Beyond “Church-dividing” Differences: Music and New Ecumenical Perspectives on Justification

Kapitel in diesem Buch

1. Frontmatter I
2. Table of Contents V
3. List of Figures VII
4. Framing Lutheran Music Culture 1
5. The Word of God and Music in Luther: Re-Reading Luther’s 1538 Rhau Preface 21
6. “Musicam semper amavi”: What is Remarkable about Luther’s Views on Music? 35
7. Did the Choir Introduce German Hymns to the Wittenberg Congregations? 47
8. Liturgical Foundations from the Court of Maximilian I and the Hope of Salvation 69
9. Johann Reusch’s Zehen deudscher Psalm Davids (1551) and the Circulation of German Psalm Motets in Northern Europe 81
10. Luther, Mattheson, and the Joy of Music 115
11. Reading Belief through Compositional Unity: J. S. Bach’s Response to a Lutheran Theology of Proportions 135
12. J. S. Bach, the Fuga Contraria, and the Lutheran Concept of Umkehr 159
13. “Defenders of music” as a Topos of Collective Self-Fashioning in Lutheran Writings from Early Modern Sweden 183
14. Luther in Felix Mendelssohn Bartholdy’s Hymn of Praise 199
15. The “Lutheran Style”: Aesthetics, Theology and Politics in Oskar Söhngen’s Writings 239
16. Beyond “Church-dividing” Differences: Music and New Ecumenical Perspectives on Justification 283
17. Lutheran Music Culture – A Reflection 303
18. Appendix 1: Martin Luther’s 1538 draft to the Encomion musices 307
19. Appendix 2: Preface by Johannes Bugenhagen to Balthasar Resinarius: Responsorium numero octoginta de tempore, 1544 311
20. Appendix 3: Preface by Philipp Melanchthon to Johann Reusch: Zehen deudscher Psalm Davids, 1551 317
21. Index of Names 321