Chapter
1.4.2. Travelling music, travelling musicians
1.4.3. Genres in vocal music
1.4.4. Aprotagonist: the madrigal
1.4.5. Anursery for opera
1.5. Society and politics
1.6.1. At the roots of the Reformations
1.6.2. 1500–1525: Enter Luther
1.6.3. 1526–1550: Spreading the word
1.6.4. 1551–1575: Consolidating confessions
1.6.5. 1576–1600: Finding a modus vivendi
Chapter 2 – Music, society and culture
2.2. Music and faith: an overview
2.2.1. Aresounding landscape
2.2.2. Atime of religious renewal
2.3.2. Dialoguing with Plato (and Aristotle)
2.3.3. Fashioning antiquity
2.3.4. At the sources of Christian music
2.3.5. “Should God be praised with song?”
2.3.7. Words, words, words
2.3.8. Symbol and fascination
2.3.9. “Ornamental neighings”: Erasmus on music
2.4. As you like it: aesthetic trends
2.4.2. Acappella or accompanied?
2.4.3. Enjoying polyphony
2.4.4. Seducing or sanctifying?
2.4.5. Rhetorical questions
2.4.6. The effects of affects
Chapter 3 – Criticising sacred music
3.2.1. Plainchant: the daily bread
3.2.2. Latin-texted polyphony: resounding feast
3.2.2.1. Making music for Mass
3.3. Crisis, critics and criticalities
3.3.1.1. Enrapturing melismas
3.3.1.2. Afree rein for Sequences
3.3.1.3. Hearing the unsaid
3.3.1.4. “Intelligo ut credam”: the importance of understanding
3.3.2. The morals of music
3.3.2.2. Soft and lascivious
3.3.2.3. “Moch musick marreth mens maners”
3.3.2.4. Practical problems
3.3.2.5. Controlling the choir
3.3.2.6. Awaste of time and money
3.3.2.7. Sounding immoral
3.3.2.8. The volume of “wild vociferations”
3.3.2.9. Cats, goats, bulls and donkeys
3.3.2.10. Virtuous and virtuosos
3.3.2.11. Laughable gestures and laudable behaviours
3.3.2.12. The force of gravity
3.3.3. Aletter by Bernardino Cirillo
3.3.3.1. The letter’s letter
3.3.3.2. The letter’s spirit
Chapter 4 – The reformers’ concept of music
4.2. Where the Reformers saw eye to eye
4.2.2. Sources as resources
4.2.3. Reforming Church music
4.2.3.1. “A cantantibus intellectus”: words for whom?
4.2.3.2. “Not so excellent a thing”: the risks of music
4.2.3.3. Creation and creativity
4.2.4. What’s the use of music?
4.2.4.2. “Praise him with lute and harp”
4.2.4.3. Chords of concord
4.2.4.4. Fostering fervour
4.2.4.5. “Faith comes from hearing”
4.2.4.6. A“medicine for passions”
4.2.4.7. “Zu Frewde”: the joy of music
4.2.4.8. Dispelling devils
4.2.4.9. Voicing the Gospel
4.2.4.10. Shall or may? Music as adiaphoron
4.2.4.11. Music for the end of the world
4.2.5. Orchestrating praise: the role of instruments
4.3. Various views: Music for the Reformers
4.3.1. Luther: “Musicam semper amavi”
4.3.1.1. Origins and originality
4.3.1.2. The principal principles
4.3.1.3. Tuning the tenets
4.3.2. Zwingli: nailing the organs
4.3.4. Bucer: Sacred Music only
4.3.5. Calvin: cautions and chanting
4.3.5.1. An increasing interest…
4.3.5.2. …And persisting perplexities
4.3.6. Anglican antinomies
4.3.7. Catholic continuity
4.3.7.2. Worship for whom?
Chapter 5 – Music in the Evangelical Churches: Luther
5.2. Amusic-loving Reformer
5.3.1. Latin roots, Evangelical fruits
5.3.1.1. Reordering the Ordinary
5.3.1.2. Hours of worship
5.3.2. Venturing the vernacular
5.3.2.1. Translating tradition
5.3.2.2. Singing Scripture
5.3.2.3. “Christian improvements”
5.3.2.4. Starting from scratch
5.3.2.5. Forging a repertoire
5.3.2.6. Led by the Lieder
5.3.3. Collecting chorales
5.3.3.1. Objects of piety: The Lutheran hymnbooks
5.3.4.3. Lehre: Learning from the Lieder
5.3.4.4. Trost: Comforted by the Chorales
5.3.4.5. Creating communities
5.3.4.6. Disseminating doctrines in music
5.3.6. Music at the borders of Lutheranism
5.4. Singing in Strasbourg
5.4.1. The Strasbourg style
5.5. The Bohemian Brethren
Chapter 6 – Music in the Evangelical Churches: Calvin
6.2. The power of psalmody
6.2.1. Metrical psalmody before Calvin
6.2.2. Marot: Psalter and verse
6.2.3. Preparing for the Psalter
6.3.1. Two Reformers, two attitudes
6.3.2. Metres and melodies
6.3.3. The Genevan Psalter outside Geneva
6.3.6. Psalms in polyphony
6.3.7. Instruments and house devotion
Chapter 7 – Music in the Church of England
7.2.3. The Book of Common Prayer
7.3. Psalms, psalters and Reformations
7.3.1. Coverdale: Continental influences
7.3.2. Sternhold: Psalms at Court
7.3.3. “The Lord’s Songs in a foreign land”
7.3.4. Elizabethan Psalmody: the “Sternhold and Hopkins”
7.3.5. Singing the Scottish Reformation
7.3.6. Psalms, poetry and polyphony
7.3.7. Psalms, piety and politics
7.5.1. Educating in music
7.6. Between Court and parish church
7.6.1. Shaping an “Anglican” style
7.6.2. Setting the Service
7.6.3. Byrd: A Catholic at Court
Chapter 8 – Music and the Council of Trent
8.2.1. Theological themes
8.2.2. Self- or Counter-Reformation?
8.2.3. Drafts, Debates, Decrees
8.2.5. Fighting “lasciviousness”
8.2.6. Singing for the Pope
8.3.1. Ercole Gonzaga: President and patron
8.3.2. Giovanni Morone: Monody first
8.3.3. Otto Truchsess: Talents and treasures
8.3.4. Gabriele Paleotti: Respect and rigour
8.3.5. Carlo Borromeo: Influential and idiosyncratic
8.3.6. Kerle’s Preces: The Council’s soundtrack
8.4. The Council on music
8.4.2. Enumerating errors
8.4.3. A“house of prayer”
8.4.4. Rescuing polyphony?
8.4.5. Music in the convents
8.4.6. Concluding the Council
8.5. What did not happen at the Council
8.5.1. Palestrina: polyphony’s saviour?
8.5.2. Prescriptions or proscriptions?
Chapter 9 – Music after Trent
9.2.1. Hardly a revolution
9.2.3. Anew clerical class
9.2.4. From global to local
9.3. Music and liturgy after Trent
9.3.1. Reaffirming rituality
9.3.4. Freeing plainchant from “ineptitude” and “malice”
9.3.5. Polyphony after Trent
9.3.5.1. Exploring post-Tridentine aesthetics
9.3.5.2. Polychorality: a new option
9.3.6. The Cardinals’ Commission
9.3.6.1. Observing (and by-passing) the “Council’s requirements”
9.3.7. Celebrating with instruments
9.4. Religious music in post-Tridentine Catholicism
9.4.4. Devotional music outside Italy
9.4.5. Processions and pilgrimages
9.4.6. In the sphere of spirituality
9.5. Reforming Catholicism
9.5.1. The theological framework
9.5.2. The Jesuits and music: forbidden, admitted, promoted
9.5.2.1. The first Jesuits and the unsung Office
9.5.2.2. Asensible preaching
9.5.2.3. College education
9.5.2.4. Performing holiness
9.5.2.5. The mission of music
9.5.3. Filippo Neri: Laity and Laude
9.5.3.1. From Florence to Rome
9.5.4. Brethren in Christ: The Confraternities
9.6. Catholic music locally
9.6.1. Chapels and patrons
9.6.2. Milan: Reforming from the roots
9.6.3. Rome: Splendour and spirituality
9.6.4. Venice: Enjoying magnificence
9.6.5. Mantua: a workshop of the Catholic Reformation
9.6.6. Spain: Penitence and pomp
9.6.7. Bavaria: the outpost of Catholicism
Chapter 10 – Music and confessionalisation
10.2. Building confessional boundaries
10.3. The confessionalisation of music
10.3.2. Preaching in music
10.3.3. “As long as I live”: music and martyrdom
10.3.3.1. “The Story of Brother Henry”: sung epics of martyrdom
10.3.3.2. “We have become a spectacle”: Byrd and the English martyrs
10.3.4. “Let God rise up”: battle hymns
10.3.5. Pamphlets, broadsheets and polemics
10.3.7. Conquering space through sound
10.3.7.1. Walking singers
10.3.7.2. Seizing the Service
10.3.7.4. Paraphrase and parody
10.3.7.5. The time of the Antichrist
10.3.7.6. Changes in music are changes in doctrine
10.5. Confessional Contrafacture
10.6. The contexts of confessionalisation
10.6.1. “Oh Benno, you holy man…”
10.6.2. Countering the Interim
10.6.3. Contesting the calendar
10.6.4. Courtly intrigues
10.7. “Save me, o God”: echoes of persecution
10.7.2. Martyred musicians
10.7.3. Concealing and revealing
Chapter 11 – Music beyond confessionalisation
11.2.1. Tuning the differences
11.2.2. Flutes, lutes and Luther
11.2.3. Creating communion through prayer
11.2.4. Joining theology with praise
11.3.1. Consonant doctrines
11.3.2. Crossing the confines
11.3.3. Sung pleas for unity
11.3.4. Bridging social layers
11.4. Like prayer, like song
11.4.1. The thread of psalmody
11.4.2. The thread of piety
11.4.3. The thread of mysticism
11.4.3.1. Defeating the devil
11.4.3.2. Consoling and comforting
11.4.4. The thread of education
11.4.4.1. “The brim around the cup”: singing the Catechism
11.4.4.2. “By way of pleasant song”: enjoying Sunday school
11.4.4.3. “Sing like the angels in heaven”: publishing Catechism songs
11.4.4.4. “Night and day”: the forms of sung doctrine
11.4.5. The thread of musicianship
11.4.6. The thread of solicitude
11.4.7. Inspiring hymnbooks
11.4.7.1. Vehe: A Catholic pioneer
11.4.7.2. Leisentrit: An example of Counter-Reformation
11.4.7.4 Responses to Calvinist psalmody
11.5. Music across boundaries
11.5.1. Adopting and adapting
11.5.2. The challenge of beauty
11.5.3 Asserting the sacredness of creation
11.5.4. Holy and spiritual songs
11.6. Musicians beyond boundaries
11.6.1. Ecumenism in music
11.6.2. Finding the language of musical dialogue
Chapter 12 – Music and women
12.2. Truths, myths and stereotypes
12.2.1. Frau Musika or women’s music?
12.2.2. Mary Magdalene as a musician
12.2.5. Patronesses and prioresses
12.2.6. The impact of the Reformations
12.3. Voices of Evangelical women
12.3.1. In the Lutheran Church
12.3.1.1. The “virtuous matrons” and their daughters
12.3.1.2. Girls “prophesy”: announcing the Kingdom’s advent
12.3.1.3. Cruciger: from the very beginning
12.3.1.4. Schütz-Zell: a resourceful Reformer
12.3.2. In the Calvinist Church
12.3.3. Living (and loving) psalmody
12.3.3.1. Creative resonances
12.3.4. Among Anabaptists
12.4. Voices of Catholic women
12.4.1. Voices from the Convents
12.4.1.1. Voicing resistance
12.4.1.2. Convents as cultural centres
12.4.1.3. “Only voice and no sight”
12.4.1.4. Music for hearers?
12.4.1.5. Teaching music to the nuns
12.4.1.6. A rich repertoire
12.4.1.7. Music for money
12.4.1.8. Songs for sanctity
12.4.2. (Un)veiled voices
12.4.2.1. Aleotti: how many of them?
12.4.2.2. Community concerts
12.4.2.3. Sessa: better than Monteverdi?
12.4.2.4. Bovia, Strozzi, Baptista and their sisters
12.4.2.5. The convent scribes: transmitting tastes
12.4.3. Reforms, rules and religious women
12.4.3.1. Paleotti: muting music
12.4.3.2. The Borromeos: between rigour and reform
12.4.4. Voices from the laity
12.4.4.1. Composing spiritual madrigals
12.4.4.2. Voices from Northern Europe
12.5. Voices from a Christian polyphony
Reforming Music
：Music and the Religious Reformations of the Sixteenth Century
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