Five hundred years ago a monk nailed his theses to a church gate
in Wittenberg. The sound of Luther’s mythical hammer, however, was by no
means the only aural manifestation of the religious Reformations.
This
book describes the birth of Lutheran Chorales and Calvinist Psalmody;
of how music was practised by Catholic nuns, Lutheran schoolchildren,
battling Huguenots, missionaries and martyrs, cardinals at Trent and
heretics in hiding, at a time when Palestrina, Lasso and Tallis were
composing their masterpieces, and forbidden songs were concealed,
smuggled and sung in taverns and princely courts alike.
Music
expressed faith in the Evangelicals’ emerging worships and in the
Catholics’ ancient rites; through it new beliefs were spread and heresy
countered; analysed by humanist theorists, it comforted and consoled
miners, housewives and persecuted preachers; it was both the symbol of
new, conflicting identities and the only surviving trace of a lost unity
of faith.
The music of the Reformations, thus, was music reformed,
music reforming and the reform of music: this book shows what the
Reformations sounded like, and how music became one of the protagonists
in the religious conflicts of the sixteenth century.
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Gracias por subir este tipo de libros y compartir tus gustos musicales !
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