One ‘Hornwerk’ that was installed at the Salzburg castle in 1515 played a multiplex F major chord – whether also a melody is not known. These were organ-like instruments installed on church towers or fortifications when activated by the means of bellows, they emitted a far-carrying sound. Reinhard Strohm has proposed a new interpretation for the names of the first two melodies: the soundscape of late medieval Austrian cities included the so-called ‘Hornwerke’, usually simply referred to as ‘Horn’ in contemporary sources (» Kap. The melodies of the ‘night horn’ (W 1), the ‘day horn’ (W 2), and the ‘cow horn’ (W 3), on the other hand, move much slower and smoother by comparison, maybe imitating typical call signs of horn instruments. While the melodic profile of the ‘trumpet’-even with its tendency towards more and wider leaps-does not appear to deviate significantly, its rhythmical structure is much more pronounced, obviously imitating trumpet signals. However, a distinction should be made between the three songs with horn imagery in the title (W 1, W 2, W 3) and the ‘trumpet’ (W 5). It can, for instance, be found in other contemporary repertories such as the Ars nova chace and the Trecento caccia. The imitation of horn or trumpet signals in vocal music was well established by the late fourteenth century and is not unique to the Monk of Salzburg.
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