ABSTRACT
Some thirty years ago the late Arnold Schering of Berlin set forth his theories claiming a predominance of instrumental over vocal participation in the music of the 12th to 16th centuries. In support of his contentions, he adduced specific features found in the music as criteria of its "instrumental style". These criteria were subjected at the time to at least one detailed criticism; but although Schering's more extreme contentions have not been accepted by most scholars, the premises of his argument—and therefore the true significance of these criteria— have not been examined with sufficient care. This chapter emphasizes at the outset that just as Schering s criteria refer to the individual parts, so does the concern itself with instrumental style in melody alone. It summarizes Schering's criteria of instrumental style are certain melodic, textual, and rhythmic features. The various differences which Schering takes to be criteria of 'instrumental style" are not common to all instruments.
