Die zahlreichen lateinischen Motetten von Komponisten lutherischer Konfession aus der zweiten Halfte des 16. Jahrhunderts wurden noch nicht ausreichend gesichtet und ausgewertet. Darunter befinden sich auch die Werke Jacob Meilands (1542-1577), die damals eine grosse Beliebtheit genossen. Die Cantiones sacrae quinque et sex vocum (1564, rev. 1573), sein Erstlingswerk, fanden eine weite Verbreitung sowohl handschriftlich als auch durch Sammeldrucke. Die meisten der siebzehn (in der revidierten Fassung achtzehn) Motetten der Cantiones sacrae beginnen mit einer Durchimitation, gehen aber gleich nach dem ersten Abschnitt in einen homorhythmischen Akkordstil uber. Charakteristisch fur diesen Stil ist einerseits eine ausdrucksstarke, nach dem Sprachrhythmus elastisch gestaltete Deklamation in einer quasi mehrchorigen Satz-struktur. Andererseits bedient sich der Komponist gelegentlich auch einer differenzierteren Schreibweise, die durch die rhythmische Selbstandigkeit einzelner Stimmen, reichere Durchgangs-dissonanzen und Teilimitationen gepragt ist. So erhalt der Gesamtklang feine Schattierungen durch subtile Verflechtung der Stimmen. Eine allegorische Textausdeutung wird oft durch unterschiedliche Verwendungen des b durum und b molle erreicht. Nachdem die Cantiones sacrae 1569 und 1572 unverandert nachgedruckt worden waren, wurden sie 1573 einer grundlichen Revision unterzogen. Dabei ist das Bestreben zu einer pragnanteren Form, gleichzeitig aber auch zu einem differenzierteren Satz erkennbar, der die Selbstandigkeit der einzelnen Stimmen starker zur Geltung bringt. Als Beispiel dafur wird die meist verbreitete Motette Meilands, ≪Non auferetur sceptrum de Juda≫, analysiert. Dabei wird Luthers Auslegung des 49. Kapitels 1. Mose, des Textes dieser Motette, in Betracht bezogen. Die Textvorlagen der Cantiones sacrae stammen, abgesehen von zwei (in der revidierten Fassung drei) Gelegenheitswerken, aus der Heiligen Schrift. Neben den auf das Kirchenjahr bezogenen Texten und den seelsorgerisch relevanten, "trostreich-lehrhaften" Spruchen gibt es auch - nach Luthers Auffassung - "politisch" zu verstehende Texte, etwa in den drei Hoheliedmotetten. Diese dienten nicht nur der Huldigung des Herrschers, sondern auch der asthetischen Vermittlung zwischen Religion und Politik, indem sie lehrten, wie das geistliche und weltliche Regiment kooperativ agieren sollten.

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At the end of the 19^<th> century, several departments of the cimbalom, Hungarian hammered dulcimer, were established at music schools in Budapest and in other cities in Hungary. Contemporary yearbooks and student register of the Royal Academy of Music Budapest suggest us what kind of people needed the framework of modern music school for learning this "national" instrument, which formerly had been played and taught almost exclusively by Romany musicians. First of all, the student register of the Royal Academy from 1897 to 1947 shows that during the first two decades young people of different classes, ethnicities and religions studied at the same cimbalom department, even if only a small number of students from families of Romany musicians had been there. Secondly, it tells us that the diversity in the social background of the students, which had been so prominent before the Great War, disappeared during the interwar years: while the number of students from the lower middle class and the working class - and from the families of "musicians" - drastically increased, very few business men and high-ranking officials came to allow their sons or daughters to learn the instrument at the Royal Academy. This phenomenon suggests how the institute's initial prospect of raising cimbalom musicians, who were "ready for artistic purpose" and familiar with Hungarian music, became incompatible with the reality of the interwar Hungarian middle-class society.

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Seen as a guardian of Debussy's "tradition," by virtue of the coaching she received from the composer in his last years, French pianist Marguerite Long (1874-1966) published in 1960 a memoir-like small book, Au piano avec Claude Debussy. Some researchers regard the book as problematic in terms of its legitimacy as a testimony of the relationship between two musicians. For the purpose of clarifying the substance and the background of what she called "tradition," this paper attempts to follow the prehistory of the book, which has not been fully explored, through a comparative analysis of Long's various documents on Debussy, preserved in the Fonds Marguerite Long, Mediatheque Musicale Mahler in Paris. Comparing her book, Au piano avec Claude Debussy, with other material in which she refers to this composer, such as magazine articles, manuscripts or typescripts for lectures and public speeches, and interviews on TV and radio programs, it becomes clear that many parts of her different writings and talks are essentially repetitions, a sort of "copy-and-paste" of a few, well-elaborated texts. Apparently, it was by her continuous, sometimes meticulous editing of those documents that she was able to talk about the same particular anecdotes and descriptions of the composer for more than 40 years. On the other hand, the meaning and "lessons" drawn from her story shifted as the years went by, from the simply technical and informative to more sententious doctrines such as notions about performers' attitude toward composer's intentions as well as about the importance of tradition itself. In conclusion, Long's discourse on Debussy reflects her sense of mission which shifted over her extended career, from that of a champion of contemporary music to that of a narrator of an oral history of a "great" composer in her immediate past, a history which ultimately became a "tradition" in the narrative on the modern French music.

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