By Jonathan Willis
'Church track and Protestantism in Post-Reformation England' breaks new flooring within the spiritual heritage of Elizabethan England, via a heavily concentrated learn of the connection among the perform of spiritual track and the advanced strategy of Protestant id formation. listening to used to be of important value within the early glossy interval, and tune was once essentially the most fashionable, strong and emotive components of spiritual worship. yet largely, conventional ancient narratives of the English Reformation were notably tone deaf. contemporary scholarship has began to take expanding become aware of of a few components of Reformed musical perform, akin to the congregational making a song of psalms in meter. This booklet marks an important strengthen in that sector, combining an realizing of idea as expressed in modern non secular and musical discourse, with a close research of the perform of church song in key websites of non secular worship. Divided into 3 sections - 'Discourses', 'Sites', and 'Identities' - the booklet starts off with an exploration of the classical and non secular discourses which underpinned sixteenth-century understandings of tune, and its use in spiritual worship. It then strikes directly to an research of the particular perform of church tune in parish and cathedral church buildings, earlier than transferring its consciousness to the folk of Elizabethan England, and the ways that song either served and formed the tricky technique of Protestantisation. via an exploration of those matters, and by means of reintegrating tune again into the Elizabethan church, we achieve an extended and enriched knowing of the complicated evolution of spiritual identities, and of what it truly intended to be Protestant in post-Reformation England.
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Additional resources for Church Music and Protestantism in Post-Reformation England: Discourses, Sites and Identities
418r and f. 119r. See also Campion, Obseruations, p. 31. 66 Michael Drayton, Endimion and Phoebe Ideas Latmus (1595), sig. C4r. See also Thomas Churchyard, The vvorthines of VVales (1587), sig. N1v. 67 Drayton, Idea, p. 42. See also Christopher Marlowe, Hero and Leander (1598), sig. K2r. 68 Plutarch, The philosophie, commonlie called, the morals, trans. Philemon Holland (1603), p. 839. Plutarch records that Pythaogoras, Plato and Aristotle all held the voice to be incorporeal, but that the Stoics believed the voice to be ‘a bodie’.
419; Lodge, Protogenes can know Apelles by his line, p. 27. Lupton, The Christian against the Iesuite, f. 63r, recorded that ‘musicke hath moued horses in the warres to bee curragious’. 94 Albott, Wits theater of the little world, f. 98v. 95 Lloyd, The pilgrimage of princes, f. 115r. On this theme see Linda Phyllis Austern, ‘“For, Love’s a Good Musician”: Performance, Audition, and Erotic Disorders in Early Modern Europe’, The Musical Quarterly, 82 (1998): pp. 614–53. 96 Samuel Nicholson, A sermon, called Gods new yeeres-guift (1602), sig.
R. Alec Harman (London, 1952), p. 4. 72 There was a recognition amongst Elizabethan authors that contemporary music rarely had quite the same miraculous effects as those described by the ancients, but while music’s potency had declined, its ability to affect the human mind was still universally recognised. Music was capable of both being generated by and also speaking to the natural world, animate and inanimate. 73 By far the most musical bird was the nightingale. ‘What Byrd so much honoured as the Nightingale’, asked Nicholas Breton, ‘and why?
Church Music and Protestantism in Post-Reformation England: Discourses, Sites and Identities by Jonathan Willis