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|Named Person:||Jan Pieterszoon Sweelinck|
|All Authors / Contributors:||
Jir Shin Boey; Massimo Michele Ossi
|Notes:||Inhalt: Prologue -- The formation of religious faith : Introduction ; Religious indecision ; Issues within the Reformed Church, 1520-60s ; Expressions of compromise ; The fusion of horizons ; Conclusion -- The negotiation of middle-class identity : Introduction ; Music-making and the civilizing process ; Maintaining the social self ; The musical structures of social fantasy ; Self-cancellation ; Conclusion -- Self-reflexivity and the decivilizing process : Introduction ; The Dutch visual realm ; The decivilizing process ; Self-reflexivity in the keyboard variations of J.P. Sweelink ; Conclusion -- Epilogue.|
|Description:||XIV,  S : Ill., Notenbeispiele.|
|Responsibility:||Jir Shin Boey.|
In the first chapter, I examine the problem of religious commitment and the role of psalm-singing in the formation of faith in the Reformed movement. Not only was the use of contrafacta in the Souterliedekens (Psalter Songs, 1540) effective as an instrument of religious outreach, it also demonstrated how spiritual meaning could be grounded in worldly terms. In the second chapter, I consider how self-cancellation is written into the civilizing process (in the learning of manners and cultivation of social distance) and study Tielman Susato's Musyck Boexken (1551) as an example. Even though Susato's songs were meant for a middle-class audience seeking to distance themselves from the lower class, the synthesis of refined and unrefined elements in the vii songs only showed more clearly the confused social desires of the audience.^
In the final chapter, I look at self-reflexivity in Dutch still-life paintings of the early seventeenth-century and observe how the sense of disequilibrium and disjuncture in these paintings can also be found in Jan Pieterszoon Sweelinck's keyboard variations. In the way the variations refuse the idea of calculation and control, they reflect a "controlled decontrolling" of a decivilizing process. Within the different contexts, popular music opened the liminal space for the interrogation of spiritual reality, the suspension of social judgment, and the unraveling of the civilized self. By doing so, popular music extended various tactics for coping with unstable identities in a culture of ambivalence.
- Sweelinck, Jan Pieterszoon, -- 1562-1621 -- Criticism and interpretation.
- Music -- Benelux countries -- 16th century -- History and criticism.
- Contrafacta -- History and criticism.
- Church music -- Benelux countries -- 16th century.
- Church music -- Reformed Church.
- Religion and culture -- Benelux countries -- History -- 16th century.
- Music -- Theses.
- Benelux countries -- History -- 16th century.
- Benelux countries -- Church history -- 16th century.