The Articulation of Cultural Identity Through Psalm Motets, Augsburg 1540–1585
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THE ARTICULATION OF CULTURAL IDENTITY THROUGH PSALM MOTETS, AUGSBURG 1540–1585 Megan K. Eagen A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2016 Approved by: Anne MacNeil Tim Carter John Nádas David Crook Ruth von Bernuth © 2016 Megan K. Eagen ALL RIGHTS RESERVED ii ABSTRACT Megan K. Eagen: The Articulation of Cultural Identity through Psalm Motets, Augsburg 1540–1585 (Under the direction of Anne MacNeil) In this dissertation, I analyze the social and religious climate in Augsburg from 1540–1585 through the lens of psalm motets. The period between the initial shockwave of the Reformation and the sociocultural upheavals that ultimately produced the Thirty Years War may be characterized as one of intense negotiations regarding religious freedoms. The environment encouraged and even necessitated the development of materials oriented toward specific confessional groups. At the same time, residents of biconfessional cities such as Augsburg needed to find subtle or nonconfrontative ways to express their views. Despite both nascent and deep-seated differences, Catholics and Protestants of diverse sects all used the Psalter. This study interprets selections and centonizations of musically set psalm texts as indicators of multireligious communal identities. Source materials consulted for this project include over one hundred prints and manuscripts of motets held at the Augsburg State and City Library and at the Bavarian State Library in Munich. The makeup of this repertory is defined by Augsburg’s close connection to the Habsburg dynasty: composers represented in these volumes were active almost exclusively within the bounds of the Holy Roman Empire, and many composed for imperial courts. Preliminary findings showed that certain psalm texts were set with far greater frequency than others across a variety of contexts (liturgical and nonliturgical books; Latin, German, and iii polylingual sources; etc.). I argue that settings of the most frequently-used psalms speak to shared experiences. Central themes of these texts include exile and ostracization; personal suffering that results from earthly injustice; and the explanation and elucidation of religious doctrine. All of these relate to the struggle of living in a biconfessional city at a time of significant political and religious change. I hold that a majority of psalm motets in sources produced or acquired for use in mid- sixteenth-century Augsburg present materials that cut across confessional lines. The psalms that come into prominence through this music do not offer fully-formed religious instruction, like sermons given in a confessionally-stable landscape, but instead highlight topics for contemplation and reflection. Moreover, the conversations opened by these works are relevant to individuals of diverse beliefs, with some apparently resisting confessional demarcation. iv To Anne– In bocca al lupo. v ACKNOWLEDGMENTS Research for this project was made possible, first and foremost, by the Deutscher Akademischer Austauschdienst (DAAD) through a one-year Research Fellowship, awarded 2013–2014. This organization supports the international exchange of more students and scholars than any other worldwide. In addition to providing for my stay in Augsburg, the DAAD arranged for my participation in seminars held in Cologne and Stuttgart, which formed my introduction to the German academy. In particular, I would like to recognize the efforts of Mariam Hippchen and Irmtrud Witsch, who head the North American and Graduate Program Offices of the DAAD respectively in Bonn, and Myoung-Shin Kim, who heads the Graduate Program Office in New York. In addition to research funding, the DAAD also sponsored my completion of four month- long Intensive Language courses, which were offered through the Goethe-Institut branches in Munich and Göttingen. To all those involved in the selection of DAAD fellows, the placement of researchers, the welcoming and integration of international guests, and to the organizers and instructors of the Goethe Institute, I offer my most heartfelt thanks. Prior to my DAAD fellowship year, I received a Research Award from UNC’s Program in Medieval and Early Modern Studies (MEMS). As a recipient, I was able to undertake three months of introductory research in Augsburg, during which period I familiarized myself with the city’s major archival repositories and began my exploration of non-digitized Augsburg music books. These formative endeavors led directly to my successful completion of this dissertation. Thanks go to the fellowship and awards committee of MEMS and to director Brett Whalen. vi I received additional funds for research and travel from UNC’s Graduate School, through a Graduate Tuition Incentive Scholarship, and from the Department of Music, through matching funds to accompany my MEMS Research Award. Kenan Graduate Student Activities Funds, which are provided by the William R. Kenan Jr. Charitable Trust, covered my matriculation fees at the University of Augsburg. Kenan funds also facilitated my participation in the Medieval and Renaissance Music Conference in Birmingham (2014) and the “Mapping the Post-Tridentine Motet” Conference in Nottingham (2015). Special thanks go to Sandra Hoeflich, Associate Dean for Interdisciplinary Education, Fellowships, and Communication, and Julie Montaigne, Fellowship and Funding Manager, both from the UNC Graduate School. I am grateful for the support and encouragement of past and present Music Department chairs, Mark Katz, now director of the UNC Institute of Arts and Humanities, and Louise Toppin. Thanks also go to members of the Kenan Funds committee. I would like to acknowledge the help and support of several research institutions and archives, namely: the Augsburg State and City Library, the State and City Archives in Augsburg, the City Archive and Episcopal Central Library in Regensburg, and the Bavarian State Library and Ludwig Maximilian University Library in Munich. Since I spent the bulk of my time at the Augsburg State and City Library, I was fortunate to become acquainted with several employees. By the end of my stay in July, 2014, I was consistently greeted with smiles and hellos. Ultimately, the State and City Library proved a most rewarding and delightful place to conduct research. I am especially grateful to Ursula Korber, whose responsibilities include cataloging and photography, and whose background in musicology makes her an expert on local music prints and manuscripts. Indeed, every person I worked with at this institution is deserving of applause. vii Although I spent less time at other repositories, my experiences at the Augsburg State and City Archives and at archives and libraries in Regensburg and Munich were equally enriching. My sincere thanks go to Kerstin Lengger, Assistant Director at the Augsburg City Archive; Raymond Dittrich, Director of the Proske Music Collection in Regensburg; and Hubert Troidl of the Regengsburg State Archive for their assistance in locating materials. Thanks also to the music librarians of the Bavarian State Library and to Irene Friedl, director of the Altes Buch collection at the Ludwig Maximilian University Library in Munich. More than any other person involved in this project, I would like to thank my advisor, Anne MacNeil. Throughout the process of completing this dissertation, Anne has demonstrated the skills and motivations of an ideal mentor. Over the past six years she has remained a patient administrator, staunch advocate, and tenacious critic. Her approach consistently showed a sincere investment in my growth as a scholar. I am especially grateful for her professionalism and also her kindness as I worked through a difficult situation stemming from a family illness at the offset of my doctoral studies. Through successes and setbacks, Anne never lost sight of my long-term goals: I am deeply humbled by her belief in my potential. I am also grateful for the support and involvement of my committee members, Tim Carter, John Nádas, David Crook, and Ruth von Bernuth. Tim and Ruth both provided invaluable feedback on early chapter drafts. Tim’s acute inquiries and observations prompted me to rethink a number of issues, from my analyses of textual elements to my use of terminology—all to the benefit of the project. I am also indebted to Ruth for her thoughtful suggestions, which stem from a deep knowledge of the history and culture of Renaissance Germany. Thanks also go to John and David for their support and encouragement. During my first year as a PhD candidate, I completed an independent study with John through which we explored the reception of Josquin’s viii works north of the Alps. John’s extraordinary command of primary and secondary sources relevant to this study, coupled with a profound respect for fellow researchers, stands out as the defining aspect of that experience. Thanks also go to David for his enthusiastic support of this project, and for sharing his expertise. David’s work on Lasso, the mid-sixteenth-century motet, and motet exegesis significantly influenced my approach to this study. Though not a member of my committee, I am also grateful for the help and support of Franz Körndle. In addition to assisting me with transcriptions, Franz met with me on several occasions to discuss my project and to help me work through some of the challenges associated with my research. During my DAAD fellowship year he also organized a monthly colloquium. This forum provided a prime opportunity for the discussion of mid-sixteenth-century polyphony in Augsburg, and enabled me to network and converse with other scholars active in this arena. Finally, I would like to express my gratitude to my graduate peers in Augsburg and at the University of North Carolina at Chapel Hill (UNC-CH), and to the faculty and staff of both institutions. Thanks to all of you for the role you play in creating an environment that is stimulating and open to the exchange of ideas, and that is also grounded in a sense of solidarity.