Relevant bibliographies by topics / Church music – Lutheran Church – 16th century

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  2. Dissertations / Theses
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Academic literature on the topic 'Church music – Lutheran Church – 16th century'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Church music – Lutheran Church – 16th century"

1

Boren, Braxton B. "Acoustic simulation of J.S. Bach’s Thomaskirche in 1723 and 1539." Acta Acustica 5 (2021): 14. http://dx.doi.org/10.1051/aacus/2021006.

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This paper investigates an early acoustical theory of Hope Bagenal about the Leipzig Thomaskirche, where J.S. Bach composed and conducted from 1723 to 1750. Bagenal predicted that the church had a shorter reverberation time than previously in Bach’s time as a result of the Lutheran alterations to the space in the 16th century. This study uses on-site measurements to calibrate a geometric acoustical model of the current church. The calibrated model is then altered to account for the state of the church in 1723 and 1539. Simulations predict that the empty church in 1723 had a T30 value nearly on
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Pilch, Marek. "Geistliches Gesangbüchlein by Johann Walter (1524) – the beginnings of polyphonic Lutheran music." Notes Muzyczny 2, no. 20 (2023): 9–38. http://dx.doi.org/10.5604/01.3001.0053.9946.

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The article presents the profile and creative output of Johann Walter (1496-1570), who worked closely together with Martin Luther and Philip Melanchton, and who was called the first evangelical cantor and is in modern times regarded as the creator of institutional, aesthetic and theoretical bases of reformation music. Walter’s work entitled Geistliches Gesangbüchlein, first published in Wittenberg in 1524 and including a preface by Martin Luther, was the first ever collection of polyphonic chorale arrangements for Lutheran church using polyphonic patterns of Franco-Flemish school and German te
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Pidhorbunskyi, Mykola. "The Spread of Lutherance in the Grand Duchy of Lithuania and Its Influence on the Education Development and Music Culture." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (2021): 248–61. http://dx.doi.org/10.31866/2616-7581.4.2.2021.245808.

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The purpose of the article is to determine the influence of Lutheranism on education and musical culture in the Grand Duchy of Lithuania. The research methodology includes cultural and historical analysis, which made it possible to analyze and investigate the influence of Lutheranism on musical culture in the Grand Duchy of Lithuania. Source studies and music-theoretical methods were used during the search and analysis of church-singing collections. The biographical method of research was used to systematize information about the life and work of theologians, composers and theorists. The scien
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Pidhorbunskyi, Mykola. "The Spread of Lutherance in the Grand Duchy of Lithuania and Its Influence on the Education Development and Music Culture." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (2021): 248–61. https://doi.org/10.31866/2616-7581.4.2.2021.245808.

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The purpose of the article is to determine the influence of Lutheranism on education and musical culture in the Grand Duchy of Lithuania. The research methodology includes cultural and historical analysis, which made it possible to analyze and investigate the influence of Lutheranism on musical culture in the Grand Duchy of Lithuania. Source studies and music-theoretical methods were used during the search and analysis of church-singing collections. The biographical method of research was used to systematize information about the life and work of theologians, composers and theor
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Markkola, Pirjo. "The Long History of Lutheranism in Scandinavia. From State Religion to the People’s Church." Perichoresis 13, no. 2 (2015): 3–15. http://dx.doi.org/10.1515/perc-2015-0007.

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Abstract As the main religion of Finland, but also of entire Scandinavia, Lutheranism has a centuries-long history. Until 1809 Finland formed the eastern part of the Swedish Kingdom, from 1809 to 1917 it was a Grand Duchy within the Russian Empire, and in 1917 Finland gained independence. In the 1520s the Lutheran Reformation reached the Swedish realm and gradually Lutheranism was made the state religion in Sweden. In the 19th century the Emperor in Russia recognized the official Lutheran confession and the status of the Lutheran Church as a state church in Finland. In the 20th century Luthera
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Hage, Jan, and Marcel Barnard. "Muziek als missie: Over Willem Mudde en zijn betekenis voor de kerkmuziek." NTT Journal for Theology and the Study of Religion 66, no. 4 (2012): 283–98. http://dx.doi.org/10.5117/ntt2012.66.283.hage.

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Under the influence of Calvinism, the musical situation in the Protestant churches in the Netherlands was for a long time marked by sobriety, with attention focused on congregational singing. In the 20th century, church music gained importance through a dominant flow of Lutheran influence. Generally, the liturgical movement highlighted the role of music in worship. The Lutheran church musician Willem Mudde successfully called attention to the German church music reform movement. Inspired by the writings of the German theologian Oskar Söhngen, he strived to apply the ideals and practices of thi
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Dreyer, Rasmus H. C. "Konkordiebog og Kirkeordinans." Dansk Teologisk Tidsskrift 86, no. 2 (2023): 158–86. http://dx.doi.org/10.7146/dtt.v86i2.140683.

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The Book of Concord (1580) is the normative collection of confessions in the worldwide Lutheran Church. The present Danish Lutheran Church is an exception due to Danish King Frederik II’s rejection of the Book of Concord in 1580. This article reviews the historical background for the Book of Concord and especially the history and theology of the Formula Concord. It pays special attention to the use of Luther and Confessio Augustana (Invariata) as theological authorities in Formula Concord. In Denmark, Philippist theology was the predominant way of thinking theology in the late 16th century, ye
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Lück, Heiner. "Pluralismus der Rechtsordnungen als Folge der lutherischen Reformation?" PRÁVNĚHISTORICKÉ STUDIE 52, no. 1 (2022): 29–52. http://dx.doi.org/10.14712/2464689x.2022.3.

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This article addresses the question of whether and how the Lutheran Reformation led to a (further) pluralisation of legal systems. Since the beginning of the early modern period, primarily in the course of the 16th century, a wave of legal records and legal codifications can be observed throughout Europe. The connection with the reception of Roman and Canon law is obvious. On a completely different level, an epochal church schism took place from the early 16th century onwards, triggered by Martin Luther’s (1483–1546) fundamental criticism of the Roman Church. The term “pluralism of legal syste
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Plajer, Dietmar. "Mission and Limitations. Back to the Origins of Lutheran-Orthodox Contacts in the 16th Century." Review of Ecumenical Studies Sibiu 10, no. 1 (2018): 90–103. http://dx.doi.org/10.2478/ress-2018-0006.

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Abstract The Reformation in Transylvania, Lutheran in structure, has been from its very beginning in direct contact with representatives of the Orthodox Church. An Orthodox clergyman, Philippus Pictor (Filip Moldoveanul), had worked for decades in Hermannstadt in the service of the magistrate, with tasks – among other responsibilities – in the printing house; it was probably during his activity in office that the (now lost) Romanian catechism of 1544, the church-slavonic and the bilingual (Slavonic-Romanian) gospels were printed. There are good reasons to assume that these prints were made dir
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Garratt, James. "Prophets Looking Backwards: German Romantic Historicism and the Representation of Renaissance Music." Journal of the Royal Musical Association 125, no. 2 (2000): 164–204. http://dx.doi.org/10.1093/jrma/125.2.164.

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AbstractCrucial to understanding the reception of Renaissance music in nineteenth-century Germany is an appreciation of the contradictory components of Romantic historicism. The tension between subjective and objective historicism is fundamental to the historiographical reception of Renaissance music, epitomizing the interdependency of historical representation and modern reform. Protestant authors seeking to reform church music elevated two distinct repertories — Renaissance Italian music and Lutheran compositions from the Reformation era — as ideal archetypes: these competing paradigms refle
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Dissertations / Theses on the topic "Church music – Lutheran Church – 16th century"

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Zander, Christine. "Lutheran-Orthodox dialog in the 16th century." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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Gilday, Patrick E. "Musical thought and the early German Reformation." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:0ac3d705-c00e-4fc9-b90c-4902f9b54f8f.

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German musicology has customarily situated a paradigm shift in musical aesthetics some time during the first half of the sixteenth century. This dissertation examines the suggestion that German Reformation theology inspired a modern musical aesthetic. In Part One, the existing narrative of relationship between theological and musical thought is tested and rejected. Chapter 1 analyses twentieth-century music historians' positive expectation of commensurability between Luther's theological ideas and the sixteenth-century concepts of the musical work and musical rhetoric, concluding that their po
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Weedon, William Chancellor. "The liturgical confession of the Lord's Supper in five representative orders of 16th century Lutheranism." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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Trocmé, Latter Daniel. "The singing of the Strasbourg Protestants, 1523-1541." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610281.

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Kirk, Douglas Karl. "Churching the shawms in Renaissance Spain : Lerma, archivo de San Pedro ms. mus. 1." Diss., McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=77431.

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Numerous studies have shown that in the sixteenth and seventeenth centuries Spanish churches (both metropolitan and monastic) employed bands of wind instrumentalists to play frequently in liturgies and processions throughout the church year. Exactly what this music was, though, beyond colla parte participation in masses and motets has remained conjectural because not a note of it has been found. This dissertation is a study and edition of a major, newly-discovered manuscript which contained part of the repertory of the minstrels who served the Duke of Lerma, c. 1607, in the collegial church of
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Marsh, Dana Trombley. "Music, church, and Henry VIII's Reformation." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670102.

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O'Regan, Thomas Noel. "Sacred polychoral music in Rome, 1575-1621." Thesis, University of Oxford, 1988. http://ora.ox.ac.uk/objects/uuid:daa9a67e-cf31-4a1b-8d74-4b814acb6957.

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The object of this thesis is to lay open a repertory of music which has long been ignored, the music for two and more choirs composed by Roman composers of the generation of Palestrina and his immediate successors. Polychoral music is taken to mean music in which two or more independent and consistent groups of voices take part, singing separately and together; the parts should remain independent in tuttl sections, with the possible exception of the bass parts. By this definition, the first real polychoral music to be published in Rome was that by Giovanni P. da Palestrina in his Motettorum li
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Giselbrecht, Elisabeth Anna. "Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620)." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.

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Raynes, Christopher David Harlow. "Robert White's "Lamentations of Jeremiah": A history of polyphonic settings of the Lamentations in sixteenth century England." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185400.

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The Lamentations of Jeremiah inspired the development of a formal musical structure that is unique in music. Based on texts and forms used in the Roman Catholic Tenebrae service, settings of the Lamentations developed in continental Europe into a distinct form by the late fifteenth century. Early polyphonic composers of the Lamentations began the tradition of setting the opening Hebrew letters in a florid style, while maintaining a more restrained style for the verses of the text. In England, however, little apparent use was made of the Lamentations forms and texts until the middle of the sixt
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Kim, Hae-Jeong. "Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278255/.

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This dissertation describes the musical and religious support of the Medici family to the Medici Chapel in Florence and the historical role of the church of San Lorenzo in the liturgical development of the period. During the later Middle Ages polyphony was allowed in the Office services only at Matins and Lauds during the Tenebrae service, the last three days of Holy Week, and at Vespers anytime. This practice continued until the end of the sixteenth century when more polyphonic motets based on the Antiphon and Responsory began to be included in the various Office hours during feast days. This
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Books on the topic "Church music – Lutheran Church – 16th century"

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Pennington, Anne Elizabeth. Music in medieval Moldavia, 16th century. Musical Pub. House, 1985.

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1913-2003, Fischer Kurt von, and Fischer Kurt von 1913-2003, eds. The Passion from its beginnings until the 16th century. [Graduate School and University Center, CUNY], 1989.

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Craig (Craig A.) Monson. Disembodied voices: Music and culture in an early modern Italian convent. University of California Press, 1995.

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Irwin, Joyce L. Neither voice nor heart alone: German Lutheran theology of music in the age of the Baroque. P. Lang, 1993.

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1516-1590, Habermann Johann, ed. Johann Habermanns "Betbüchlein" im Zusammenhang seiner Theologie: Eine Studie zur Gebetsliteratur und zur Theologie des Luthertums im 16. Jahrhundert. Mohr Siebeck, 2001.

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Noone, Michael J. Music and musicians in the Escorial liturgy under the Habsburgs, 1563-1700. University of Rochester Press, 1998.

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Leonard, Charlotte Anne. The role of the trombone and its 'Affekt' in the Lutheran church music of seventeenth-century Saxony and Thuringia. Department of Music, Duke University, 1997.

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Luther, Martin. Martin Luther: The best from all his works. T. Nelson, 1989.

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Luther, Martin. Martin Luther: Ein Hausbuch. Verlag der Lutherischen Buchhandlung H. Harms, 1993.

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Anselm, Steiger Johann, and Grossmann Burckhard 1575-1637, eds. Ein und fünfftzig [sic] gottselige christliche evangelische Andachten oder geistreiche Betrachtungen. Frommann-Holzboog, 2001.

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Book chapters on the topic "Church music – Lutheran Church – 16th century"

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Küster, Konrad. "The Impact of Liturgy on Church Music. Observations in the ‘Long’ 16th Century." In ‘Church’ at the Time of the Reformation. Vandenhoeck & Ruprecht, 2021. http://dx.doi.org/10.13109/9783666570995.189.

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Rose, Stephen. "Lutheran church music." In The Cambridge History of Eighteenth-Century Music. Cambridge University Press, 2009. http://dx.doi.org/10.1017/chol9780521663199.006.

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"Seventeenth-Century Lutheran Church Music with Trombones." In Recent Researches in the Music of the Baroque Era, 131. A-R Editions, 2003. http://dx.doi.org/10.31022/b131.

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Webber, Geoffrey. "Music in Religious Thought and Education." In North German Church Music in the Age of Buxtehude. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198162124.003.0002.

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Abstract Throughout the history of Lutheranism the writings of Martin Luther himself have provided powerful ammunition for pastors and others seeking to defend the work of church musicians. Luther declared that the study of music was second only in importance to the study of theology, and he underlined the value of music both as a fitting way of rendering praise to God and as a vehicle to convey the word of God to the listener. But despite Luther’s sanction, the role of music in Lutheran worship developed during the seventeenth century into a source of considerable argument between conservativ
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Chafe, Eric. "The Lutheran “Metaphysical” Tradition in Music and Music Theory." In Analyzing Bach Cantatas. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195120998.003.0002.

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Abstract NOT ONLY DO WE ENCOUNTER THE principles described in the preceding chapter in seventeenth- and eighteenth-century Lutheran theological writings, such as the aforementioned Neumeister treatise, but they also figure prominently in the writings of certain Lutheran music theorists. In fact, many such writers articulated a vision of the meaning of music that might reasonably be called the Lutheran “metaphysical” tradition in music theory, in that they perceived an alliance between music and theology that was rooted in Luther’s own views on music, especially his placing music “next to theol
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Varwig, Bettina. "Music in the Margin of Indifference." In Theology, Music, and Modernity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0007.

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This chapter considers the role of a specific Lutheran idea of freedom in the emancipation of sacred music from liturgy during the early modern period. It proposes that the Lutheran appropriation of the classical notion of ‘adiaphora’, as a stance of indifference towards practices and objects not essential for salvation, opened up a quasi-autonomous space for musical elaboration, within which music could gradually acquire its modern status as a self-sufficient artistic practice. The eighteenth-century tradition of Passion performances in Protestant Germany offers a rich test case for this proc
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Stauff, Derek L. "Hearing the Thirty Years War through the Psalms." In Lutheran Music and the Thirty Years War. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197749456.003.0004.

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Abstract One of the best examples of a biblical text that became political during the Thirty Years War is Psalm 83, “Gott schweige doch nicht also” (“God, keep not silent”). Lutherans consistently interpreted it as ecclesial, seeing it as a prayer voiced by the persecuted church. Its contemporary significance can be illustrated by a famous sermon on the psalm by the Saxon Senior Court Preacher, Matthias Hoë von Hoënegg, delivered at the Leipzig Convention in 1631 during the high-water mark of confessional conflict. Hoë brought an otherwise obscure psalm to the forefront of Protestant debates a
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Feldman, Walter. "The Position of Music Within the Mevleviye." In From Rumi to the Whirling Dervishes. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474491853.003.0007.

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The Mevlevi musicians had been among the principal pracitioners and theorists of music within Anatolia during the 15th century. They continued these skills in Ottoman Istanbul from the early 17th to the 20th centuries. Mevlevis wrote books of musical theory dealing with what they termed ‘the science of music,’ roughly equivalent to the Western term ‘ars musicae’ or ‘art of music.’ In the pre-Ottoman period they had practiced a musical art linked to Greater Iran. As court patronage for art music declined by the later 16th century in both Iran and Turkey, Mevlevis played a leading role in Istanb
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Pozhidaeva, Galina A. "Significance of the Russian Medieval Sacred Music for the Russian Musical Classics." In Hermeneutics of Old Russian Literature: Issue 20. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/horl.1607-6192-2021-20-579-591.

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The article reveals the interdependence of the most important typological qualities of the Russian professional school — the epic beginning and broad melody and chant — with the development of sacred music of the Middle Ages and folklore. The epic style of the znamenny chant that prevailed in the early period (11th–14th centuries) in many aspects coincides with the bylin epic. At a later period of Muscovite Russia (15th–17th centuries) the melody of Junior edition of the znamenny chant and the development of new lengthy chants — putevoj, demestvennyj and bolshoj — led to recognition of the lea
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Conference papers on the topic "Church music – Lutheran Church – 16th century"

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Cannizzaro, Diego. "Sicily, a crossroads between East and West." In ALTITUDO MUNDI SPIRITUALIS. Духовність у сучасному світі: просвітницько-культурогічний підхід. Publishing House "Krok", 2024. http://dx.doi.org/10.37835/ams-2024-17-18-04-1.02.

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It is noted that sacred music in Sicily (extreme south of Europe) is a fascinating interweaving of Eastern and Western traditions. It is noted that the traditions of the Western Latin Church include - Cantillation: a form of word intensification used to recite prose passages Scripture. - Psalmody and Responsoria: the reading of the Word with musical accompaniment. The Sicilian musical tradition is of Hellenic origin. This is evidenced by the fact that the population of the town of Piana degli Albanesi Piana degli Albanesi (also known as Piana dei Grechi) in Arberesche, Palermo province, Sicily
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