Music and Confessional Strife: The Sacred Music of Michael Praetorius (1571/72-1621)

该项目研究了三十年战争爆发前几年迈克尔·普雷托留斯的神圣音乐在其功能、礼仪和世俗背景下的情况。他的作品非常多样，但尚未得到系统的探索，包括更传统的复调颂歌，一千多个简单的同音四声部背景，以及无数的合唱颂歌以及精心编排的神圣音乐会。尤其是在后者中，普雷托留斯试验了令人印象深刻的音效，将意大利和英国风格的音乐与典型的德国传统相结合。就其百科全书式的计划和神学计划而言，他的工作在17世纪初的德国几乎是无与伦比的。尽管如此，还没有人试图系统地研究这部作品，特别是考虑到它独特的美学、宗教和政治交织的特点。普雷托里乌斯是布伦瑞克-沃尔芬布特尔、德累斯顿和哈雷等路德王室的音乐总监，他确实不仅认为自己是音乐家，而且还认为自己是神学家、学者和教育家。他的理论和肖像作品的一个核心问题是为(路德)教堂音乐辩护，反对加尔文主义者声称将其限制在简单的赞美诗演唱上。他的音乐作品在多大程度上同样受到了当前宗教政治冲突的影响，并可以被视为对当前宗教政治冲突的回应，特别是关于新教阵营内部的神学和政治争吵，这将是该项目的核心关切。为了回答这个问题，该项目将使用更新的文化研究方法，分析普拉托利斯的作品和他作为音乐指挥家的活动。在这一背景下，特别令人感兴趣的是君主对声望的渴望、已故的人文主义学术话语和私人虔诚的影响。在第二步中，该项目检查了他的神圣音乐的音乐、修辞和表演方面，其中礼仪和世俗的表演条件将被重建。研究的音乐分析的出发点将是具有个人收藏症状和代表路德教会艺术政策立场的作品，从简单的会众演唱(特别是Musae Sioniae VI-VIII)到具有代表性的多合唱和有说服力的声音生产与声乐和器乐合奏(Motectae et Psalmi Latini，Musae Sioniae I-IV，Urania and Polyhymnia Caduceatrix et Panegyrica)，以及传统拉丁礼拜音乐的保存(Missodia，Hymnodia，Eulogodia，Megalynodia)。通过在宗教和政治背景下对普雷托利乌斯的音乐进行仔细研究，该项目承诺不仅为作曲家和音乐学者普雷托利乌斯的作品提供新的见解，而且还将为路德会音乐文化提供新的视角，作为一个整体，它接受不同的文化影响。

The project researches the sacred music of Michael Praetorius in its functional, liturgical and secular contexts in the years before the outbreak of the Thirty Years' War. His extraordinarily diverse work, which has not been explored systematically, comprises more traditional polyphonic motets, over a thousand simple homophonic four-part settings, and numerous chorale motets as well as richly orchestrated sacred concerts. Particularly in the latter, Praetorius experimented with impressive sound effects, mixing Italian and English styles of music with typical German traditions. In terms of its encyclopaedic plan and its theological programme, his work is nearly unrivalled in Germany during the early Seventeenth Century. Nonetheless, no fundamental attempt has been made to investigate this oeuvre in a systematic way and particularly to take into account its characteristic intertwining between aesthetics, religion and politics.Praetorius, a director of music at the Lutheran princely courts of Brunswick-Wolfenbüttel, Dresden and Halle, indeed viewed himself not only as a musician but also as a theologian, scholar and educator. A central concern of his theoretical and iconographic work was the defence of (Lutheran) church music against Calvinist claims to limit its use to simple psalm singing. To what extent his musical work was equally shaped by and can be seen as a response to current religious political conflicts, particularly with respect to the theological and political quarrels within the Protestant camp, will be of central concern for this project. To answer this question, the project will analyse both Praetorius`s works and his activities as a musical conductor using more recent approaches to cultural studies. Of particular interest in this context will be the impact of princely desire for prestige, late humanist scholarly discourses and private piety. In a second step, the project examines musical, rhetorical and performative aspects of his sacred music, of which the liturgical and secular performance conditions will be reconstructed. Points of departure of the study`s musical analysis will be works that are symptomatic of the individual collections and characteristically represent positions of Lutheran art policy, from simple congregational singing (especially Musae Sioniae VI-VIII) to the representative polychoral and persuasive sound production with vocal and instrumental ensemble (Motectae et Psalmi latini, Musae Sioniae I-IV, Urania and Polyhymnia Caduceatrix et Panegyrica) and the preservation of the traditional Latin liturgical music (Missodia, Hymnodia, Eulogodia, Megalynodia). As a result of a close study of Praetorius`s music against the backdrop of its religious and political contexts, the project promises to provide new insights not only into the work of the composer and music scholar Praetorius, but also into a Lutheran musical culture, open to diverse cultural influence, as a whole.