Martin Luther regarded music as a crucial instrument to communicate the Gospel and the Reformation message. From the outset of his Reformation, a distinctive Lutheran musical tradition was fostered in electoral Saxony, its dependent territories and neighboring principalities. A review of contemporary records from the second decade of the sixteenth century to the turn of the seventeenth century enables the assessment of the role music played as an educational and theological tool in the life of Lutheran communities: the School Ordinances of electoral Saxony and neighboring principalities show the incorporation of music as a key curricular requirement in Lutheran education, while the Statutes of Lutheran choirs [Kantoreien] illustrate how theologians, educators and musicians closely worked together to shape Lutheran communities centred on music-making, in order to reform worship, further the Reformation message and to create community cohesion.T HE establishment of an enduring choral tradition is one of the hallmarks of the Lutheran Reformation. One of the key motivators for the development of such a distinctive devotional tradition that placed music and singing at the center of its worship and teaching was undoubtedly the personal affinity Martin Luther had for music. 1 He not only was a competent singer, hymn writer, and composer, but also strongly believed that music was an ideal means to come to know and proclaim the mystery of
In his musical retelling of Scripture, Johann Sebastian Bach-was motivated by Martin Luther's insight that the combination of music and message, sermo et vox, was an instrument that could effect profound change of hearts and minds [WA 50: 372, 1]. This article assesses the way in which Bach understood his own calling as one of “God's Capellmeister” in presenting and proclaiming the word of God through music.
This article examines Martin Luther's opinions on popular drama, in particular his views on Carnival plays. Corpus Christi plays, and Passiontide performances. A consideration of key works by the Lutheran playwright, Joachim Greff (1510-1552), provides an insight into the development of Lutheran biblical drama ftom its beginnings. It accordingly challenges the consensus that Luther objected to, and actively prevented, the performances of Protestant dramatizations in Reformation Germany of Chtist's Passion and the Resurrection.
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