59:, both of whom he met in Strasbourg where he settled. For about a decade, Ludwig made numerous trips throughout Europe to investigate the sources of medieval music. He joined the faculty of Strasbourg University upon Jacobsthal's retirement in 1905, first as a lecturer, and in 1910 as an associate professor of music history. He was expelled from Strasbourg when it fell into French hands at the end of the First World War. In 1920, he became an associate professor at the
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Friedrich Ludwig belonged to the school of thought among cultural historians that did not ascribe to the
Romantic view that Baroque Polyphony was the only type of polyphony of highest worth; rather, he sought to explore its historical development and evolution, leading to a critical reassessment of
108:(1807) asserting that music is an art in and of itself, Ludwig followed a systematic method to explore the relationships between music and other cultural phenomena such as architecture and literature, finding in it unity through the poetry of medieval languages. For this purpose, he used the
100:, of whom Ludwig's teacher Bresslau was a disciple. These methods had, for instance, moved Slavic cultures into a new perspective. In contrast to the prevailing view among music historians of the 19th century - a view epitomized in
51:, where he earned a doctorate in 1896. He owed his musical education on one hand to Gustav Jacobsthal, the only full-time professor of historical musicology in Germany at the time, and on the other hand to philosopher-organist
23:, and college instructor. His name is closely associated with the exploration and rediscovery of medieval music in the 20th century, particularly the compositional techniques of the
116:, and historic chronicles. He made stylistic comparison of primary sources to date musical works, and introduced these methods to music historiography.
143:. He transcribed many multi-part works of the 15th century and published them in critical editions. Ludwig discovered the compositional principal of
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Repertorium organorum recentioris et motetorum vetustissimi stili. I. Catalogue raisonné der
Quellen, Abt. 1. Handschriften in Quadratnotation
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Die geistliche nichtliturgische, weltliche einstimmige und die mehrstimmige Musik des
Mittelalters bis zum Anfang des 15. Jahrhunderts
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Die mehrstimmige Musik der ältesten Epoche im
Dienste der Liturgie. Ein mehrstimmiges Sankt-Jakobs-Offizium des 12. Jahrhunderts
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76:. These researches have made the practice and theory of music of the Middle Ages accessible. His research area was music before
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195:Über die Entstehung und die erste Entwicklung der lateinischen und französischen Motette in musikalischer Beziehung
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at the
Victoria-Gymnasium (Now Helmholtz-Gymnasium, Potsdam), he studied historiography with Harry Bresslau at the
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in the unison songs of the 13th century, and the systematic representation of compositions of the
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92:. As a historian, Ludwig was already familiar with the cultural unity of Europe in the
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Die
Aufgaben der Forschung auf dem Gebiete der mittelalterlichen Musikgeschichte
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Ludwig's contributions to musical scholarship include his investigations into
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of High Middle German, the
Romance languages, and medieval Latin, the
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Die 50 Beispiele
Coussemaker’s aus der Handschrift von Montpellier
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Versuch einer Ăśbertragung der
Motetten Herenthals Nr. 4 und 5
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Die mehrstimmige Musik des 11. und 12. Jahrhunderts
268:. Vol 5, 1923, pp. 185–222 and vol. 6, 1924, pp. 245ff.
19:(8 May 1872 – 3 October 1930) was a German historian,
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292:. Vol. 7 1925, pp. 417–435 and Vol. 8, 1926, pp. 130
127:notation (square note notation), the discovery of
199:Sammelbände der Internationalen Musikgesellschaft
179:Sammelbände der Internationalen Musikgesellschaft
169:Sammelbände der Internationalen Musikgesellschaft
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286:Die mehrstimmige Messe des 14. Jahrhunderts
165:Die mehrstimmige Musik des 14. Jahrhunderts
221:Die liturgischen Organa Leonins und Perotins
149:– a term he coined. He also coined the term
238:Kongress-Bericht zur Haydn-Zentenarfeier
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63:, where he served as Rector in 1929/30.
339:People from the Province of Brandenburg
262:Die Quellen der Motetten ältesten Stils
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258:. Vol 3, 1921, pp. 361–370
282:. dtv, Munich 1924/1930, pp. 157–195
181:. Vol. 5, 1903/04, pp. 177–244
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201:. Vol 7, 1905/06, pp. 514–528
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301:Zeitschrift fĂĽr Musikwissenschaft
171:. vol. 4, 1902/03, pp. 16–69
230:. Leipzig 1909, pp. 200–213
354:German male non-fiction writers
240:. Vienna 1909, pp. 101–108
344:20th-century German historians
217:. Vol 21, 1908, pp. 48–61
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359:Scholars of Renaissance music
304:. Vol 8, 1925/26, pp. 196–200
215:Kirchenmusikalisches Jahrbuch
191:. Vol 19, 1905, pp. 1–16
189:Kirchenmusikalisches Jahrbuch
290:Archiv fĂĽr Musikwissenschaft
280:Handbuch der Musikgeschichte
266:Archiv fĂĽr Musikwissenschaft
255:Archiv fĂĽr Musikwissenschaft
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106:Phenomenology of the Spirit
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364:Scholars of Medieval music
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49:University of Strasbourg
102:Wilhelm Friedrich Hegel
80:polyphony; namely, the
61:University of Göttingen
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246:. Niemeyer, Halle 1910
159:Selected bibliography
90:Franco-Flemish school
349:German musicologists
123:, deciphering early
334:People from Potsdam
39:Ludwig was born in
308:Beethovens Leonore
207:. Strasbourg 1906
133:Notre Dame School
98:Leopold von Ranke
53:Albert Schweitzer
29:isorhythmic motet
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250:Perotinus Magnus
225:Festschrift fĂĽr
94:Late Middle Ages
78:Palestrina-style
17:Friedrich Ludwig
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21:musicologist
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329:1930 deaths
324:1872 births
276:Guido Adler
152:Stimmtausch
82:Ars Antiqua
318:Categories
298:. In the
146:isorhythm
110:philology
141:Ars Nova
135:and the
125:neumatic
86:Ars Nova
27:and the
25:Ars Nova
278:(Ed.):
139:of the
121:Organum
114:chorale
41:Potsdam
310:. 1930
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167:. in:
137:motets
45:abitur
252:. In
67:Works
35:Life
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