see a material world culture before their eyes-yet front the start Goethe and his contemporaries juxtaposed the benefits of such large agglomerations against the injustice perpetrated in their acquisition. In the West-ostliche Divan (West-Eastern Divan, 1819) Goethe raises the question of how to treat foreign treasures, literary and material, as he formulates an aesthetic that intertwines the public presentation of poetry with luxury consumption. Even as he eschews the strict separation of art from commerce typical of Weimar classicism and finds inspiration in Hafez's ghazals, he continues to rely on Greek epics and myths as representations of the violence and robbery that precede the idyll.In proclaiming the era of world literature, Goethe stresses that the end of the Napoleonic Wars has renewed communication and exchange between European nations and the world at large.4 Many types of exchange are assumed in such a generalization. One of the complexities within Goethe's idea concerns the exact relationship between the circulation of culture and the demarcation of political territories. World literature, as Goethe states quite clearly, becomes conceivable only after the lifting of strict enforcement of territorial boundaries, in this case the British assertion of its control over the flow of goods to the European continent. Translations attempt to cross linguistic and political boundaries through philological negotiation, a model of international relations that Etienne Balibar presents as an instrument, as well as a regulative ideal, of multiculturalism.5Running parallel to the media flow of communication are commercial trade networks. The lifting of England's blockade after Napoleon's fall allowed continental Europe to import commodities from abroad again- not just newspapers and books but also consumer goods and raw materials. However, the movement of world literature cannot be reduced to international commodity exchange. As Napoleon's amassing of art in Paris demonstrated to his contemporaries, the circulation of cultural artifacts does not always include only legally sanctioned, open-market purchases but may also, of course, encompass the spoils of robbery, administrative transfer, expulsion, exile, and so forth. The ancient definition of translation as the transfer of sacred relics from one church to another included furtive stealing and political threats. The stealing of Saint Mark's bones in 828 from Alexandria by Venetian merchants and Barbarossa's gift of Milan's relics of the Three Kings to the Cologne cathedral are just the most famous examples of forced translation. Napoleon's military acquisition of art from across Europe and its eventual repatriation after his defeat were widely discussed as Goethe was writing the West-ostliche Divan. …

Die Hibernensis-Redaktion der Kölner Domhandschrift 210

The transmission of the Irish Canon law collection (Collectio Hibemensis) is still a less than well-known subject. Manuscript 210 of the Cologne Cathedral Library, an early witness from the second half of the 8th century, stands out for two reasons: the Collectio ends at book 38 and is blended with alien canonical material. This article proves that the scribe of the manuscript derives the additional canons from the Collectio Sancti Mauri, that he used a script similar to that of Corbie and that he worked in a region circumscribed by the dioceses of Cambrai, Laon and Amiens. The manuscript is therefore a prime example of canonical activity before the start of Charlemagne's reform.

Assessment of air pollutant sources in the deposit on monuments by multivariate analysis

A proper recognition of the pollutant sources in atmospheric deposit is a key problem for any action aiming at reducing their emission, being this an important issue with implications both on human health safeguard and on the cultural heritage conservation in urban sites. This work presents the results of a statistical approach application for the identification of pollutant sources in deposits and damage layers on monuments located in different European sites: Santa Maria del Fiore, Florence (Italy), Cologne Cathedral, Cologne (Germany), Ancient ramparts, Salè (Morocco), National Museum, Cracow (Poland) and National Gallery, Oslo (Norway). For this aim, the surface damage layers on monuments and historical buildings of the selected sites were collected and analyzed, in terms of ionic and elemental composition, through application of ion chromatography and induced coupled plasma-optical emission spectroscopy. The achieved results were processed by multivariate analyses such as correlation matrix and principal component analysis in order to identify the possible origin of pollutants affecting the state of conservation of the monuments. This allowed us to assume that in all case studies the traffic emission is the main pollutant source. In the case of Ancient ramparts, Salè (Morocco), and National Gallery, Oslo (Norway), the surfaces are also under influence of marine aerosols. Moreover, concerning the Cologne Cathedral, the strong impact of the pollutants emitted by railway station was also revealed.

Subway-Induced Vibrations in Cologne Cathedral

The Cologne Cathedral, the largest Gothic church in northern Europe and a World Heritage Site since 1996, is located in the heart of Cologne, a city of one million inhabitants in western Germany. Some 150 m from the Cologne central train station and 350 m from the Rhine River, one of the busiest waterways in Europe, and right next to a busy street and a high‐use parking garage, it receives manifold ground motions of anthropogenic origin. However, when the constant daily stream of tourists, about six million annually, ceases in the evening hours after the church is closed to the public or during church services, the building becomes an oasis of silence despite its location right in the city center. Since 2006, the cathedral is equipped with five permanent strong‐motion stations which are part of a strong‐motion network covering the Lower Rhine Embayment (Hinzen and Fleischer, 2007). All stations use Epi sensor accelerometers and record continuously at 250 samples per second. Set up of stations and measurement examples from the cathedral have been given in detail by Hinzen et al. (2012). On 9 December 2012, a new subway line of the Kolner Verkehrsbetriebe (KVB) went into operation. It utilizes a tube that runs in proximity to the cathedral and, right from the start of its operation, vibrations and solid‐borne sound became sensible, mainly in the northeastern part of the large building (ground floor 7914 m2) and in the choir. In early January 2013 this fact became public and caused a media storm including reporting in the German evening news and newspaper articles in Russia and China before any countermeasures could be taken. This negative publicity was extreme. One reason was that during the construction of a new subway line in 2004 the 44 m tall tower of the St. Johann Baptist church, 1.38 km …

&lt;em&gt;Gesang&lt;/em&gt; Dream: Functions of Faith in Stockhausen's Electric Mass

GESANG DREAM: FUNCTIONS OF FAITH IN STOCKHAUSEN’S ELECTRIC MASS ROSS WALLACE CHAIT OLLOWING THE PREMIERE of Karlheinz Stockhausen’s Gesang der Jünglinge, electroacoustic music rapidly progressed beyond the stigmas that held the schools of musique concrète and elektronische Musik at odds. The piece was a catalyst in getting a collaborative realm of music that combined purely synthetic sounds with those collected from the outside world underway. These kinds of combinations came to define late-twentieth-century new music. Gesang der Jünglinge was to be the first ever electronic Mass, and was inspired by the German composer’s complex relationship with the Catholic church. “I found that ideology was something I couldn’t rely on, and that I should attach myself to the divine. Of my own choice I first became a practicing Catholic,”1 he explained. Completed in 1956, the piece was met with acclaim from both the community of fellow composers and the broader public. Its premiere was described as “a watershed event,” according to John Smalley’s analysis from 2000, explaining how “Stockhausen’s electronic and spatial innovations did not go unnoticed .”2 The most well-known token of Stockhausen’s subsequent F 186 Perspectives of New Music esteem was his 1967 appearance on the cover of Sgt. Pepper’s Lonely Hearts Club Band. More significantly though, this piece had major implications for the stylistic possibilities of art music in the late twentieth century, and created a new place for faith and Christian traditionalism in the world of the avant-garde. ON GESANG DER JÜNGLINGE AND THE COLOGNE CATHEDRAL In Gesang der Jünglinge, Stockhausen combines synthetic sine tones, impulse sonorities, and isolated blips3 with samples of a young male vocalist, in a manner that brings the purity of new electronics (birthed and bred by the school of elektronische Musik) together with the inviting familiarity of Christian tradition. The combination proved remarkable in its musical re-imagining of modernist tendency in the twentieth century. Gesang der Jünglinge is a tumultuous sonic experience , often basking in abrasive timbres and cathartic noise. Elsewhere, powerfully sparse textures toe the line between audibility and silence. Despite these off-beat sonorities, the piece was indeed inspired by Stockhausen’s faith in Christ and knowledge of Christian liturgy. It was therefore a tragic disappointment to the composer when the Cologne Cathedral, in the immediate vicinity of his birthplace, rejected the request to premiere Gesang der Jünglinge in the church. Their refusal was supposedly based on a notion that the five loudspeakers through which the music was played were not permitted in a church.4 However, based on historical studies of liturgical tradition , it seems this decision indeed could have been inspired by more complicated oversights. Because of its implications for the advancement of electronic music, scholarly writing on the piece has fixated in large part on technological innovation. Therefore, inquiry into the presence and treatment of the Christian music and overall religious foundations has been overlooked. This analysis will investigate a history of church music traditions, relational theories of text and liturgy, and Stockhausen’s personal narrative as a Catholic and a man of faith in order to rethink Gesang der Jünglinge as music for the church, and determine whether the Cologne Cathedral was justified in their decision to reject the piece. A MAN OF FAITH In the early to mid 1950s, when composing Gesang der Jünglinge, Stockhausen’s lifestyle was guided by an uncompromising Catholic Gesang Dream: Functions of Faith in Stockhausen’s Electric Mass 187 persuasion. He viewed his musical practice as a God-given opportunity to justly express the faith that informed both his philosophical thinking and his relationship with music. Discussing this piece specifically, he spoke to the complex amalgamation of words and sounds, explaining how “Whenever language emerges momentarily from the sound signals of the music, it praises God.”5 This understanding of vocal music’s spiritual affect was nothing new to Christian composers. Dr. Steven Plank describes how this phenomenon of singing was “a manifestation of a balanced wholeness in the presence of God”6 and had been treated as such for preceding centuries before the composition of Gesang...

Gesang Dream: Functions of Faith in Stockhausen's Electric Mass

GESANG DREAM: FUNCTIONS OF FAITH IN STOCKHAUSEN’S ELECTRIC MASS ROSS WALLACE CHAIT OLLOWING THE PREMIERE of Karlheinz Stockhausen’s Gesang der Jünglinge, electroacoustic music rapidly progressed beyond the stigmas that held the schools of musique concrète and elektronische Musik at odds. The piece was a catalyst in getting a collaborative realm of music that combined purely synthetic sounds with those collected from the outside world underway. These kinds of combinations came to define late-twentieth-century new music. Gesang der Jünglinge was to be the first ever electronic Mass, and was inspired by the German composer’s complex relationship with the Catholic church. “I found that ideology was something I couldn’t rely on, and that I should attach myself to the divine. Of my own choice I first became a practicing Catholic,”1 he explained. Completed in 1956, the piece was met with acclaim from both the community of fellow composers and the broader public. Its premiere was described as “a watershed event,” according to John Smalley’s analysis from 2000, explaining how “Stockhausen’s electronic and spatial innovations did not go unnoticed .”2 The most well-known token of Stockhausen’s subsequent F 186 Perspectives of New Music esteem was his 1967 appearance on the cover of Sgt. Pepper’s Lonely Hearts Club Band. More significantly though, this piece had major implications for the stylistic possibilities of art music in the late twentieth century, and created a new place for faith and Christian traditionalism in the world of the avant-garde. ON GESANG DER JÜNGLINGE AND THE COLOGNE CATHEDRAL In Gesang der Jünglinge, Stockhausen combines synthetic sine tones, impulse sonorities, and isolated blips3 with samples of a young male vocalist, in a manner that brings the purity of new electronics (birthed and bred by the school of elektronische Musik) together with the inviting familiarity of Christian tradition. The combination proved remarkable in its musical re-imagining of modernist tendency in the twentieth century. Gesang der Jünglinge is a tumultuous sonic experience , often basking in abrasive timbres and cathartic noise. Elsewhere, powerfully sparse textures toe the line between audibility and silence. Despite these off-beat sonorities, the piece was indeed inspired by Stockhausen’s faith in Christ and knowledge of Christian liturgy. It was therefore a tragic disappointment to the composer when the Cologne Cathedral, in the immediate vicinity of his birthplace, rejected the request to premiere Gesang der Jünglinge in the church. Their refusal was supposedly based on a notion that the five loudspeakers through which the music was played were not permitted in a church.4 However, based on historical studies of liturgical tradition , it seems this decision indeed could have been inspired by more complicated oversights. Because of its implications for the advancement of electronic music, scholarly writing on the piece has fixated in large part on technological innovation. Therefore, inquiry into the presence and treatment of the Christian music and overall religious foundations has been overlooked. This analysis will investigate a history of church music traditions, relational theories of text and liturgy, and Stockhausen’s personal narrative as a Catholic and a man of faith in order to rethink Gesang der Jünglinge as music for the church, and determine whether the Cologne Cathedral was justified in their decision to reject the piece. A MAN OF FAITH In the early to mid 1950s, when composing Gesang der Jünglinge, Stockhausen’s lifestyle was guided by an uncompromising Catholic Gesang Dream: Functions of Faith in Stockhausen’s Electric Mass 187 persuasion. He viewed his musical practice as a God-given opportunity to justly express the faith that informed both his philosophical thinking and his relationship with music. Discussing this piece specifically, he spoke to the complex amalgamation of words and sounds, explaining how “Whenever language emerges momentarily from the sound signals of the music, it praises God.”5 This understanding of vocal music’s spiritual affect was nothing new to Christian composers. Dr. Steven Plank describes how this phenomenon of singing was “a manifestation of a balanced wholeness in the presence of God”6 and had been treated as such for preceding centuries before the composition of Gesang...

The Conservation, Restoration, and Repair of Stringed Instruments and Their Bows ed. by Tom Wilder (review)

The Conservation, Restoration, and Repair of Stringed Instruments and Their Bows. Edited by Tom Wilder. Montreal: IPCI-Canada; London: Archetype Publications, 2010. 3 vols. [1,587 p. ISBN 9781904982418. $1,395.] Illustrations, CD-ROM, diagrams, bibliography, index. By the year 1800, recent major physical changes to the violin and bow became predominant: the positioning of the neck at an angle, the increase in the height of the bridge, the consequent increase in string tension, the insertion of larger bass bars, and thicker sound posts combined to allow for the use of a bow designed for greater force and sound projection. That violin-family instruments could accommodate such technological adaptations of the instrument design has fostered their prevalence up to the present. Indeed, this adaptability allowed for the violin to figure prominently in the musical canon coalescing at that very time, around 1800. Concurrent with those seeking to acknowledge a museum of musical masterpieces, figures such as Cozio di Salabue (1755-1840) strove to amass the finest examples of violin making of the receding golden age of the Amatis, Guarneris, and Stradivaris. Yet. not unlike Felix Mendelssohn-Bartholdy who made drastic revisions to the St. Matthew Passion in an effort to make it relevant to his contemporaries, Cozio also instigated not just the refitting of necks, bridges, and bass bars, but also the thinning of the plates of instruments to modify their tonal characteristics. The remaking of historical objects reflected the enthusiasm for the march of progress signaled by the quickening pace of European life in the spreading wake of the industrial revolution. Of course, the early nineteenth century also witnessed the great upheavals of revolutionary politics and engendered, in possibly equal measure, a nostalgia for a simpler time embodied in historical objects. In this spirit a growing public sought and gained access to princely art collections. They also championed the collecting of folk songs (cf. Herder), fairy tales (cf. the Grimm brothers), and the completion of monuments (e.g., the Cologne Cathedral). The emergence of history as an academic discipline, along with philology, and eventually musicology, coincided with the emergence of great libraries and museums. The loss of a sense of connection with a continuous past engendered a surging effort to preserve its relics. The concept of historical preservation developed during the nineteenth century and assumed the mantle of scientific procedure in the twentieth century. The application of these ideas to musical instruments, however, has only recently begun to find form in a body of substantive literature. The fact that musical instruments assume their most obvious significance through use in performance has compelled many individuals to ensure that prized historic instruments remain active tools for musicians. But, in doing so, the historical or artistic significance of the objects may become imperiled. Moreover, the rapidly increasing monetary value of high-quality violin-family instruments in playing condition has compelled many people to sublimate concerns for historic preservation in favor of financial gain. Few, if any, instruments by the great violin makers of the seventeenth and eighteenth centuries survive in anything like their original state. Finally, violin making has long perpetuated the preservation of the trade secrets of its craft tradition. The balance of utility over history, the lack of pristine historic models, and the protection of expert knowledge has impeded the development of a strong body of literature and practice in the conservation and restoration of string instruments. One volume, by Hans Weisshaar and Margaret Shipman Violin Restoration: A Manual for Violin Makers [Los Angeles: Weisshaar-Shipman, 19881), has long served as the standard text on matters relating to violin restoration. Tom Wilder's project seeks to complement, rather than duplicate, the content or this earlier manual. …

The effect of air pollution on stone decay: the decay of the Drachenfels trachyte in industrial, urban, and rural environments—a case study of the Cologne, Altenberg and Xanten cathedrals

Severe stone deterioration is evident at the Cologne cathedral. In particular, the “Drachenfels” trachyte, which was the building material of the medieval construction period, shows significant structural deterioration as well as massive formation of gypsum crusts. The present article investigates crust formation on limestone, sandstone, and volcanic rock from the Cologne cathedral as well as from the Xanten and Altenberg cathedrals. These three buildings, showing varying degrees of deterioration, are located in different areas and exposed to varying industrial, urban, and rural pollution. Thin laminar and black framboidal crusts form on calcareous as well as silicate stone. The lack of a significant intrinsic calcium and sulfur source for the formation of the gypsum crusts on the Drachenfels trachyte indicates major extrinsic environmental impact: a sufficient offer of SO x from pollutant fluxes as well as external calcium sources (e.g., pollution, mortars, neighboring calcite stones). Chemical analyses reveal strong gypsum enrichment within the crusts as well as higher concentrations of lead and other pollutants (arsenic, antimony, bismuth, tin, etc.), which generally can be linked to traffic and industry. The formation of weathering crusts in an industrial environment is clearly distinguishable from that in rural areas. Scanning electron microscopy observations confirm that the total amount of pollution is less at the Altenberg cathedral than at the Cologne and Xanten cathedrals. XRF analyses show that the formation of gypsum occurs in lower amounts at Altenberg. This correlates well with the measured SO2 content and the intensity of the decay at the different locations. Furthermore, the different types of crusts, e.g., framboidal and laminar, can be differentiated and assigned to the different locations. The black weathering crusts on the silicate Drachenfels trachyte contribute to the degradation of the historic building material. They enhance mechanical moisture-related deterioration processes and the decay by chemical corrosion of rock-forming minerals. Although SO2 concentrations in air have shown a strong decrease over the past 30 years, degradation in connection with weathering crusts is still observed. This indicates that not only contemporary or recent emissions, but also past pollutant concentrations have to be considered.