Reforming Music: Music and the Religious Reformations of the Sixteenth Century

Preface\nAcknowledgements\nContents\nIntroduction\nAbbreviations and reference works\nChapter 1 – Framing a century\n	1.1. Introduction\n	1.2. Theology: the issues at stake\n		1.2.1. How are we saved?\n		1.2.2. Justified by grace\n		1.2.3. Substantial differences\n	1.3. Culture, art and thought in the sixteenth century\n		1.3.1. Thinking the sixteenth century\n		1.3.2. Applied humanism\n		1.3.3. Philosophy and theology\n		1.3.4. Science and literature\n		1.3.5. Visual arts\n	1.4. Music\n		1.4.1. Setting a text\n		1.4.2. Travelling music, travelling musicians\n		1.4.3. Genres in vocal music\n		1.4.4. Aprotagonist: the madrigal\n		1.4.5. Anursery for opera\n	1.5. Society and politics\n	1.6. Church matters\n		1.6.1. At the roots of the Reformations\n		1.6.2. 1500–1525: Enter Luther\n		1.6.3. 1526–1550: Spreading the word\n		1.6.4. 1551–1575: Consolidating confessions\n		1.6.5. 1576–1600: Finding a modus vivendi\nChapter 2 – Music, society and culture\n	2.1. Introduction\n	2.2. Music and faith: an overview\n		2.2.1. Aresounding landscape\n		2.2.2. Atime of religious renewal\n	2.3. Humanism and music\n		2.3.1. Sounding Greek\n		2.3.2. Dialoguing with Plato (and Aristotle)\n		2.3.3. Fashioning antiquity\n		2.3.4. At the sources of Christian music\n		2.3.5. “Should God be praised with song?”\n		2.3.6. Magisterial music\n		2.3.7. Words, words, words\n			2.3.7.1. Moving music\n			2.3.7.2. Plain text\n		2.3.8. Symbol and fascination\n		2.3.9. “Ornamental neighings”: Erasmus on music\n	2.4. As you like it: aesthetic trends\n		2.4.1. Style matters\n		2.4.2. Acappella or accompanied?\n		2.4.3. Enjoying polyphony\n		2.4.4. Seducing or sanctifying?\n		2.4.5. Rhetorical questions\n		2.4.6. The effects of affects\n		2.4.7. Sensing music\nChapter 3 – Criticising sacred music\n	3.1. Introduction\n	3.2. “Sacred” music?\n		3.2.1. Plainchant: the daily bread\n		3.2.2. Latin-texted polyphony: resounding feast\n			3.2.2.1. Making music for Mass\n			3.2.2.2. Mostly motets\n		3.2.3. Praying in music\n	3.3. Crisis, critics and criticalities\n		3.3.1. Serving the Word?\n			3.3.1.1. Enrapturing melismas\n			3.3.1.2. Afree rein for Sequences\n			3.3.1.3. Hearing the unsaid\n			3.3.1.4. “Intelligo ut credam”: the importance of understanding\n		3.3.2. The morals of music\n			3.3.2.1. Lady Music\n			3.3.2.2. Soft and lascivious\n			3.3.2.3. “Moch musick marreth mens maners”\n			3.3.2.4. Practical problems\n			3.3.2.5. Controlling the choir\n			3.3.2.6. Awaste of time and money\n			3.3.2.7. Sounding immoral\n			3.3.2.8. The volume of “wild vociferations”\n			3.3.2.9. Cats, goats, bulls and donkeys\n			3.3.2.10. Virtuous and virtuosos\n			3.3.2.11. Laughable gestures and laudable behaviours\n			3.3.2.12. The force of gravity\n		3.3.3. Aletter by Bernardino Cirillo\n			3.3.3.1. The letter’s letter\n			3.3.3.2. The letter’s spirit\nChapter 4 – The reformers’ concept of music\n	4.1. Introduction\n	4.2. Where the Reformers saw eye to eye\n		4.2.1. From word to Word\n		4.2.2. Sources as resources\n		4.2.3. Reforming Church music\n			4.2.3.1. “A cantantibus intellectus”: words for whom?\n			4.2.3.2. “Not so excellent a thing”: the risks of music\n			4.2.3.3. Creation and creativity\n		4.2.4. What’s the use of music?\n			4.2.4.1. Agift of God\n			4.2.4.2. “Praise him with lute and harp”\n			4.2.4.3. Chords of concord\n			4.2.4.4. Fostering fervour\n			4.2.4.5. “Faith comes from hearing”\n			4.2.4.6. A“medicine for passions”\n			4.2.4.7. “Zu Frewde”: the joy of music\n			4.2.4.8. Dispelling devils\n			4.2.4.9. Voicing the Gospel\n			4.2.4.10. Shall or may? Music as adiaphoron\n			4.2.4.11. Music for the end of the world\n		4.2.5. Orchestrating praise: the role of instruments\n	4.3. Various views: Music for the Reformers\n		4.3.1. Luther: “Musicam semper amavi”\n			4.3.1.1. Origins and originality\n			4.3.1.2. The principal principles\n			4.3.1.3. Tuning the tenets\n		4.3.2. Zwingli: nailing the organs\n		4.3.3. “Radical” Reforms\n		4.3.4. Bucer: Sacred Music only\n		4.3.5. Calvin: cautions and chanting\n			4.3.5.1. An increasing interest…\n			4.3.5.2. …And persisting perplexities\n		4.3.6. Anglican antinomies\n		4.3.7. Catholic continuity\n			4.3.7.1. Hearing Mass\n			4.3.7.2. Worship for whom?\nChapter 5 – Music in the Evangelical Churches: Luther\n	5.1. Introduction\n	5.2. Amusic-loving Reformer\n	5.3. The forms of Reform\n		5.3.1. Latin roots, Evangelical fruits\n			5.3.1.1. Reordering the Ordinary\n			5.3.1.2. Hours of worship\n		5.3.2. Venturing the vernacular\n			5.3.2.1. Translating tradition\n			5.3.2.2. Singing Scripture\n			5.3.2.3. “Christian improvements”\n			5.3.2.4. Starting from scratch\n			5.3.2.5. Forging a repertoire\n			5.3.2.6. Led by the Lieder\n		5.3.3. Collecting chorales\n			5.3.3.1. Objects of piety: The Lutheran hymnbooks\n		5.3.4. The daily sound\n			5.3.4.1. Asinging Church\n			5.3.4.2. Our daily hymn\n			5.3.4.3. Lehre: Learning from the Lieder\n			5.3.4.4. Trost: Comforted by the Chorales\n			5.3.4.5. Creating communities\n			5.3.4.6. Disseminating doctrines in music\n		5.3.5. Arange of genres\n		5.3.6. Music at the borders of Lutheranism\n	5.4. Singing in Strasbourg\n		5.4.1. The Strasbourg style\n	5.5. The Bohemian Brethren\nChapter 6 – Music in the Evangelical Churches: Calvin\n	6.1. Introduction\n	6.2. The power of psalmody\n		6.2.1. Metrical psalmody before Calvin\n		6.2.2. Marot: Psalter and verse\n		6.2.3. Preparing for the Psalter\n	6.3. The Genevan Psalter\n		6.3.1. Two Reformers, two attitudes\n		6.3.2. Metres and melodies\n		6.3.3. The Genevan Psalter outside Geneva\n		6.3.4. Our daily Psalm\n		6.3.5. Musical flags\n		6.3.6. Psalms in polyphony\n		6.3.7. Instruments and house devotion\n	6.4. Constance and Basel\n	6.5. The Souterliedekens\nChapter 7 – Music in the Church of England\n	7.1. Introduction\n	7.2. Reforming rites\n		7.2.1. Under Henry VIII\n		7.2.2. Under Edward VI\n		7.2.3. The Book of Common Prayer\n		7.2.4. Under Elizabeth I\n	7.3. Psalms, psalters and Reformations\n		7.3.1. Coverdale: Continental influences\n		7.3.2. Sternhold: Psalms at Court\n		7.3.3. “The Lord’s Songs in a foreign land”\n		7.3.4. Elizabethan Psalmody: the “Sternhold and Hopkins”\n		7.3.5. Singing the Scottish Reformation\n		7.3.6. Psalms, poetry and polyphony\n		7.3.7. Psalms, piety and politics\n	7.4. The “Godly Ballads”\n	7.5. Our daily music\n		7.5.1. Educating in music\n		7.5.2. Private piety\n	7.6. Between Court and parish church\n		7.6.1. Shaping an “Anglican” style\n		7.6.2. Setting the Service\n		7.6.3. Byrd: A Catholic at Court\nChapter 8 – Music and the Council of Trent\n	8.1. Introduction\n	8.2. Trent and tradition\n		8.2.1. Theological themes\n		8.2.2. Self- or Counter-Reformation?\n		8.2.3. Drafts, Debates, Decrees\n		8.2.4. Uses and abuses\n		8.2.5. Fighting “lasciviousness”\n		8.2.6. Singing for the Pope\n	8.3. Who was who\n		8.3.1. Ercole Gonzaga: President and patron\n		8.3.2. Giovanni Morone: Monody first\n		8.3.3. Otto Truchsess: Talents and treasures\n		8.3.4. Gabriele Paleotti: Respect and rigour\n		8.3.5. Carlo Borromeo: Influential and idiosyncratic\n		8.3.6. Kerle’s Preces: The Council’s soundtrack\n	8.4. The Council on music\n		8.4.1. Setting the stage\n		8.4.2. Enumerating errors\n		8.4.3. A“house of prayer”\n		8.4.4. Rescuing polyphony?\n		8.4.5. Music in the convents\n		8.4.6. Concluding the Council\n	8.5. What did not happen at the Council\n		8.5.1. Palestrina: polyphony’s saviour?\n		8.5.2. Prescriptions or proscriptions?\n		8.5.3. Open issues\nChapter 9 – Music after Trent\n	9.1. Introduction\n	9.2. Music after Trent\n		9.2.1. Hardly a revolution\n		9.2.2. Purifying worship\n		9.2.3. Anew clerical class\n		9.2.4. From global to local\n	9.3. Music and liturgy after Trent\n		9.3.1. Reaffirming rituality\n		9.3.2. Revising rites\n		9.3.3. New needs\n		9.3.4. Freeing plainchant from “ineptitude” and “malice”\n		9.3.5. Polyphony after Trent\n			9.3.5.1. Exploring post-Tridentine aesthetics\n			9.3.5.2. Polychorality: a new option\n		9.3.6. The Cardinals’ Commission\n			9.3.6.1. Observing (and by-passing) the “Council’s requirements”\n		9.3.7. Celebrating with instruments\n	9.4. Religious music in post-Tridentine Catholicism\n		9.4.1. Emotional motets\n		9.4.2. Local languages\n		9.4.3. Piety and poetry\n		9.4.4. Devotional music outside Italy\n		9.4.5. Processions and pilgrimages\n		9.4.6. In the sphere of spirituality\n	9.5. Reforming Catholicism\n		9.5.1. The theological framework\n		9.5.2. The Jesuits and music: forbidden, admitted, promoted\n			9.5.2.1. The first Jesuits and the unsung Office\n			9.5.2.2. Asensible preaching\n			9.5.2.3. College education\n			9.5.2.4. Performing holiness\n			9.5.2.5. The mission of music\n		9.5.3. Filippo Neri: Laity and Laude\n			9.5.3.1. From Florence to Rome\n		9.5.4. Brethren in Christ: The Confraternities\n	9.6. Catholic music locally\n		9.6.1. Chapels and patrons\n		9.6.2. Milan: Reforming from the roots\n		9.6.3. Rome: Splendour and spirituality\n		9.6.4. Venice: Enjoying magnificence\n		9.6.5. Mantua: a workshop of the Catholic Reformation\n		9.6.6. Spain: Penitence and pomp\n		9.6.7. Bavaria: the outpost of Catholicism\nChapter 10 – Music and confessionalisation\n	10.1. Introduction\n	10.2. Building confessional boundaries\n	10.3. The confessionalisation of music\n		10.3.1. Faith first\n		10.3.2. Preaching in music\n		10.3.3. “As long as I live”: music and martyrdom\n			10.3.3.1. “The Story of Brother Henry”: sung epics of martyrdom\n			10.3.3.2. “We have become a spectacle”: Byrd and the English martyrs\n		10.3.4. “Let God rise up”: battle hymns\n		10.3.5. Pamphlets, broadsheets and polemics\n		10.3.6. Enchanting chant\n		10.3.7. Conquering space through sound\n			10.3.7.1. Walking singers\n			10.3.7.2. Seizing the Service\n			10.3.7.3. Sung sarcasm\n			10.3.7.4. Paraphrase and parody\n			10.3.7.5. The time of the Antichrist\n			10.3.7.6. Changes in music are changes in doctrine\n	10.4. Psalms for all\n	10.5. Confessional Contrafacture\n		10.5.1. Songs of scorn\n	10.6. The contexts of confessionalisation\n		10.6.1. “Oh Benno, you holy man…”\n		10.6.2. Countering the Interim\n		10.6.3. Contesting the calendar\n		10.6.4. Courtly intrigues\n	10.7. “Save me, o God”: echoes of persecution\n		10.7.1. Silencing songs\n		10.7.2. Martyred musicians\n		10.7.3. Concealing and revealing\nChapter 11 – Music beyond confessionalisation\n	11.1. Introduction\n	11.2. Seeking harmony\n		11.2.1. Tuning the differences\n		11.2.2. Flutes, lutes and Luther\n		11.2.3. Creating communion through prayer\n		11.2.4. Joining theology with praise\n	11.3. Finding harmony\n		11.3.1. Consonant doctrines\n		11.3.2. Crossing the confines\n		11.3.3. Sung pleas for unity\n		11.3.4. Bridging social layers\n	11.4. Like prayer, like song\n		11.4.1. The thread of psalmody\n		11.4.2. The thread of piety\n		11.4.3. The thread of mysticism\n			11.4.3.1. Defeating the devil\n			11.4.3.2. Consoling and comforting\n		11.4.4. The thread of education\n			11.4.4.1. “The brim around the cup”: singing the Catechism\n			11.4.4.2. “By way of pleasant song”: enjoying Sunday school\n			11.4.4.3. “Sing like the angels in heaven”: publishing Catechism songs\n			11.4.4.4. “Night and day”: the forms of sung doctrine\n		11.4.5. The thread of musicianship\n		11.4.6. The thread of solicitude\n		11.4.7. Inspiring hymnbooks\n			11.4.7.1. Vehe: A Catholic pioneer\n			11.4.7.2. Leisentrit: An example of Counter-Reformation\n			11.4.7.3. Sharing songs\n			11.4.7.4 Responses to Calvinist psalmody\n	11.5. Music across boundaries\n		11.5.1. Adopting and adapting\n		11.5.2. The challenge of beauty\n		11.5.3 Asserting the sacredness of creation\n		11.5.4. Holy and spiritual songs\n	11.6. Musicians beyond boundaries\n		11.6.1. Ecumenism in music\n		11.6.2. Finding the language of musical dialogue\nChapter 12 – Music and women\n	12.1. Introduction\n	12.2. Truths, myths and stereotypes\n		12.2.1. Frau Musika or women’s music?\n		12.2.2. Mary Magdalene as a musician\n		12.2.3. Scanty sources\n		12.2.4. Social status\n		12.2.5. Patronesses and prioresses\n		12.2.6. The impact of the Reformations\n	12.3. Voices of Evangelical women\n		12.3.1. In the Lutheran Church\n			12.3.1.1. The “virtuous matrons” and their daughters\n			12.3.1.2. Girls “prophesy”: announcing the Kingdom’s advent\n			12.3.1.3. Cruciger: from the very beginning\n			12.3.1.4. Schütz-Zell: a resourceful Reformer\n		12.3.2. In the Calvinist Church\n		12.3.3. Living (and loving) psalmody\n			12.3.3.1. Creative resonances\n		12.3.4. Among Anabaptists\n	12.4. Voices of Catholic women\n		12.4.1. Voices from the Convents\n			12.4.1.1. Voicing resistance\n			12.4.1.2. Convents as cultural centres\n			12.4.1.3. “Only voice and no sight”\n			12.4.1.4. Music for hearers?\n			12.4.1.5. Teaching music to the nuns\n			12.4.1.6. A rich repertoire\n			12.4.1.7. Music for money\n			12.4.1.8. Songs for sanctity\n		12.4.2. (Un)veiled voices\n			12.4.2.1. Aleotti: how many of them?\n			12.4.2.2. Community concerts\n			12.4.2.3. Sessa: better than Monteverdi?\n			12.4.2.4. Bovia, Strozzi, Baptista and their sisters\n			12.4.2.5. The convent scribes: transmitting tastes\n		12.4.3. Reforms, rules and religious women\n			12.4.3.1. Paleotti: muting music\n			12.4.3.2. The Borromeos: between rigour and reform\n		12.4.4. Voices from the laity\n			12.4.4.1. Composing spiritual madrigals\n			12.4.4.2. Voices from Northern Europe\n	12.5. Voices from a Christian polyphony\nConclusions\nGlossary\nBibliography\n	Primary\n	Secondary\nIndex of Names\nIndex of Subjects