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Musica Christi. A Lutheran Aesthetic

Musica Christi. A Lutheran Aesthetic Book Reviews / Church History and Religious Culture 87 (2007) 365-447 423 Marion Lars Hendrickson, Musica Christi. A Lutheran Aesthetic [American Univer- sity Studies, Series VII: Th eology and Religion 244]. Peter Lang, New York 2005, 313 pp. ISBN 0820463469. $ 59.16. Th is book is a history of musical practice in the Lutheran Church from the sixteenth century onwards. It tells us of a first musical heritage coming out of the late fifteenth century, in which the cantus firmus technique was borrowed by musicians at the begin- ning of the Reformation. Th is practice, in connection with the main ideas of Martin Luther and his contemporaries, consisted first of all of ‘Singing and Saying’ ( Singen und Sagen ), then of proclaiming the Gospel, as in the case, for example of Johann Walter (1496-1570) and Georg Rhau (1488-1548). Th ese experienced church musi- cians were keenly aware of the power of the association of musical ideas, and, thanks to the melody being placed first in the tenor, then in the upper voices, they knew it could be better heard and better understood by everyone. Th e second musical heritage was that of the polyphonic style, which was http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Church History and Religious Culture (formerly Nederlands Archief voor Kerkgeschiedenis) Brill

Musica Christi. A Lutheran Aesthetic

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Publisher
Brill
Copyright
© 2007 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1871-241X
eISSN
1871-2428
DOI
10.1163/187124107X232705
Publisher site
See Article on Publisher Site

Abstract

Book Reviews / Church History and Religious Culture 87 (2007) 365-447 423 Marion Lars Hendrickson, Musica Christi. A Lutheran Aesthetic [American Univer- sity Studies, Series VII: Th eology and Religion 244]. Peter Lang, New York 2005, 313 pp. ISBN 0820463469. $ 59.16. Th is book is a history of musical practice in the Lutheran Church from the sixteenth century onwards. It tells us of a first musical heritage coming out of the late fifteenth century, in which the cantus firmus technique was borrowed by musicians at the begin- ning of the Reformation. Th is practice, in connection with the main ideas of Martin Luther and his contemporaries, consisted first of all of ‘Singing and Saying’ ( Singen und Sagen ), then of proclaiming the Gospel, as in the case, for example of Johann Walter (1496-1570) and Georg Rhau (1488-1548). Th ese experienced church musi- cians were keenly aware of the power of the association of musical ideas, and, thanks to the melody being placed first in the tenor, then in the upper voices, they knew it could be better heard and better understood by everyone. Th e second musical heritage was that of the polyphonic style, which was

Journal

Church History and Religious Culture (formerly Nederlands Archief voor Kerkgeschiedenis) – Brill

Published: Jan 1, 2007

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