Pub Date : 2020-10-01DOI: 10.1017/s0261127920000091
{"title":"EMH volume 39 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s0261127920000091","DOIUrl":"https://doi.org/10.1017/s0261127920000091","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"f1 - f6"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127920000091","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46650162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1017/S0261127920000030
Mary E. Frandsen
Many studies have been devoted to the producers of Lutheran music in seventeenth-century Germany – composers, editors, publishers and printers. Little attention, however, has been paid to the tastes and preferences of the consumers of this music. This article represents the first study of this subject, and draws on music inventories and account books to examine the Lutheran market for sacred music during this period. It presents a number of key findings, all of which relate to purchasing patterns: that community members donated a considerable amount of music to Lutheran institutions; that music prices remained quite stable for decades; that Lutherans cultivated the older motet alongside the newer sacred concerto throughout much of the century; that Lutherans sought out music by Italians and northern Catholics as well as by Lutherans; and that after c. 1640, the composer Andreas Hammerschmidt dominated the Lutheran market for sacred music, outselling all of his contemporaries. For Frederick Gable and Jeffrey Kurtzman, longtime mentors, colleagues and friends
{"title":"MATTERS OF TASTE: THE LUTHERAN MARKET FOR SACRED MUSIC IN THE SEVENTEENTH CENTURY","authors":"Mary E. Frandsen","doi":"10.1017/S0261127920000030","DOIUrl":"https://doi.org/10.1017/S0261127920000030","url":null,"abstract":"Many studies have been devoted to the producers of Lutheran music in seventeenth-century Germany – composers, editors, publishers and printers. Little attention, however, has been paid to the tastes and preferences of the consumers of this music. This article represents the first study of this subject, and draws on music inventories and account books to examine the Lutheran market for sacred music during this period. It presents a number of key findings, all of which relate to purchasing patterns: that community members donated a considerable amount of music to Lutheran institutions; that music prices remained quite stable for decades; that Lutherans cultivated the older motet alongside the newer sacred concerto throughout much of the century; that Lutherans sought out music by Italians and northern Catholics as well as by Lutherans; and that after c. 1640, the composer Andreas Hammerschmidt dominated the Lutheran market for sacred music, outselling all of his contemporaries. For Frederick Gable and Jeffrey Kurtzman, longtime mentors, colleagues and friends","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"149 - 218"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127920000030","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48461216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1017/s0261127920000066
Ross W. Duffin
The summer of 1602 featured a soggy ‘progress’ by Queen Elizabeth to various noble households in the vicinity of London, interspersed with elaborate royal entertainments. In the midst of the formal festivities occurred an enigmatic and apparently distressing incident involving the Queen, her Principal Secretary Robert Cecil, and his niece Elizabeth, Countess of Derby. Cecil hastily used songs to try to win back the lost favour of his Queen, and though his long-mislaid lyrics were identified a quarter-century ago, their music has remained unknown. This article reviews evidence of music for the songs, and for other events during that summer's progress.
{"title":"FRAMING A DITTY FOR ELIZABETH: THOUGHTS ON MUSIC FOR THE 1602 SUMMER PROGRESS","authors":"Ross W. Duffin","doi":"10.1017/s0261127920000066","DOIUrl":"https://doi.org/10.1017/s0261127920000066","url":null,"abstract":"The summer of 1602 featured a soggy ‘progress’ by Queen Elizabeth to various noble households in the vicinity of London, interspersed with elaborate royal entertainments. In the midst of the formal festivities occurred an enigmatic and apparently distressing incident involving the Queen, her Principal Secretary Robert Cecil, and his niece Elizabeth, Countess of Derby. Cecil hastily used songs to try to win back the lost favour of his Queen, and though his long-mislaid lyrics were identified a quarter-century ago, their music has remained unknown. This article reviews evidence of music for the songs, and for other events during that summer's progress.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"115 - 148"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127920000066","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48727774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1017/s0261127920000029
Alana Mailes
It has long been surmised that the Paduan singer, lutenist and composer Angelo Notari (1566–1663) was employed as a spy after immigrating to England circa 1610. In examining Venetian counterintelligence papers previously neglected by musicologists, I here confirm that Notari was indeed an intelligencer. More specifically, he was a paid informant for the Venetian State Inquisitors between 1616 and 1619 and participated in a contentious international trial concerning the Venetian ambassador to England, Antonio Foscarini. I argue that Notari's work as a musician was inextricable from his identity as an intelligencer and former Venetian citizen and demonstrate that Italian musicians in Jacobean London significantly influenced international diplomatic relations. By identifying intersections between the two highly social practices of music-making and intelligence-gathering, I encourage greater musicological attention to political networks that transmitted music across borders and, conversely, musical networks that transmitted political intelligence. I thus situate seventeenth-century musical transculturation within its broader diplomatic, confessional and economic contexts.
{"title":"‘MUCH TO DELIVER IN YOUR HONOUR'S EAR’: ANGELO NOTARI’S WORK IN INTELLIGENCE, 1616–1623","authors":"Alana Mailes","doi":"10.1017/s0261127920000029","DOIUrl":"https://doi.org/10.1017/s0261127920000029","url":null,"abstract":"It has long been surmised that the Paduan singer, lutenist and composer Angelo Notari (1566–1663) was employed as a spy after immigrating to England circa 1610. In examining Venetian counterintelligence papers previously neglected by musicologists, I here confirm that Notari was indeed an intelligencer. More specifically, he was a paid informant for the Venetian State Inquisitors between 1616 and 1619 and participated in a contentious international trial concerning the Venetian ambassador to England, Antonio Foscarini. I argue that Notari's work as a musician was inextricable from his identity as an intelligencer and former Venetian citizen and demonstrate that Italian musicians in Jacobean London significantly influenced international diplomatic relations. By identifying intersections between the two highly social practices of music-making and intelligence-gathering, I encourage greater musicological attention to political networks that transmitted music across borders and, conversely, musical networks that transmitted political intelligence. I thus situate seventeenth-century musical transculturation within its broader diplomatic, confessional and economic contexts.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"219 - 252"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127920000029","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48743149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-04DOI: 10.1017/S0261127920000042
Uri Smilansky
Machaut's set of complete works manuscripts forms a central pillar of our understanding of musical and generic developments and their courtly reception in fourteenth-century France. By applying the continuing scholarly advances made during the study of courtly practice and the professional Parisian book-trade to the earliest of these artefacts, this contribution reassesses the creation-history of the manuscript Paris, Bibliothèque nationale de France, fonds français 1586. The results tap into a number of enduring discussions within Machaut scholarship. These range from questions of patronage, to aspects of Machaut's authorial control and involvement in the production of his books, to the importance of order on the single-work level within a generic grouping, and to the practicalities of manuscript creation and intentionality. Finally, proposed adjustments to the dating of some compositions call for a review of existing notions of generic development and polyphonic composition in the early part of the century, thus resonating beyond Machaut's personal output.
马绍特的一套完整的作品手稿构成了我们理解音乐和一般发展及其在14世纪法国受到宫廷欢迎的核心支柱。通过将宫廷实践和巴黎专业图书贸易研究中不断取得的学术进步应用于这些最早的艺术品，这一贡献重新评估了手稿《巴黎国家图书馆》（Bibliothèque nationale de France，fonds français 1586）的创作历史。这一结果深入到了马乔特学术界的一些长期讨论中。这些问题包括赞助问题，到马乔特对其书籍制作的作者控制和参与，到一般分组中单个作品层面秩序的重要性，以及手稿创作和意向性的实用性。最后，建议对一些作品的年代进行调整，要求对本世纪初现有的一般发展和复调作品的概念进行回顾，从而在马乔特的个人作品之外产生共鸣。
{"title":"CREATING MS C: AUTHOR, WORKSHOP, COURT","authors":"Uri Smilansky","doi":"10.1017/S0261127920000042","DOIUrl":"https://doi.org/10.1017/S0261127920000042","url":null,"abstract":"Machaut's set of complete works manuscripts forms a central pillar of our understanding of musical and generic developments and their courtly reception in fourteenth-century France. By applying the continuing scholarly advances made during the study of courtly practice and the professional Parisian book-trade to the earliest of these artefacts, this contribution reassesses the creation-history of the manuscript Paris, Bibliothèque nationale de France, fonds français 1586. The results tap into a number of enduring discussions within Machaut scholarship. These range from questions of patronage, to aspects of Machaut's authorial control and involvement in the production of his books, to the importance of order on the single-work level within a generic grouping, and to the practicalities of manuscript creation and intentionality. Finally, proposed adjustments to the dating of some compositions call for a review of existing notions of generic development and polyphonic composition in the early part of the century, thus resonating beyond Machaut's personal output.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"253 - 304"},"PeriodicalIF":0.3,"publicationDate":"2020-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127920000042","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46106554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-04DOI: 10.1017/S0261127920000078
S. Chow
In 1685, the Portuguese Jesuit Thomas Pereira was ordered by the Qing Kangxi emperor to write books on Western music theory in Chinese. Presented in the books were seventeenth-century practical and speculative music theories, including the coincidence theory of consonance. Invoking the concept of ‘boundary object’, this article shows that the cultural exchange, which gave rise to new knowledge by means of selection, synthesis and reinterpretation, was characterised by a lack of consensus between the transmitter and the receivers over the functions of the imported theories. Although the coincidence theory of consonance could potentially effect the transition from a pure numerical to a physical understanding of pitch, as in the European scientific revolution, it failed to flourish in China not only because of different theoretical concerns between European and Chinese musical traditions, but also because of its limited dissemination caused by Chinese print culture.
{"title":"A LOCALISED BOUNDARY OBJECT: SEVENTEENTH-CENTURY WESTERN MUSIC THEORY IN CHINA","authors":"S. Chow","doi":"10.1017/S0261127920000078","DOIUrl":"https://doi.org/10.1017/S0261127920000078","url":null,"abstract":"In 1685, the Portuguese Jesuit Thomas Pereira was ordered by the Qing Kangxi emperor to write books on Western music theory in Chinese. Presented in the books were seventeenth-century practical and speculative music theories, including the coincidence theory of consonance. Invoking the concept of ‘boundary object’, this article shows that the cultural exchange, which gave rise to new knowledge by means of selection, synthesis and reinterpretation, was characterised by a lack of consensus between the transmitter and the receivers over the functions of the imported theories. Although the coincidence theory of consonance could potentially effect the transition from a pure numerical to a physical understanding of pitch, as in the European scientific revolution, it failed to flourish in China not only because of different theoretical concerns between European and Chinese musical traditions, but also because of its limited dissemination caused by Chinese print culture.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"75 - 113"},"PeriodicalIF":0.3,"publicationDate":"2020-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127920000078","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49375893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-01DOI: 10.1017/S026112791900010X
Matthew Laube
It has been thirty-four years since the publication of Music in Late Medieval Bruges, Reinhard Strohm’s study contextualising the Lucca choirbook in the urban metropolis of late medieval Bruges.1 His monograph was seminal for many reasons, not least for its ability to appeal – still today – to scholars across the various methodological quarters of musicology. Strohm’s evocative, Huizinga-inspired opening chapter, ‘Townscape – Soundscape’, animates much of the current work on urban music, and has been especially relevant to the ‘sonic turn’ across the humanities. At the same time, the bulk of the study attended to thoroughly traditional musicological concerns of source studies, the cultivation of polyphony, patronage, and the history of institutions. Music in Late Medieval Bruges was important in yet another way, namely its rejection of a long-standing view of the fifteenthand sixteenth-century Low Countries2 as a training ground for musicians who then migrated to work elsewhere. Music in Late Medieval Bruges insisted that the late medieval and Renaissance Low Countries
《中世纪晚期布鲁日的音乐》（Music in Late Medieval Bruges）一书出版至今已有三十四年，莱因哈德·斯特罗姆（Reinhard Strohm）的研究将中世纪后期布鲁日大都市的卢卡唱诗班置于背景之中。1他的专著之所以具有开创性意义，有很多原因，尤其是它能够吸引音乐学各个方法论领域的学者，直到今天。Strohm以Huizinga为灵感的令人回味的开篇“Townscape–Soundscape”为当前城市音乐的大部分作品注入了活力，尤其与整个人文学科的“声音转向”有关。同时，大部分研究都深入到了传统音乐学对音源研究、复调培养、赞助和制度历史的关注。中世纪晚期布鲁日的音乐在另一个方面很重要，即它拒绝了一种长期以来的观点，即15世纪和16世纪的低地国家2是后来移民到其他地方工作的音乐家的训练场。中世纪晚期布鲁日的音乐坚持认为中世纪晚期和文艺复兴时期的低地国家
{"title":"SINGING AND DEVOTION IN THE SIXTEENTH-CENTURY LOW COUNTRIES","authors":"Matthew Laube","doi":"10.1017/S026112791900010X","DOIUrl":"https://doi.org/10.1017/S026112791900010X","url":null,"abstract":"It has been thirty-four years since the publication of Music in Late Medieval Bruges, Reinhard Strohm’s study contextualising the Lucca choirbook in the urban metropolis of late medieval Bruges.1 His monograph was seminal for many reasons, not least for its ability to appeal – still today – to scholars across the various methodological quarters of musicology. Strohm’s evocative, Huizinga-inspired opening chapter, ‘Townscape – Soundscape’, animates much of the current work on urban music, and has been especially relevant to the ‘sonic turn’ across the humanities. At the same time, the bulk of the study attended to thoroughly traditional musicological concerns of source studies, the cultivation of polyphony, patronage, and the history of institutions. Music in Late Medieval Bruges was important in yet another way, namely its rejection of a long-standing view of the fifteenthand sixteenth-century Low Countries2 as a training ground for musicians who then migrated to work elsewhere. Music in Late Medieval Bruges insisted that the late medieval and Renaissance Low Countries","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"38 1","pages":"305 - 316"},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S026112791900010X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47967214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-01DOI: 10.1017/S0261127919000068
S. Barrett
New light is shed on the song culture of Sankt Gallen almost a century before its earliest notated sources through consideration of the poetic section of a manuscript copied at the Abbey shortly after the year 800, i.e. the second part of Leiden, Universiteitsbibliotheek Vossianus Lat. Q. 69. The predominantly Merovingian accentual Latin verse (rhythmi) and metrical verse by the late-antique poet Prudentius (his Liber Cathemerinon and Liber Peristephanon) were written out in song forms. It is newly proposed that Prudentius’ verse from the Liber Peristephanon was arranged into a liturgical cycle. The poetic section of the Leiden manuscript is accordingly understood as a collection of songs, which prompts reflection on the way in which earlier sung versus at Sankt Gallen may have provided models for the later Liber ymnorum. Witnesses to the song culture of Sankt Gallen in the first half of the ninth century are re-examined and a leading role during this period for the nearby Abbey of Reichenau is proposed. Finally, it is suggested that Iso’s advice to Notker that singulae motus cantilenae singulas syllabas debent habere was at least partly informed by the existing tradition of sung versus at both abbeys.
{"title":"LATIN SONG AT THE ABBEY OF SANKT GALLEN FROM C. 800 TO THE LIBER YMNORUM","authors":"S. Barrett","doi":"10.1017/S0261127919000068","DOIUrl":"https://doi.org/10.1017/S0261127919000068","url":null,"abstract":"New light is shed on the song culture of Sankt Gallen almost a century before its earliest notated sources through consideration of the poetic section of a manuscript copied at the Abbey shortly after the year 800, i.e. the second part of Leiden, Universiteitsbibliotheek Vossianus Lat. Q. 69. The predominantly Merovingian accentual Latin verse (rhythmi) and metrical verse by the late-antique poet Prudentius (his Liber Cathemerinon and Liber Peristephanon) were written out in song forms. It is newly proposed that Prudentius’ verse from the Liber Peristephanon was arranged into a liturgical cycle. The poetic section of the Leiden manuscript is accordingly understood as a collection of songs, which prompts reflection on the way in which earlier sung versus at Sankt Gallen may have provided models for the later Liber ymnorum. Witnesses to the song culture of Sankt Gallen in the first half of the ninth century are re-examined and a leading role during this period for the nearby Abbey of Reichenau is proposed. Finally, it is suggested that Iso’s advice to Notker that singulae motus cantilenae singulas syllabas debent habere was at least partly informed by the existing tradition of sung versus at both abbeys.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"38 1","pages":"1 - 50"},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127919000068","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49506688","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-01DOI: 10.1017/S0261127919000019
Andrew Wathey
Abstract Philippe de Vitry’s tenure of the bishopric of Meaux in the last decade of his life, 1351–61, the crowning event of his court and church career, has often been regarded as a period of retirement from creative activity. A reassessment of this judgement is timely, following new musical discoveries and literary work exposing links between Vitry and his contemporaries. Using new archival material, this article explores the geopolitical context of Vitry’s work in the diocese of Meaux; his engagement with political society, king and court; and his role in events under a national government fractured by the capture of Jean II at Poitiers in 1356. It examines the interplay of Vitry’s career, relationships and output, identifying the composer’s house in Paris, and exploring his family relationships, and his engagement with Pierre Bersuire, among others, in the creative circles of mid-fourteenth-century Paris. It also illuminates a context and opportunities for the continuation of his creative work into the late 1350s, some remnants of which survive in the literary miscellany Paris, BN Lat. 3343.
摘要菲利普·德·维特里（Philippe de Vitry）在其生命的最后十年，即1351年至61年，担任Meaux主教，这是他宫廷和教会生涯的最高事件，通常被视为从创造性活动中退休的一段时间。在新的音乐发现和文学作品揭示了维特里和同时代人之间的联系之后，对这一判断的重新评估是及时的。利用新的档案材料，本文探讨了维特里在缪教区工作的地缘政治背景；他与政治社会、国王和宫廷的交往；1356年，让二世在普瓦捷被捕，他在国家政府统治下的事件中发挥了作用。它考察了维特里的职业生涯、人际关系和作品的相互作用，确定了这位作曲家在巴黎的家，探索了他的家庭关系，以及他与皮埃尔·贝苏埃尔在14世纪中期巴黎创作界的交往等。它还阐明了他创作作品延续到1350年代末的背景和机会，其中一些残余作品在文学杂集《巴黎》中幸存下来，BN Lat.3343。
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Pub Date : 2019-10-01DOI: 10.1017/S0261127919000032
E. Honisch
The multi-confessional cities of early modern Central Europe resounded with sacred music. People sang to express faith, to challenge the beliefs of others, and to lay claim to shared urban spaces. This study considers how such music was heard in Prague, the capital of the Holy Roman Empire, during the reign of the Habsburg Emperor Rudolf II (1576–1612). During this period, the city’s Catholics jostled for supremacy with Czech-speaking Utraquists (followers of Jan Hus), who vastly outnumbered them, and a growing population of German-speaking Lutherans. Focusing on the sonically rich Corpus Christi processions held by Prague’s Jesuits, this article examines how sounds that aggressively promoted Catholic Eucharistic doctrine were received by those who were––by chance or by design––within earshot. Viewing Catholic claims alongside non-Catholic resistance suggests that music’s power lay as much in the fact of its performance as in its deployment of specific texts and sounds.
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