any of certain German musicians and poets, chiefly of the artisan and trading classes, in the 14th to the 16th century. They claimed to be heirs of 12 old masters, accomplished poets skilled in the medieval artes and in musical theory; the minnesinger Heinrich von Meissen, called Frauenlob, was said to be their founder. In a sense, then, they represent the bourgeois inheritance of the courtly minnesinger. Their true predecessors, however, likely were fraternities of laymen, trained to sing in church and elsewhere. Later, when music and poetry became “crafts” to be taught, these fraternities became Singschulen (“song schools”), organized like craft guilds. Their main activity became the holding—still in church—of singing competitions. Composition was restricted to fitting new words to tunes ascribed to the old masters; subject matter, metre, language, and performance were governed by an increasingly strict code of rules (Tabulatur). These deadening restrictions led Hans Folz, a barber-surgeon from Worms (d. c. 1515), to persuade the Nürnberg Singschule to permit a wider range of subjects and the composition of new tunes. These reforms, adopted elsewhere, restored some life to the Singschulen; henceforth, a member, having passed through the grades of Schüler, Schulfreund, Singer, and Dichter, became a “master” by having a tune of his own approved by the Merkern, or adjudicators. In this freer atmosphere, Hans Sachs (Sachs, Hans) flourished—though some regard the 16th century as a period of decline rather than of florescence.

Nevertheless, music, form, and subject matter remained remarkably constant through the centuries. The music, derived from Gregorian chant, folksong, and other sources, determined the metre (Ton meant both metre and melody). Each stanza, or Gesätz, consisted of two musically identical Stollen (together forming an Aufgesang) and an Abgesang, with its separate metrical scheme—a form derived from the Minnesang and sometimes termed form (Bar form) (q.v.). Verses were based on syllable counting regardless of stress or quantity; rhyme schemes were often elaborate. Three stanzas or a multiple of three constituted a song, or Bar (the musical Bar form provided music for one stanza). For large subjects, several Töne were used. Songs were unaccompanied solos. For the Singschulen in church, a wide range of religious subjects was versified; after the Reformation the text of Luther's Bible was rigidly adhered to. From the 15th century, secular subjects also were used. At the Zechsingen, held afterward at a tavern (perhaps not an official part of the Singschule), subjects were humorous, sometimes obscene.

From the earliest centres, Mainz, Worms, and Strassburg, the movement spread all over southern Germany and to Silesia and Bohemia; northern Germany had individual meistersingers but no Singschulen. The best documented centre is Nürnberg. The meistersingers were not popular figures, as Richard Wagner's opera Die Meistersinger (1868) suggests; they were largely ignored by professional men, humanists, and the general populace, and their songs were not published. They produced few outstanding songs or artists. Their importance lies rather in their devotion to their art in a troubled age and in their constant efforts to inculcate religious and moral principles. After the year 1600, attempts—mostly unsuccessful—at modernization were made; but the Singschulen slowly declined and disappeared, although the last one, at Memmingen, was not disbanded until 1875.