A Meistersinger, which means "master singer" in German, was a person who belonged to a group in Germany during the 14th to 16th centuries. This group focused on writing poetry, creating music, and singing songs without instruments. Most members of this group were men from the middle class.

Guilds

The Meistersinger kept and improved the traditions of the medieval Minnesingers. They were part of the craftspeople and merchants in German towns and considered twelve poets from the Middle High German period as their leaders and the founders of their guild. These poets included Wolfram von Eschenbach, Konrad von Würzburg, Reinmar von Zweter, and Heinrich Frauenlob. Frauenlob is said to have started the first Meistersinger school in Mainz in the early 14th century. These schools first appeared in the upper Rhine region and later spread to other areas. In the 14th century, schools operated in Mainz, Strasbourg, Frankfurt, Würzburg, Zürich, and Prague. In the 15th century, schools were also in Augsburg and Nuremberg. By the 16th century, Nuremberg, led by Hans Sachs, became the most well-known school. At this time, Meistersinger schools were found throughout Germany and even in places farther north, such as Magdeburg, Breslau, Görlitz, and Danzig.

Each guild had different levels of members, starting with beginners called Schüler (similar to trade apprentices), followed by Schulfreunde (like Gesellen or journeymen), and ending with Meister. Meisters were poets who could write new lyrics to existing melodies and create new melodies. The poem was called a Bar or Gesetz, and the melody was called a Ton or Weis. All songs were sung without musical accompaniment.

Rules

The rules of the art were written in a book called the Tabulatur, which was the law-book of the guild. The Tabulatur covered three topics: (1) the types of poems and the parts of a meistergesang; (2) rhymes that were allowed; (3) mistakes to avoid, such as errors in how the song was performed, melody, structure, or opinion, especially mistakes in rhyme, word choice, or meter. To the Meistersingers, poetry was an art that could be learned through careful study, not something that required divine inspiration.

Their songs used many different types of song structures, which matched the many new tunes the Meistersingers created. These tunes had complicated names, such as Gestreiftsafranblumleinweis (Little striped saffron flower melody), Fettdachsweis, Vielfrassweis (Melody of eating much), geblümte Paradiesweis (Flowery paradise melody), and others. More focus was placed on matching the syllables of the words to the melody than on the meaning, feelings, or message of the text. The songs were divided into three parts called strophes, and each strophe was split into two sections called Stollen and a part called discant or Abgesang. In his book "Die Kunstausdrücke der Meistersinger," Plate lists many details about the rhythm and rhyme patterns in this complex poetry. These patterns show a clear similarity to the techniques used by poets in Southern France two centuries earlier, whether those poets were less skilled or more skilled.

Meetings

The meetings happened in the town hall (Rathaus) or, more often, in the church on Sundays. Special festivals and singing competitions were held three times a year: during Easter, Pentecost, and Christmas. At these events, judges (Merker) were chosen to review the performances and point out mistakes in following the rules of the Tabulatur. Prizes were given to winners, and those who sang poorly were fined. Prizes sometimes included money or a crown, as seen in Nuremberg during the time of Hans Sachs. Flowers played an important role in these competitions. In older times, a singer might hang a wreath as a challenge and as a reward for winning. The meistersinger often wore colorful or expensive costumes.

In Nuremberg, where master singers were especially active, festivals began with free singing, where anyone could participate, even if they were not part of the group. During this time, the choice of song topics was less restricted. Afterward, the main singing event took place, where only members of the group could sing, and only on topics from the Bible. Four judges sat behind a curtain. One checked if the song matched the Bible text, which was open before him. A second judge ensured the rhythm was correct. A third judge reviewed the rhymes, and the fourth judge evaluated the tunes. Each mistake was recorded, and the person with the fewest mistakes received the prize.

Cultural role

Meistersinger poetry was an important part of life in German towns during the 15th and 16th centuries. This tradition helped support the values of the middle class, making it a form of popular art rather than high art. The practice of Meistergesang reached its peak in the 16th century but then declined soon after. Meistersinger traditions continued in southern Germany until the 19th century. A society in Ulm ended in 1839, and the last school in Memmingen stopped in 1875.

Legacy

The story of Richard Wagner's 1868 opera Die Meistersinger von Nürnberg is about a group called the Meistersingers and their singing competition.