Church Music and Protestantism in Post-Reformation England: Discourses, Sites and Identities, by Jonathan Willis

Williamson, Magnus

doi:10.1093/ehr/ceu105

Cited by 4 publications

(4 citation statements)

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“…Thomas Tallis remained Catholic but composed in tune with the religious proclivities of the four monarchs for whom he wrote: complex polyphony under Henry VIII and later Mary I, anthems with simpler tunes and straightforward comprehensible biblical texts and melodies under Edward VI, and a skillful merging of polyphonic art and Book of Common Prayer teaching under Elizabeth I. For many churchgoers regardless of confession, music was a more immediate and compelling expression of faith than sermons, images, or tracts (Bertoglio 2017;Willis 2018).…”

Section: Sounds Of Faithmentioning

confidence: 99%

Senses of Space in the Early Modern World

Terpstra

2024

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How did early moderns experience sense and space? How did the expanding cultural, political, and social horizons of the period emerge out of those experiences and further shape them This Element takes an approach that is both global expansive and locally rooted by focusing on four cities as key examples: Florence, Amsterdam, Boston, and Manila. They relate to distinct parts of European cultural and colonialist experience from north to south, republican to monarchical, Catholic to Protestant. Without attempting a comprehensive treatment, the Element aims to convey the range of distinct experiences of space and sense as these varied by age, gender, race, and class. Readers see how sensory and spatial experiences emerged through religious cultures which were themselves shaped by temporal rhythms, and how sound and movement expressed gathering economic and political forces in an emerging global order. This title is also available as Open Access on Cambridge Core.

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Section: Sounds Of Faithmentioning

confidence: 99%

Senses of Space in the Early Modern World

Terpstra

2024

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“…Metrical compositions for Reformed Psalm collections or simple chorals in German had to fulfil a similar demand: that a congregation must be able to follow the service and understand religious instruction. For English music history, the multiple changes of confession constituted a special challenge for historiography; outstanding figures with an 'ambiguous' profile like William Byrd (Rupp 2007, McCarthy 2007 have attracted the attention of scholars, as has the relationship between musical practice and the formation of a Protestant identity, from a more sociological point of view (Willis 2010).…”

Section: 'Forgetting Faith' From the Perspective Of Historical Studiesmentioning

confidence: 99%

Introduction

Karremann¹,

Zwierlein²,

Groote³

2012

Forgetting Faith?

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perhaps feel closer to the age of religious wars and conflicts than to the ideal type of Voltairean enlightenment?Since the 1990s, early modern historiography has reacted to this shift of themes and the perception of time horizons. For example, from the 1960s on, historians discussed the wars in late sixteenth-century France in terms of 'Civil Wars' about social conflicts between some proto-bourgeois actors and feudal lords, or at least as wars caused only by conflicts between different noble factions. It was only with the monumental study by Denis Crouzet, bearing the telling title Holy Warriors (1991), that religion was reintroduced into the discussion, as Mack P. Holt 1993 has rightly remarked. Some historians even took up the nineteenth-century notion of 'fundamentalism' to project it back onto the confessional antagonisms of the sixteenth and seventeenth centuries (Schilling 2007).At the same time that the 'religious turn' in historiography, political and cultural studies generated new discussion of the social processes at work in early modern Europe and of their cultural effects -from the struggle over religious rites and doctrines to the persecution of secret adherents to forbidden practices -the question of how people could dissemble their faith and avoid religious conflict began attracting new interest. Often, the issue of religious pluralisation and the divisions between Catholic and Protestant positions, among sectarian movements, between the church and the state or between Christianity and Islam, have been mostly debated in terms of dissent and escalation: the religious turn entered the scene with themes like 'holy warriors' and 'religious fundamentalism'. This may have been due to the fact that religious plurality becomes most evident in polemic representations such as pamphlets, treason statutes, religious tracts or ecclesiastical historiography, each claiming authority for their particular perspective. While such representations clearly reflected and actively shaped early modern culture, they did not comprise this culture in its entirety. As scholars like Carlo Ginzburg or Peter Zagorin already pointed out many years ago, 3 early modern confessional controversy did not always erupt into hostilities over how to symbolize and perform the sacred, nor did it lead to a paralysis of social agency. Rather, everyday life had to go on, people had to adjust somehow to divided loyalties -between the old faith and the new, between religious and secular interests or between officially sanctioned and privately held kler 2002kler , Singer 2003. For a discussion of this issue in relationship to the concerns explored in our volume, see the afterword by Jane Newman. 3 For a detailed overview of this scholarship, see part 3 of this introduction.

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“…Often, these short works can be, at least in part, reactions to earlier, larger objects. William Carlos Williams's very short poems (such as "The Red Wheelbarrow" [7] or "This is Just To Say" [8]), and other poems by early 20th century Imagists, were in part a response to and rejection of the more florid style of Romantic authors [9]; even the Renaissance era motets of Thomas Tallis (such as "If ye love me" [10]) were set with one note per syllable as a way of simplifying away from the more complex settings of Latin texts by their contemporaries or slightly older composers [11]. Similarly, the minimalist composers Terry Riley and Arvo Pärt created musical works of lasting influence, such as Riley's "In C" [12], and Pärt's "Für Alina" [13] whose entire scores can be placed on a single printed page; in practice, these composers are among the most popular contemporary composers.…”

Section: Introduction 1small Objects Mattermentioning

confidence: 99%

On the Problem of Small Objects

Brown

Mondol²

2021

Entropy

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We discuss how to assess computationally the aesthetic value of “small” objects, namely those that have short digital descriptions. Such small objects still matter: they include headlines, poems, song lyrics, short musical scripts and other culturally crucial items. Yet, small objects are a confounding case for our recent work adapting ideas from algorithmic information theory (AIT) to the domain of computational creativity, as they cannot be either logically deep or sophisticated following the traditional definitions of AIT. We show how restricting the class of models under analysis can make it the case that we can still separate high-quality small objects from ordinary ones, and discuss the strengths and limitations of our adaptation.

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Church Music and Protestantism in Post-Reformation England: Discourses, Sites and Identities, by Jonathan Willis

Cited by 4 publications

References 0 publications

Senses of Space in the Early Modern World

Senses of Space in the Early Modern World

Introduction

On the Problem of Small Objects

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