By Jonathan Willis
'Church track and Protestantism in Post-Reformation England' breaks new floor within the spiritual background of Elizabethan England, via a heavily concentrated research of the connection among the perform of spiritual track and the advanced means of Protestant identification formation. listening to used to be of significant value within the early sleek interval, and tune was once essentially the most renowned, robust and emotive components of non secular worship. yet largely, conventional old narratives of the English Reformation were fairly tone deaf. contemporary scholarship has all started to take expanding detect of a few components of Reformed musical perform, akin to the congregational making a song of psalms in meter. This e-book marks an important improve in that region, combining an realizing of thought as expressed in modern non secular and musical discourse, with an in depth learn of the perform of church track in key websites of non secular worship. Divided into 3 sections - 'Discourses', 'Sites', and 'Identities' - the booklet starts with an exploration of the classical and spiritual 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 song in parish and cathedral church buildings, prior to moving its awareness to the folks of Elizabethan England, and the ways that song either served and formed the tricky strategy of Protestantisation. via an exploration of those concerns, and by means of reintegrating tune again into the Elizabethan church, we achieve an increased and enriched figuring out of the advanced evolution of spiritual identities, and of what it really 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
111 Such a ‘monster’ was the bard’s Richard III, whose ability to appreciate instrumental music was sabotaged by his chaotic musica humana. 113 108 See, for example, Drayton, The barrons vvars, p. 92; C. , The first part of the nature of a vvoman Fitly described in a Florentine historie (1596), sig. F1v. 109 William Shakespeare, The most excellent historie of the merchant of Venice (1600), sig. I2v. 110 Shakespeare, The merchant of Venice, sig. I2v. 111 Wright, A display of dutie, p. 33. 112 William Shakespeare, The tragedy of King Richard the third (1597), sigs.
Church Music and Protestantism 26 Love and War Music in Elizabethan England was also inextricably bound to the languages of the martial and the romantic. 85 As related by Edmund Spenser, the effect of music upon Alexander was no subtle shift in mood, but an almost reflexive action instigated by the playing of the minstrel Timotheus. 86 The human mind was as stable as a weathercock when it came to the buffeting effects of music, swinging in accordance with the mood of a particular musical melody.
71r. 137 Thomas Cartwright, An hospitall for the diseased (1579), p. 18; A. , A rich storehouse or treasury for the diseased (1596), f. 28v. 138 Blague, A schole of wise conceytes, p. 195; Spenser, The shepheardes calender, f. 42v–43r. 140 Ortensio Landi differentiated between ‘all sortes of Musike’ and ‘that onely which is lasciviouse and doeth effeminate the sprites’,141 the latter echoing classical descriptions of the Lydian harmony. 142 The problem with the precedent of the classical modes, which no longer existed in sixteenth-century England, was that the affective powers of music had become detached from the particular musical forms or styles by which they were supposed to have been generated.