By Hyun-Ah Kim
John Merbecke (c. 1505 - c. 1585) is most famed because the composer of the 1st musical environment of the English liturgy, "The booke of universal Praier famous" ("BCPN"), released in 1550. not just used to be Merbecke a pioneer in surroundings English prose to song but additionally the compiler of the 1st "Concordance of the entire English Bible" (1550) and of the 1st English encyclopaedia of biblical and theological reports, "A Booke of Notes and customary locations" (1581). via situating Merbecke and his paintings inside of a broader highbrow and religio-cultural context of Tudor England, this e-book demanding situations the prevailing reports of Merbecke in accordance with the slim theological method of the Reformation. in addition, it indicates a re-thinking of the present interpretative framework of Reformation musical history.On the foundation of the recent contextual learn of Merbecke, this ebook seeks to re-interpret his paintings, relatively "BCPN", within the mild of humanist rhetoric. It sees Merbecke as embodying the correct of the 'Christian-musical orator', demonstrating that "BCPN" is an Anglican epitome of the Erasmian synthesis of eloquence, theology and tune. The ebook therefore depicts Merbecke as a humanist reformer, via re-assessment of his contributions to the advancements of vernacular track and literature in early glossy England. As such it will likely be of curiosity, not just to church musicians, but additionally to historians of the Reformation and scholars of wider Tudor tradition.
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Additional resources for Humanism and the Reform of Sacred Music in Early Modern England (St Andrews Studies in Reformation History)
LeCoat, The Rhetoric of The Arts, 1550–1650 (Frankfurt: P. Lang, 1975); W. Kirkendale, ‘Ciceronians versus Aristotelians on the Ricercar as Exordium, from Bembo to Bach’, JAMS, 32 (1979): 1–44; U. Kirkendale, ‘The Source for Bach’s Musical Offering: The Institutio oratoria of Quintilian’, JAMS, 33 (1980): 88–141; J. Derkson, ‘De imitatione: The Function of Rhetoric in German Musical Theory and Practice (1560–1610)’. D. diss. (University of Toronto, 1982); B. ’, Rhetorica, 2 (1984): 1–44; W. Kirkendale, ‘Circulatio-Tradition, Maria Lactans, and Josquin as Musical Orator’, Acta Musicologica, 56 (1984): 69–92; D.
Sadie. 20 vols. (London: Macmillan, 1980), vol. 12, pp. 168–70. 46 For the impact of Protestantism on Elizabethan England, see P. Collinson, ‘The Elizabethan Church and the New Religion’, in The Reign of Elizabeth I, ed. C. Haigh (London: Macmillan, 1984), esp. pp. 176–94. 30 HUMANISM AND THE REFORM OF SACRED MUSIC IN ENGLAND main ‘theological’ trend of Oxford and Cambridge during the Elizabethan period; yet the general ‘liturgical’ and ‘musical’ feature of the cathedral and collegiate churches was still ‘popish’.
V. Rivera (New Haven: Yale University Press, 1993). P. O. Kristeller, ‘Music and Learning in the Early Italian Renaissance’, Journal of Renaissance and Baroque Music, 1 (1947): 255–74; H. Albrecht, ‘Humanismus und Musik’, in Die Musik in Geschichte und Gegenwart. ed. F. Blume. 14 vols. & 2 supplements (Kassel: Bärenreiter, 1957), vol. 6, pp. E. Lowinsky, ‘Humanism in the Music of the Renaissance’; N. Pirrotta, ‘Music and Cultural Tendencies in 15th-Century Italy’, JAMS, 19 (1966): 127–61; W. Elders, ‘Humanism and Early Renaissance 18 HUMANISM AND THE REFORM OF SACRED MUSIC IN ENGLAND association in Renaissance liturgical music tradition is mainly concerned with polyphony; but there are aspects of contemporary chant which have not been detected as directly or indirectly related to rhetoric and oratory.