Excerpt from Kirsten Ostenfeld, “Psalmodikon — et dansk musikpædagogisk eksperiment,” pages 133-34 (copied here exactly as Google Translate left it, without any editing on my part. Spoiler alert: Herr Doktor Google has even more trouble with Danish than s/he does with Swedish). It makes the line of transmission from Jean Jacques Rousseau, the Swiss-French philosophe, to the Scandiavians crystal clear. Danish first, followed by translation in italics:

Ciffersangen, således som den fandtes i Skandinavien, stammer i sin grundform
fra et system, u darbejdet af J .J. Rousseau. Rousseau gik ivrigt ind for at notere
musik i cifre, som har den fordel i forvejen at være kendt af alle; samtidig ‘”
var de nemmere og langt billigere at trykke end noder, der på den tid var særdeles
kostbare at prente. I sit “Prajet concernant de nouveaux signes pour la
musique” (1743) gør Rousseau rede for et forslag til en ciffertoneskift, og
det er denne, der via Tyskland, hvor den var fremme i vekslende udformninger,
nåede til Danmark kort efter år 1800 og siden videre til de øvrige skandinaviske
lande9).

I begyndelsen anvendtes ciffertonesystemet dog kun yderst sporadisk, og det
var først efter oprettelsen af Det Pædagogiske Selskabs sangkomite, at der kom
rigtig fart i bestræbelserne for at indføre ciffersangen herhjemme. I spidsen for
arbejdet stod ovennævnte skolelærere J .A. Bramsen og J.W. Bruun. En energisk
forkæmper var også organisten Frederik Kretschmer, et af sangkomiteens
medlemmer, der i begyndelsen af 1820’erne oplæste en atbandling i Det Pæ-
dagogiske Selskab om cifre som tonetegniO). Her beklager Kretschmer den
ringe plads, som sangen tildeles på skoleskemaet med maksimalt en til to
ugentlige timer, hvilket han finder utilstrækkeligt til at nå blot “en Grad af
MiddeImaadighed endog ved en god Methade”. Ved at bruge cifre i stedet
for noder vil man imidlertid kunne spare megen tid og møje, og undervis-
[p. 134]ningen bliver “baade si~plere og behageligere for Læreren og Eleverne”.

The ciffersang, as it existed in Scandinavia, originated in its basic form
from a system, you worked by J.J. Rousseau. Rousseau eagerly noted to note
music in numbers that has the advantage of being already known by everyone; simultaneously ‘”
they were easier and far cheaper to print than nodes that were very special at that time
expensive to picture. In his “Prajet concernant de nouveaux signes pour la
musique “(1743) makes Rousseau ready for a suggestion of a cifferton shift, and
It is this who, through Germany, where it was promoting in alternating designs,
reached Denmark shortly after 1800 and then on to the other Scandinavians.

In the beginning, however, the cipher tone system was used only extremely sporadically, and that
was only after the establishment of the Educational Society Song Committee that it came
a great pace in the efforts to introduce the cipher song at home. In the end of
the work said the above-mentioned school teachers J .A. Bramsen and J.W. Bruun. An energetic
founder was also organist Frederik Kretschmer, one of the singing committees
members who, at the beginning of the 1820s,
Dagogiske Company on digits like tonetegniO). Here Kretschmer regrets it
little space as the song is awarded on the school schedule by a maximum of one to two
weekly hours, which he finds inadequate to reach simply “a degree of
Middle Agility even by a good Methade. “By using digits instead
For nodes, however, you can save a lot of time and time and teach [134] The thing will be “both easier and more comfortable for the teacher and students.

See my post at https://hogfiddle.wordpress.com/2017/06/28/rosseau-sifferskrift-antecedent/ for more history and examples of Rousseau’s notation, along with a very strange computer app that uses it for modern tunes.

Source:

Kirsten Ostenfeld, “Psalmodikon — et dansk musikpædagogisk eksperiment,” Musik & Forskning: Årbog for Musikvidenskabeligt Institut ved Københavns Institut (1978-1): 128-57 http://www.danishmusicologyonline.dk/arkiv/arkiv_musik_og_forskning_pdf/mf_1978/mf1978_03_ocr.pdf.

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