Books and Editions
Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria. The New Cultural History of Music. New York: Oxford University Press, 2014.
Music, Piety, and Propaganda explores the nature of sound as a powerful yet ambivalent force in the religious struggles that permeated Germany during the Counter-Reformation. Beyond a musicological treatment of composers, styles, and genres, the book examines how music, and more broadly sound itself, shaped the aural landscape of Bavaria as the duchy emerged as a militant Catholic bulwark. Sound—including bell-ringing, gunfire, and popular song, as well as cultivated polyphony—not only was deployed by Catholic secular and clerical elites to shape the religious identities of Bavarian subjects, but also carried the potential to challenge and undermine confessional boundaries.
Music and Religious Identity in Counter-Reformation Augsburg, 1580–1630. St. Andrews Studies in Reformation History. Aldershot: Ashgate Publishing, 2004.
By the late sixteenth century, Augsburg was one of the largest cities of the Holy Roman Empire, boasting an active cultural and musical life. Musical culture in Augsburg, however, unfolded against a backdrop of looming religious schism. The largest 'biconfessional' city in the Empire, Augsburg housed a Protestant majority and a Catholic minority, ruled by a city government divided between the two faiths. The period 1580-1630 saw a gradual widening of the divide between these groups, not least due to the assertion of Catholic identity through public devotions, spectacular processions, and pilgrimages to local shrines. This book explores the relationship between music and religious identity in Augsburg during this period, examining how 'Catholic' and 'Protestant' musical cultures negotiated with and gradually diverged from one another.
Edition of Anton Holzner, Viretum pierium (Munich: Nikolaus Heinrich, 1621). Recent Researches in the Music of the Baroque Era 156. Madison, Wisc.: A-R Editions, 2009.
Edition of Rudolph di Lasso, Virginalia Eucharistica (Munich: Nikolaus Heinrich, 1615). Recent Researches in the Music of the Baroque Era 114. Madison, Wisc.: A-R Editions, 2002.
Articles and Essays
"Jonas Losch and Musical Culture in Late Sixteenth-Century Augsburg." Zeitschrift des Historischen Vereins für Schwaben 109 (2017): 85-95.
"Music and the Jesuit 'Way of Proceeding' in the German Counter-Reformation." Journal of Jesuit Studies 3 (2016): 377-97.
"Thesaurus litaniarium: The Symbolism and Practice of Musical Litanies in Counter-Reformation Germany." Early Music History 34 (2015): 45-95.
“A Musical Dialogue in Bronze: Gregor Aichinger's Lacrumae (1604) and Hans Reichle's Crucifixion Group for the Basilica of SS. Ulrich and Afra in Augsburg." In Visual Acuity and the Arts of Communication in Early Modern Germany, edited by Jeffrey Chipps Smith, 119-41. Farnham, Burlington, VT: Ashgate, 2014.
“The Sounds of Eucharistic Culture.” In A Companion to the Eucharist in the Reformation, edited by Lee Palmer Wandel, 445-65. Brill's Companions to the Christian Tradition 46. Leiden, Boston: Brill, 2014.
"V. 1600-1750." Part of "History of Liturgical Music" [revised from Anthony Milner]. In the New Catholic Encyclopedia, Supplement 2011, ed. Robert Fastiggi, et al, 2:466-69. Farmington Hills, MI: Gale, 2011.
“Themes of Exile and (Re-)Enclosure in Music for the Franciscan Convents of Counter-Reformation Munich during the Thirty Years War.” In Enduring Loss in Early Modern Germany: Cross Disciplinary Perspectives, edited by Lynne Tatlock, 281-305. Leiden: Brill, 2010.
“Alls wie mann inn krieg pflegt zue thuen: Music and Catholic Processions in Counter-Reformation Augsburg.” In City Limits: Perspectives on the Historical European City, edited by Glenn Clark, et al., 254-72. Montréal: McGill-Queens University Press, 2010.
“Celestial Sirens and Nightingales: Change and Assimilation in the Munich Anthologies of Georg Victorinus.” Journal of Seventeenth-Century Music 14, no. 1 (2008).
“Combinatorial Modeling in the Chorus Movement of Cantata 24, Ein ungefärbt Gemüte.” In About Bach, edited by Gregory G. Butler, Mary Dalton Greer, and George B. Stauffer, 35–52. Urbana and Chicago: University of Illinois Press, 2008.
“Per mia particolare devotione: Orlando di Lasso’s Lagrime di San Pietro and Jesuit Spirituality in Counter-Reformation Munich.” Journal of the Royal Musical Association 132 (2007): 167–220.
“Music and Religious Change.” In Reform and Expansion, 1500–1660, edited by R. Po-Chia Hsia. The Cambridge History of Christianity 6. Cambridge: Cambridge University Press, 2007.
“Salminger, Sigmund.” In Die Musik in Geschichte und Gegenwart, 2d ed., Personenteil 14:867–8. Kassel: Bärenreiter, 2005.
“Fugger” [family of bankers and music patrons]. In Die Musik in Geschichte und Gegenwart, 2d ed., Personenteil 7:246–52. Kassel: Bärenreiter, 2002.
“Narratives of Middle Eastern Music History.” Co-authored with Dr. Virginia Danielson for The Middle East, 15–27. The Garland Encyclopedia of World Music 6. New York: Routledge Reference, 2002.
“Song, Confession, and Criminality: Trial Records as Sources for Popular Musical Culture in Early Modern Europe.” Journal of Musicology 18, no. 4 (Fall 2001): 616–57.
“Paul Hindemith, Gottfried Benn, and the Defense of the Autonomy of Art in the Late Weimar Republic.” Hindemith-Jahrbuch 28 (1999): 11–53.
Robert J. Kendrick, Singing Jeremiah: Music and Meaning in Holy Week (Bloomington: Indiana University Press, 2014). Music & Letters 68 (2015): 1091-3.
Richard Wetzel and Erika Heitmeyer, Johann Leisentrit's Geistliche Lieder und Psalmen, 1567: Hymnody of the Counter-Reformation in Germany (Madison, NJ: Fairleigh Dickinson University Press, 2013). Catholic Historical Review 100 (2014): 614-15.
Andrew Weaver, Sacred Music as Public Image for Holy Roman Emperor Ferdinand III: Representing the Counter-Reformation Monarch at the End of the Thirty Years' War (Burlington, VT: Ashgate, 2012). Catholic Historical Review 99 (2013): 796-7.
Mattias Lundberg, Tonus peregrinus: the history of a psalm-tone and its use in polyphonic music (Farnham: Ashgate, 2011). Early Music 41 (2013): 502-4.
Mary Frandsen, Crossing Confessional Boundaries: The Patronage of Italian Sacred Music in Seventeenth-Century Dresden (Oxford, New York: Oxford University Press, 2006). Journal of Seventeenth-Century Music 15 (2009).
Tanya Kevorkian, Baroque Piety: Religion, Society, and Music in Leipzig, 1650-1750 (Aldershot: Ashgate, 2007). European History Quarterly 40 (2010): 155-6.
Theodor Göllner and Bernold Schmid, eds., Die Münchner Hofkapelle des 16. Jahrhunderts im europäischen Kontext (Munich: Verlag der Bayerischen Akademie der Wissenschaften, 2006). Early Music 37 (2009): 113–14.
James Haar, ed., European Music, 1520–1640 (Woodbridge, U.K.: Boydell Press, 2006). Early Music 35 (2007): 454–6.
Heinrich Schütz, Cantiones sacrae (1625), ed. Heide Volckmar-Waschk (Kassel: Bärenreiter, 2004); and Symphoniae sacrae III (1650), ed. Werner Breig (Kassel: Bärenreiter, 2002). Music Library Association Notes 63 (2007): 688–89.
Juan José Carreras and Bernardo García García, eds., The Royal Chapel in the Time of the Habsburgs: Music and Court Ceremony in Early Modern Europe, English version ed. Tess Knighton, trans. Yolanda Acker (Woodbridge, U.K., Rochester, N.Y.: Boydell Press, 2005). Music Library Association Notes 63 (2006): 345–48.
Gabrijel Plavec [Gabriel Plautzius], Flosculus vernalis (1621), ed. Tomaž Faganel; Daniel Lagkhner, Flores Jessaei (1606), Florum Jessaeorum (1607), ed. Jože Sivec; and Isaac Posch, Harmonia concertans (1623), ed. Methoda Kokole (Ljubljana: Slovenska akademija znanosti in umetnosti, Znanstvenoraziskovalni center SAZU, Muzikološki inštitut, 1997–1998). Music Library Association Notes 62 (2005): 478–81.