Der Band setzt die Reihe der Senfl-Studien fort, in deren Rahmen Beiträge zu verschiedensten Aspekten rund um den Renaissancekomponisten Ludwig Senfl sowie zu Phänomenen der Musik des 16. Jahrhunderts generell publiziert werden. In den Senfl-Studien 3 liegen die Schwerpunkte auf neuen Funden zu Senfls biographischer Kontextualisierung (räumlich wie auch in Bezug auf seine Netzwerke) sowie zur Überlieferung und Medialität seiner Werke. Zudem wird in Fallstudien die Bedeutung humanistischer Ideen für die Konzeption seiner Kompositionen und deren Verflechtung mit dem gesellschaftlichen und kulturellen Leben seiner Zeit beleuchtet.
This book presents a varied and nuanced analysis of the dynamics of the printing, publication, and trade of music in the sixteenth and early seventeenth centuries across Western and Northern Europe. Chapters consider dimensions of music printing in Britain, the Holy Roman Empire, the Netherlands, France, Spain and Italy, showing how this area of inquiry can engage a wide range of cultural, historical and theoretical issues. From the economic consequences of the international book trade to the history of women music printers, the contributors explore the nuances of the interrelation between the materiality of print music and cultural, aesthetic, religious, legal, gender and economic history. Engaging with the theoretical turns in the humanities towards material culture, mobility studies and digital research, this book offers a wealth of new insights that will be relevant to researchers of early modern music and early print culture alike.
Exploring the nexus of music and religious education involves fundamental questions regarding music itself, its nature, its interpretation, and its importance in relation to both education and the religious practices into which it is integrated. This cross-disciplinary volume of essays offers the first comprehensive set of studies to examine the role of music in educational and religious reform and the underlying notions of music in early modern Europe. It elucidates the context and manner in which music served as a means of religious teaching and learning during that time, thereby identifying the religio-cultural and intellectual foundations of early modern European musical phenomena and their significance for exploring the interplay of music and religious education today.
Schöffer's Cantiones tell a fascinating story of South-North, Catholic-Protestant co-operation. The Cantiones quinque vocum selectissimæ (Strasbourg: Peter Schöffer the Younger, 1539) are a collection of 28 Latin five-voice motets by composers including Gombert, Willaert, and Jacquet of Mantua. This was Schöffer's first book of Latin motets as well as his last ever musical publication; he was granted an imperial privilege to print it by King Ferdinand I. The pieces had been sent to Schöffer by Hermann Matthias Werrecore, the choirmaster of the Duomo of Milan. However, this was at a time when no liturgical Latin choral singing took place in Strasbourg, following one of the harshest reformations - musically-speaking - across Europe. This book comprises a critical study of the anthology in terms of the circumstances of its assemblage and printing, its confessional significance, and the music itself. It considers the nature of the connection between Schöffer and Werrecore, and why a Protestant publisher based in Protestant Germany would try to sell Latin music that was endorsed by a Catholic monarch and emphatically had no chance of being performed in church in its place of publication. In addition, the monograph includes considerations of the motets themselves, brief biographical details of the composers - including the lesser-known ones (e.g. Ferrariensis, Sarton, Billon) - and a full list of all concordant sources. It will be of interest to performers and scholars alike, combining elements of historical research, musical criticism and - via the transcriptions hosted online - performance.
Chronological surveys of national musical cultures (in Italy, France, the Netherlands, Germany, England, and Spain), genre studies (Mass, motet, madrigal, chanson, instrumental music, opera), as well as essays on intellectual and cultural developments and concepts relevant to music (music theory, printing, the Protestant Reformation and the corresponding Catholic movement, humanism, the concepts of "Renaissance" and "Baroque").
This Theological Commentary is the first full-length work in English to consider Johann Sebastian Bach’s St John Passion in its entirety, both the words and the music. Bach’s oratorio is a globally popular musical work, and a significant expression of Lutheran theology. The commentary explains the Biblical and poetic text, and its musical setting, line by line. Bach’s Passion is shown to be the work of a master craftsman and trained theologian, in the collaborative and cultural milieu of eighteenth-century, Lutheran Leipzig. For the first time, this work makes much German scholarship available in English, including archival sources, and includes a new scholarly translation of the libretto. The musical and theological terms are explained, to enable an interdisciplinary understanding of the Passion’s meaning and continued significance.
In Printing Colour 1400–1700, Ad Stijnman and Elizabeth Savage offer the first handbook of early modern colour printmaking before 1700 (when most such histories begin), creating a new, interdisciplinary paradigm for the history of graphic art. It unveils a corpus of thousands of individual colour prints from across early modern Europe, proposing art historical, bibliographical, technical and scientific contexts for understanding them and their markets. The twenty-three contributions represent the state of research in this still-emerging field. From the first known attempts in the West until the invention of the approach we still use today (blue-red-yellow-black/‘key’, now CMYK), it demonstrates that colour prints were not rare outliers, but essential components of many early modern book, print and visual cultures.
The book draws upon the rich information gathered for the online database Catalogue of early German printed music / Verzeichnis deutscher Musikfrühdrucke (vdm), the first systematic descriptive catalogue of music printed in the German-speaking lands between c. 1470 and 1540, allowing precise conclusions about the material production of these printed musical sources. Chapters 8 and 9 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
Investigates the reception and performance history of the polyphonic mass in Lutheran Central Europe from ca. 1540-1600. The five-movement polyphonic Mass Ordinary emerged from the cultural and liturgical practices of medieval Roman Catholicism and became the pre-eminent large-scale musical genre of early modern Europe. By the end of the sixteenth century, the polyphonic mass remained a core musical genre among Catholics despite gaining widespread popularity within a new institution fundamentally opposed to the Catholic Church and best known for its cultivation of vernacular liturgical music: the Lutheran church. This book investigates the reception and performance history of the polyphonic mass in Lutheran Central Europe from ca. 1540-1600. Through careful source analysis, this study presents examples of polyphonic masses composed in both Lutheran and Catholic contexts that contradict the conventional conception of the Mass Ordinary as a fixed five-movement cycle with unaltered Latin texts. The book draws on sixteenth-century liturgical documents such as Lutheran church orders and hundreds of primary printed and manuscript sources of polyphonic masses; some of these items are well-known in Renaissance musicology source studies while others have received little to no scholarly attention. The book's findings invite reconsideration of how the Mass Ordinary genre is defined, allow for a discussion whether the polyphonic mass should be considered a bi-confessional genre, and present a cohesive examination of early modern liturgical music in the Germanic and western Slavic regions. It offers interesting reading to scholars and students of European Renaissance and religious music, as well as Reformation studies more generally.
A Companion to Music at the Habsburgs Courts in the Sixteenth and Seventeenth Centuries, edited by Andrew H. Weaver, is the first in-depth survey of the Habsburg family’s musical patronage over a broad span of time.
