By Jonathan Willis
'Church tune and Protestantism in Post-Reformation England' breaks new floor within the spiritual heritage of Elizabethan England, via a heavily centred examine of the connection among the perform of spiritual song and the complicated means of Protestant id formation. listening to was once of important significance within the early glossy interval, and tune was once essentially the most well-known, strong and emotive parts of spiritual worship. yet largely, conventional old narratives of the English Reformation were fairly tone deaf. contemporary scholarship has started to take expanding observe of a few parts of Reformed musical perform, resembling the congregational making a song of psalms in meter. This e-book marks an important enhance in that region, combining an realizing of thought as expressed in modern non secular and musical discourse, with an in depth examine of the perform of church song in key websites of spiritual worship. Divided into 3 sections - 'Discourses', 'Sites', and 'Identities' - the e-book starts off with an exploration of the classical and spiritual discourses which underpinned sixteenth-century understandings of song, and its use in spiritual worship. It then strikes directly to an research of the particular perform of church track in parish and cathedral church buildings, earlier than transferring its consciousness to the folks of Elizabethan England, and the ways that song either served and formed the tricky technique of Protestantisation. via an exploration of those concerns, and by way of reintegrating song again into the Elizabethan church, we achieve an multiplied and enriched knowing of the complicated evolution of non secular identities, and of what it truly intended to be Protestant in post-Reformation England.
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Extra resources for Church Music and Protestantism in Post-Reformation England: Discourses, Sites and Identities
19r. See also Kyd, The tragedye of Solyman and Perseda, sig. F4r. 99 William Shakespeare, A midsommer nights dreame (1600), sig. F4r. 100 Lane, Tom Tel-Troths message, and his pens complaint, p. 16; John Marston, Iacke Drums entertainment: or The comedie of Pasquill and Katherine (1601), sig. G4v. 101 See Linda Phyllis Austern, ‘“Sing Againe Syren”: The Female Musician and Sexual Enchantment in Elizabethan Life and Literature’, Renaissance Quarterly, 42/3 (1989): pp. 420–48. 102 Achilles Tatius, The most delectable and pleasaunt history of Clitiphon and Leucippe (1597), p.
See also Austern, ‘“Sing Againe Syren”’. 140 Thomas Salter, A mirrhor mete for all mothers, matrones, and maidens (1579), sig. C6v. 141 Ortensio Landi, Delectable demaundes, and pleasaunt questions (1566), f. 18v. 142 Stephen Gosson, The schoole of abuse (1579), f. 11r. 143 Roger Ascham, Toxophilus the schole of shootinge (1545), f. 9v. 144 Aristotle, Aristotles politiques, p. 393. 152 This fear was also articulated by Thomas Salter. 155 Yet because of its associations with the harmonies of the human soul, and its range of affective properties, music was an important ingredient in healing and physic, as well as in providing more general comfort to the emotionally troubled and afflicted.
S2v, Aa1r. 54 This facility of heavenly music to satisfy sensual appetite was decidedly Augustinian. 55 The divine associations of music meant that it could literally create heaven upon the earth. 58 Music was capable of raising the spirit to heavenly things, even in a sense prematurely to heaven. B. vpon ... our Christian faith, sigs. Aa3v–Aa4r. Luis de Granada, Granados spirituall and heavenlie exercises (1598), pp. 180–81. 56 Castiglione, The courtyer, sig. G2v. See also John Burel, To the richt high, Lodvvik Duke of Lenox … J.
Church Music and Protestantism in Post-Reformation England: Discourses, Sites and Identities by Jonathan Willis