Metrical Irregularities and Polymetric Structures in Hugo Distler's Vocal Works: Towards a Digital Corpus Study of 'Der Jahrkreis' op. 5

Abstract

Hugo Distler’s (1908-1942) vocal compositions are distinguished by their intricate metrical structures, which pose significant challenges for both encoding and computational analysis.

While in his early works, Distler mostly adhered to conventional metrical notation, characterized by standardized bar lines, his later compositions demonstrate a progressive departure from these norms, utilizing a variety of notational innovations. These include frequent metre alternations within individual voices, beamed notes across bar lines, and even the substitution of bar lines with Mensurstriche (mensural bar lines), caesuras, or breath marks.

This presentation investigates the 52 motets from Distler’s early collection, Der Jahrkreis op. 5 (1933), that we have encoded using Humdrum’s kern format. Serving as a “precursor to his later, masterful vocal polyphony” (H. Grabner), the distinctive metrical features that define Distler’s style are already apparent here. While most motets in this collection remain predominantly homophonic, yet with changes in metre, Distler already tries his hand at genuine polymetric constructions.

A particular focus is thereby given to the first motet, “O Heiland, reiß die Himmel auf,” where each voice employs its own metres, reminiscent of Renaissance motets. Our metrical analyses involve identifying the metrical weightings within individual voices and comparing them with the composite metre of all voices. Additionally, we examine the correlation between Distler’s musical metres and the lyrics emphasis, reflecting his practice of aligning metre with textual diction.

The presentation will conclude with the prospect of a Bayesian model for polymetric analysis. This model aims to enhance our understanding of Distler’s metrical stylistics, offering new insights into the complexities of his vocal polyphony, the stylistic changes over the course of his career as well as the compositional influences of his contemporaries.

Fabian C. Moss

Assistant Professor for Digital Music Philology and Music Theory

Fabian C. Moss is an assistant professor for Digital Music Philology and Music Theory at Julius-Maximilians University Würzburg (JMU), Germany.