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[German Version] (Oct 24, 1561, Leipzig – May 25, 1604, Leipzig) studied in Leipzig, in 1588 collega tertius at the Thomas school; in the same year he was archdeacon at Rochlitz, in 1592 at St. Nicholas in Leipzig. In …

[German Version] (Jan 16, 1786, Bayreuth – May 21, 1850, Dresden). Ammon became professor of philosophy at Erlangen in 1789, and professor of theology in 1790. He moved to Göttingen in 1794 and returned to Erlangen…

[German Version] The effort to use religious cantatas in worship starts from the importance of music in worship that gained significance especially through Luther's reform of worship (Worship: I, 6.b): ¶ worship as a sacrifice of praise and a sin-offering. In the 17th and 18th centuries, the development in the Protestant territories and cities of Germany led to a rich musical environment that promoted especially the musica figuralis for the proprium. In fact, worship services were conducted as liturgical cantatas, without being understood as such. The stude…

[German Version] (Feb 21, 1556, Gorsleben, Thüringen – Nov 24, 1615, Leipzig) attended school in Frankenhausen (1569) and Magdeburg (1572), where he may have been a student of Gallus Dressler. He attended the Universities of Helmstedt (1579) and Leipzig (1580). In 1581, he became cantor at the University Church in Leipzig; in 1582,…

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[German Version] The term cantata now refers especially to the polyphonic church music with multiple movements as specified by J.S. Bach and whose text is based on ¶ the proprium of the Sundays and festival days of the church year. In contrast to the sonata (a “sounding” instrumental piece), the cantata is a choral piece that developed in the 17th century largely in Italy as secular music. Textually, non-strophic, so-called madrigal poetry is used for arias and recitatives. In Germany, ca…

[German Version] 1. Johann Michael (Aug 9, 1648, Arnstadt – May 17, 1694, Gehren). Son of the Arnstadt organist Heinrich Bach, brother of the grandfather and father-in-law of 2. Through his marriage with one of the five daughters of the Arnstadt town clerk Johann Wedemann, he founded a family clan of musicians and councilmen in the towns of Thurìngia, which was not without significance for the career of 2. Bach was organist and town clerk in Gehren from 1673. Of his compositions, a few organ chorals and about 20 sacred vocal works have been preserved by the so-called “Altbachisches Archiv” (Old Bach Archive). 2. Johann Sebastian (Mar 21, 1685, Eisenach – Jul 28, 1750, Leipzig). a. Life. The youngest of eight children of city musician and “house husband” Ambrosius Bach and his wife Elisabeth (née Lämmerhirt), he was orphaned at the age of nine in 1694/1695, and came to the house of his eldest brother, Johann Christoph, in Ohrdruf. From him, as well as fr…

[English Version] 1.  Julius , Wilhelm Hermann (10.5.1857 Lengerich, Westfalen – 7.6.1930 Münster), zus. mit F. Spitta Führer der »älteren liturgischen Bewegung«. Theologiestudium in Bonn, Halle, Göttingen, 1881 als Nachfolger Spittas Hilfsprediger in Bonn, 1884 Licentiat, 1885 Pfarrer in Seelscheid, 1891 Prof. am Predigerseminar in Friedberg, 1893 Prof. für Praktische Theol. in Straßburg, 1914 Gründungsdekan der Ev.-theol. Fakultät in Münster, 1926 emeritiert. In hist. Arbeiten, zahllosen Vorträgen…

[German Version] 1. Julius (May 10, 1857, Lengerich, Westphalia – Jun 7, 1930, Münster), together with F. Spitta, a leader of the “Older Liturgical Movement.” After studying theology at Bonn, Halle, and Göttingen, he succeeded Spitta as assistant preacher in Bonn. He received his license to teach in 1884 and was appointed pastor in Seelscheid. In 1891 he was appointed professor in the seminary at Friedberg and in 1893 professor of practical theology at Straßburg (Strasbourg). In 1914 he became the f…

1. Allgemein Unter K. M. oder Kirchenmusik (= Km.) versteht man alles, was innerhalb christl. Kirchen an M. erklingt. Dieses rein funktionale Verständnis beschreibt keine musikal. Gattungen oder stilistischen Kennzeichen. Die Vielzahl musikal. Erscheinungsformen der kath. (s. u. 5.2.), evang. (s. u. 5.3.) und orth. Kirchen (s. u. 5.4.) steht einer absoluten und zeitlosen Beschreibung entgegen. Dies löst auch der Begriff »geistliche M.« nicht auf, weil diese nicht zwingend liturgischer Art sein muss. Der Begriff »religiöse M.« trägt seit der Überhöhung der Instrumentalmusik im späten 18. Jh. und dem Verständnis der M. als Kunstreligion im 19. Jh. zur Unschärfe der Termini bei. Am ehesten scheint die Gleichsetzung von K. M. und »liturgischer M.« Eingrenzungen hinsichtlich der Funktion von M. zu ermöglichen. Damit wird auch die Unterscheidung in »geistlich« und »weltlich« als höchst problematisch erkennbar.Was K. M. ist und sein soll, wurde seit dem Frühchristentum oft ex ne…

1. IntroductionThe term ecclesiastical or church music encompasses all music that is heard within Christian churches. This purely functional sense implies no musical genres or stylistic properties. The abundance of manifestations of music in the Catholic (see below, 5.2.), Protestant (see below, 5.3.), and Orthodox churches (see below, 5.4.) precludes an absolute definition valid across the whole of history. Using the term “spiritual music” makes matters no easier, for spiritual mus…