208 pages | 2 B/W Illus.
This volume provides the first printed critical edition of The Praise of Musicke (1586), keeping the original text intact and accompanied by an analytical commentary. Against the Puritan attacks on liturgical music, The Praise of Musicke, the first apologetic treatise on music in English, epitomizes the Renaissance defence of music in civil and religious life. While existing studies of The Praise of Musicke are limited to the question of authorship, the present volume scrutinizes its musical discourse, which recapitulates major issues in the ancient philosophy and theology of music, considering the contemporary practice of sacred and secular music. Through an interdisciplinary analysis of The Praise of Musicke, combining historical musicology with philosophical theology, this study situates the treatise and its author within the wider historical, intellectual and religious context of musical polemics and apologetics of the English Reformation, thereby appraising its significance in the history of musical theory and literature. The book throws fresh light on this substantial but neglected treatise that presents, with critical insights, the most learned discussion of music from classical antiquity to the Renaissance and Reformation era. In doing so it offers a new interpretation of the treatise, which marks a milestone in the history of musical apologetics.
PART I. THE PRAISE OF MUSICKE AND ITS CONTEXTS 1. Introduction 2. The Treatise: Contents and Structure 3. Sources 4. The Identity of the Author 5. The Intellectual Contexts for The Praise of Musicke 6.Editing The Praise of Musicke PART II. TEXT AND COMMENTARY 1. THE ANTIQVITIE AND ORIGINAL OF MVSICKE: FIRST GEnerally, then more particularlie set downe. 2. THE DIGNITIE OF MVSICKE PROVED BOTH by the rewardes and practise of many and most excellent men. 3. THE SVAVITIE OF MVSICKE. 4. THE EFFECTS AND OPERATION OF MVSICKE. 5. THE NECESSITIE OF MVSICKE. 6. THE VSE OF MVSICK GENERALLIE IN THE course of our life. 7. THE PARTICVLER VSE OF MVSICKE IN CIuill matters, especially in sacrifi-ces, feasts, mariages and Burials. 8. THE PARTICVLER VSE of musicke in warlike matters. 9. THE LAWFVL VSE OF MVSICKE IN THE CHVRCH confirmed by the practise of the church. 10. THE LAWFVLL VSE OF CHVRCH MVSICKE proued by authorities out of the Doctours. 11. Sentences of the Scripture, for the vse of Church Musick. 12. A REFVTATION OF OBIECTIONS AGAINST the lawful vse of Musicke in the Church.
The purpose of this series is to provide critical editions of music theory in Britain (primarily England, but Scotland, Ireland and Wales also) from 1500 to 1700. By 'theory' is meant all sorts of writing about music, from textbooks aimed at the beginner to treatises written for a more sophisticated audience. These foundational texts have immense value in revealing attitudes, ways of thinking and even vocabulary crucial for understanding and analysing music. They reveal beliefs about the power of music, its function in society and its role in education, and they furnish valuable information about performance practice and about the context of performance. They are a window into musical culture every bit as important as the music itself.
The editions in this series present the text in its original form. That is, they retain original spelling, capitalization and punctuation, as well as certain salient features of the type, for example, the choice of font. A textual commentary in each volume offers an explication of difficult or unfamiliar terminology as well as suggested corrections of printing errors; the introduction situates the work and its author in a larger historical context.
Jessie Ann Owens is assisted on the series by Series Assistant Editor, Minji Kim.