Dr. Martin Luther's Deutsche Geistliche Lieder
Dr. Martin Luther's Deutsche Geistliche Lieder

Author: Martin Luther

Publisher: Forgotten Books

Published: 2017-11-21

Total Pages: 100

ISBN-13: 9780331599923

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Excerpt from Dr. Martin Luther's Deutsche Geistliche Lieder: The Hymns of Martin Luther Set to Their Original Melodies, With an English Version Fit motto for the history of the Reformation would be those words out of the history of the Day of Pentecost, How hear we, every man in our own tongue wherein we were born the wonderful works of God! The ruling thought of t e pre-reformation period was not more the maintenance of one Holy Roman Church than of one Holy Roman Empire, each of which was to comprehend all Christendom. The language of the Roman Church and Empire was the sacred language in comparison with which the languages of men's common speech were reckoned common and unclean. The coming-in of the Reformation was the awakening of indi vidual life, by enforcing the sense of each man's direct responsibility to God; but it was equally the quickening of a true national life. In the light of the new era, the realization of the promise of the oneness of the Church was no longer to be sought in the universal dominance of a hierarchical corpora tion; nor was the mystery proclaimed by Paul, that the nations were fellow-heirs and of one body, to be fulfilled in the subjugation of all nations to a central potentate. According to the spirit Of the Reformation, the One Church was to be, not a corporation, but a communion - the communion of saints; and the unity of mankind, in its many nations, was to be a unity of the spirit in the bond of mutual peace. The two great works of Martin Luther were those by which he gave to the common people a vernacular Bible and vernacular worship, that through the one, God might Speak directly to the people and in the other, the people might speak directly to God. Luther's Bible and Luther's Hymns gave life not only to the churches of the Reformation, but to German nationality and the German language. Concerning the hymns of Luther the words of several notable writers are on record, and are worthy to be prefixed to the volume of them. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Music and Academia in Victorian Britain
Music and Academia in Victorian Britain

Author: Rosemary Golding

Publisher: Routledge

Published: 2016-04-29

Total Pages: 263

ISBN-13: 1317092619

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Until the nineteenth century, music occupied a marginal place in British universities. Degrees were awarded by Oxford and Cambridge, but students (and often professors) were not resident, and there were few formal lectures. It was not until a benefaction initiated the creation of a professorship of music at the University of Edinburgh, in the early nineteenth century, that the idea of music as a university discipline commanded serious consideration. The debates that ensued considered not only music’s identity as art and science, but also the broader function of the university within education and society. Rosemary Golding traces the responses of some of the key players in musical and academic culture to the problems surrounding the establishment of music as an academic discipline. The focus is on four universities: Edinburgh, Oxford, Cambridge and London. The different institutional contexts, and the approaches taken to music in each university, showcase the various issues surrounding music’s academic identity, as well as wider problems of status and professionalism. In examining the way music challenged conceptions of education and professional identity in the nineteenth century, the book also sheds light on the way the academic study of music continues to challenge modern approaches to music and university education.