Jeppesen Knud Christian, *15 August 1892 Copenhagen, †14 June 1974 Risskov, Danish musicologist and composer. He was initially self-taught in practical music and worked as an orchestra conductor in Elbing [now Elbląg] and Liegnitz [now Legnica] between 1912 and 1914. Between 1914 and 1917, he studied musicology under A. Hamerik at the University of Copenhagen. During this time, he also studied composition under C. Nielsen and music theory under T. Laub. In 1916, he received a diploma from the Copenhagen Conservatoire in organ performance. In 1922, he obtained a doctorate in musicology from the University of Vienna under G. Adler, based on a thesis on the treatment of dissonance in Palestrina’s works. Between 1917 and 1932, he worked as an organist at St Stephen’s Church, and from 1932 to 1947 at Holmens Kirke in Copenhagen. From 1920 to 1946, he taught music theory at the Copenhagen Conservatory. From 1946 to 1957, he was a professor of musicology at the Århus University, where in 1950 he founded the Institute of Musicology, which he headed until his retirement (1957). In 1956, he was a visiting lecturer at the University of North Carolina (United States). From the founding of the International Musicological Society in 1927, he was a member of the board of directors until 1949, and as president from 1949 to 1952; from 1931 to 1954, he was editor-in-chief of the journal “Acta Musicologica”. He frequently conducted research into sources in Italian libraries. Jeppesen was an ordinary member of the Det Kongelige Danske Vedenskabernes Selskab from 1943, an honorary member of the Royal Musical Association in London from 1944, a member of the Kungliga Svenska Vetenskapsakademien from 1951, and an honorary member of the Accademia di Santa Cecilia in Rome from 1954. In 1951, he was awarded Denmark’s honorary prize for his compositional work, and in 1957, he received an award from the University of Pisa for his research into the history of Italian music.
In his academic work, Jeppesen always placed the musical work at the centre of his attention, combining rigorous technical analysis with an understanding and deep appreciation of the essence of musical style. In the early phase of his research, he focused on the style of early music, primarily on issues of polyphony and harmony in the 16th century, examining these through the works of Palestrina. He was the foremost expert on this composer’s music, and his treatise Palestrinastil med saerligt henblik paa dissonansbehandlingen, which has been published and translated many times and is the first thoroughly original compendium of knowledge on compositional technique in the second half of the 16th century, ranks among the classic works of world musicography. In this case, the author did not confine himself to examining the music itself, but also took into account the contemporary theoretical approaches to the polyphonic style of that period, as presented in the treatises of G. Zarlino. On the sidelines of this research, he produced a textbook on classical vocal counterpoint (Kontrapunkt), which remains highly popular to this day. His interest in Palestrina’s work also resulted in several articles of significance for the composer’s biography. In the later phase of his research, which he continued until the very end of his life, Jeppesen turned his attention to early Italian music, mainly from the 15th and 16th centuries. As a result of his archival research, he discovered and described, among other things, prints by O. Petrucci (Italian lauds), manuscripts of frottolas, organ music scores, the so-called Gafurian codices, and above all Palestrina’s masses, known as the Mantuan masses. Early Italian organ music occupies a special place in Jeppesen’s scholarly work; he wrote about it in numerous articles and in a comprehensive book (Die italienische Orgelmusik…), containing a wealth of previously unknown musical material. All his editorial works are distinguished by their philological excellence.
Jeppesen, who was primarily interested in early music, represents two major trends in global musicology: the analytical and the source-based approaches. His works are characterised by scholarly rigour, profound knowledge (albeit within a narrow specialisation), and both academic and practical musical expertise. Jeppesen’s books and some of his shorter treatises have secured a permanent place in musicological literature devoted to 16th-century music. Jeppesen’s prolific compositional output, comprising mainly choral music, has gained local significance; his works belong to the modernist tradition and represent a continuation of the legacy of Carl A. Nielsen.
Literature: Natalicia musicologica. Knud Jeppesen septuagenario collegis oblata, ed. B. Hjelmborg, S. Sørensen, Kopenhaga 1962; H. Jerrild Interwiev with Jeppesen, “Gads danske magasin” XXXVII, 1943; S. Sørensen Knud Jeppesen zum siebzigsten Geburtstag, “Acta Musicologica” XXXIV, 1962; S. Sørensen Das musikwissenschaftliche Studium in Dänmark seit 1870, “Beiträge zur Musikwissenschaft” XIV, 1972; P. Woetmann Christoffersen Knud Jeppesen’s Collection in the State and University Library (Aarhus, Denmark). A Preliminary Catalogue, “Dansk aarbog for musikforskning” VII, 1973–76; S. Sørensen Knud Jeppesen in memoriam, “Dansk musiktidsskrift” XLIX, 1974; H. Glahn Knud Jeppesen 15 August 1892 bis 14 Juni 1974, “Acta Musicologica” XLVII, 1975.
Writings:
Palestrinastil med saerligt henblik paa dissonansbehandlingen, Copenhagen 1923 (expanded version of a doctoral dissertation), German edition titled Der Palestrinastil und die Dissonanz, Leipzig 1925, English translation M. Hamerik titled The Style of Palestrina and the Dissonance, London 1927, 2nd ed. 1946, reprint New York 1970
Kontrapunkt (Vokalpolyfoni), Copenhagen 1930, 2nd ed. 1946, 3rd ed. 1962, 4th ed. revised 1974, German translation by J. Scholz titled Kontrapunkt. Lehrhbuch der klassischen Vokalpolyphonie, Leipzig 1935, Wiesbaden 2nd ed. 1956, 3rd ed. 1962, 4th ed. 1965, 5th ed. 1970, American edition titled Counterpoint. The Polyphonic Vocal Style of the Sixteenth Century, translated by G. Haydon, New York 1939, Romanian edition Bucharest 1967, Hungarian translation by I. Ormay titled. Ellepont. A klassizikus vokális polifónia tankönyve, Budapest 1975
Die italienische Orgelmusik am Anfang des Cinquecento, Copenhagen 1943, 2nd ed. revised and expanded 1960
articles and scholarly papers:
Dänen, in: G. Adler Handbuch der Musikgeschichte, Frankfurt 1924, 2nd ed. Berlin 1930, 3rd ed. Munich 1974, reprint. Kassel 1983
J.J. Fux und die moderne Kontrapunkt-Theorie, in the congress proceedings of the Deutsche Musikgesellschaft, Leipzig 1925, Leipzig 1926
Das isometrische Moment in der Vokalpolyphonie and Über einen Brief Palestrinas, in the commemorative book of P. Wagner, Leipzig 1926, reprint 1969
Die Textlegung in der Chansonmusik des späteren 15. Jahrhunderts, in: Beethoven-Zentenarfeier, Vienna 1927, and in: Juhlakirja I. Krohn, Helsinki 1927
Die neuentdeckten Bücher der Landen des Ottaviano dei Petrucci und andere musikalische Seltenheiten der Biblioteca Colombina zu Sevilla, “Zeitschrift für Musikwissenschaft” XII, 1929–30
Wann entstand die Marcellus-Messe, w: Studien zur Musikgeschichte, commemorative book of G. Adler, Vienna 1930, reprint Vienna 1971
Die 3 Gafurius-Kodizes der Fabbrica del Duomo, Millano and P. Wagner in memoriam, “Acta Musicologica” III, 1931
Ein venezianisches Laudenmanuskript, in the commemorative book of Th. Kroyer, Regensburg 1933
On Counterpoint, “The Musical Quarterly” XXI, 1935
G. Adler am 1. November 1935, “Acta Musicologica” VII, 1935
Del Contrappunto, “La Rassegna Musicale Italiana” IX, 1936
E. J. Dent. On the Sixteenth of July 1936, “Acta Musicologica” VIII, 1936
Über einige unbekannte Frottolenhandschriften, “Acta Musicologica” IX, 1939
Venetian Folk Song of the Renaissance, in the congress proceedings New York 1939, New York 1944
Eine musiktheoretische Korrespondenz des früheren Cinquecento and G. Adler in memoriam, “Acta Musicologica” XII, 1941
Das Volksliedgut in den Frottolenbüchern des O. Petrucci, in: Emlékkönyv Kodály Z. hat venadik születésnapjara, Budapest 1943
A. Pirro in memoriam, “Acta Musicologica” XV, 1943
Marcellus-Probleme, “Acta Musicologica” XVI–XVII, 1944–45, reprint in: G.P. da Palestrina. Pope Marcellus Mass, ed. L. Lockwood, New York 1975
Choralis Constantinus som liturgisk dokument, in the commemorative book of O.M. Sandvik, Oslo 1945
C. Nielsen. A Danish Composer, “The Music Review” VII, 1946
Zur Kritik der klassischen Harmonielehre, in the congress proceedings of the Basel Congress 1949, Danish edition Copenhagen 1952
Die älteste italienische Orgelmusik, in the congress book on sacred music, Rome 1950, published in Rome 1952
The Recently Discovered Mantova Masses of Palestrina. A Provisional Communication oraz Some Remarks to “The Ornamentations in the Works of Palestrina” by P. Hamburger, “Acta Musicologica” XXII, 1950
W. Merian in memoriam, “Acta Musicologica” XXIV, 1952
Pierluigi da Palestrina. Herzog G. Gonzaga und die neugefundenen Mantovaner-Messen Palestrinas. Ein ergänzender Bericht, “Acta Musicologica” XXV, 1953
R. von Ficker in memoriam, “Acta Musicologica” XXVI, 1954
Cavazzoni – Cabezon, “Journal of the American Musicological Society” VIII, 1955
Eine frühe Orgelmesse aus Castel Arquato, “Archiv für Musikwissenschaft” XII, 1955
Palestriniana, in the commemorative book of H. Anglés, vol. I, Barcelona 1958
Ein altvenezianisches Tanzbuch, in the commemorative book of K.G. Fellerer, Regensburg 1962
Über italienische Kirchenmusik in der ersten Hälfte des 16. Jahrhunderts, “Studia Musicologica Academiae Scientiarum Hungaricae” III, Budapest 1962
The Manuscript Florence Biblioteca Nazionale Centrale, Banco rari 230. An Attempt at a Diplomatic Reconstruction, w: Aspects of Medieval and Renaissance Music, commemorative book of G. Reese, ed. J. La Rue, New York 1966, reprint 1978
Monteverdi. Kapellmeister an S. Barbara, w: Congresso internazionale sul tema C. Monteverdi e il suo tempo. Venezia… 1968, ed. R. Monterosso, Verona 1969
An Unknown Pre-madrigalian Music. Print in Relation to other Contemporary Italian Sources (1520–30), in: Studies in Musicology, commemorative book of G. Haydon, ed. J.W. Pruett, Chappel Hill 1969
Alcune brevi annotazioni sulla musicologia, in commemorative book of L. R., Milan 1975
numerous articles in Danish, Swedish and Norwegian journals; reviews of publications on early music; encyclopaedia entries, including G.P. da Palestrina (Dansk Biografisk Leksikon, Die Musik in Geschichte und Gegenwart, Riemann Musik-Lexikon)
Editions:
Der Kopenhagener Chansonnier, z V. Brøndalem, Copenhagen-Lepizig 1927, 2nd ed. revised 1965
Vearker af M. Pedersøn, w: Dania sonans. Kilder til musikkens historie i Danmark, vol. I, Copenhagen 1933
M. Pedersøn 12 5-stemmigt Satser af “Pratum Spirituale”, in «Folke-og Skolemusik», vol. I, Copenhagen 1934
Die mehrstimmige italienische Laude um 1500, with V. Brøndal, Copenhagen-Leipzig 1935
La flora. Arie et canzoni antiche italiane, 3 vols., Copenhagen 1949
G.P. da Palestrina Le messe di Mantova inedite dai manoscritti di Santa Barbara, 2 vols., in: Le opere complete di G.P. da Palestrina, XVIII–XIX, Rome 1954
Antichi balli veneziani per cembalo, Copenhagen 1962
Italia sacra musica. Musiche corali italiane sconosciute della prima metà del cinquecento, 3 vols., Copenhagen 1962
Compositions:
published in Copenhagen by W. Hansen and Folke musikskolens forlag, and also included in various song collections and anthologies
Instrumental:
Sjaellandsfar, symphony
Vivat Wentzel for orchestra
Akademisk Festmusik for orchestra
Concerto for horn and orchestra
2 trios
Sonata for violin and piano
53 miniatures for organ
3 miniatures for piano
Vocal-instrumental:
50 solo songs
108 choral songs
mass for mixed a cappella choir
10 cantatas
6 major works for choir and orchestra
Stage:
Rosaura, opera, libretto after C. Goldoni, staged in Copenhagen 1950
