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Articles/Reviews by Dana Marsh
This foreword clarifies the aims of the new journal, Historical Performance (IU Press), and an ov... more This foreword clarifies the aims of the new journal, Historical Performance (IU Press), and an overview of its contents.
Conference Papers and Lectures by Dana Marsh
Medieval Studies Institute of Indiana University, January 2015
Med-Ren Certaldo and Newcastle University 2013
Med-Ren Certaldo 2013 Musicology Lecture Series, Indiana University 2013
Henry VIII 500th Anniversary Conference at Hampton Court, 2009 Med-Ren Utrecht, 2009
D.Phil. Thesis by Dana Marsh
MUSIC, CHURCH, AND HENRY VIII’S REFORMATION Dana T. Marsh The Queen’s College, Oxford Submitted ... more MUSIC, CHURCH, AND HENRY VIII’S REFORMATION
Dana T. Marsh
The Queen’s College, Oxford
Submitted for the degree of Doctor of Philosophy, Trinity Term 2007
The defining intellectual, historical and cultural influences on Henry VIII’s Reformation have remained virtually unchanged in musicological narratives since the 1960s. In recent decades, however, scholars in the field of Reformation historiography have completely revised their view of the same period. It is a chief aim of this study to address the resultant historiographical disjunction between the two disciplines. Typically, musicological investigations have focused first on specific institutional archives and their connected music manuscript evidence. The present thesis looks beyond these methodological foci via an interdisciplinary approach, supported by a range of primary source materials that incorporate musical, historical, cultural and sociological elements.
The historical presuppositions conventionally taken for granted in framing the musicological narrative of Henrician reform will be reassessed in part one. Part two centres on changes in religious policy and doctrine: first, a fresh look at the musical consequences of the dissolution of the monasteries; second, an investigation of musical invective in printed evangelical polemics of the early 1540s; third, a reassessment of religious dissent among church musicians, with a new look at the heresy trial of John Merbecke. Part three offers for the first time a coherent rationale for the prevalent musical conservatism of Henry VIII’s church, deriving chiefly from Bishop Richard Sampson’s psalm commentaries (1539), and his ‘short explanations’ on St Paul’s first letter to the Corinthians (1546). These neglected texts are also deployed in a reexamination of musical guidelines in the document, Ceremonyes to be vsyd in the churche of Englonde (1540). A broader view of the circumstances surrounding the emergence of the King’s Litany (1544) further reveals a unique fusion of ‘traditionalism’ and ‘reform’ – an ostensible via media – finding elements of kingship, church and society brought together into a culturally integrated whole.
N.B. - Chapter 5 has been expanded and published in Early Music History (2010)
Papers by Dana Marsh
The Journal of Ecclesiastical History, 2009
Early Music History, 2010
This study focuses on the ritual ‘conservatism’ of Henry VIII's Reformation through a new loo... more This study focuses on the ritual ‘conservatism’ of Henry VIII's Reformation through a new look at biblical exegeses of the period dealing with sacred music. Accordingly, it reconsiders the one extant passage of rhetoric to come from the Henrician regime in support of traditional church polyphony, as found in A Book of Ceremonies to be Used in the Church of England, c.1540. Examining the document's genesis, editorial history and ultimate suppression by Archbishop Thomas Cranmer, it is shown that Bishop Richard Sampson, Dean of the Chapel Royal (1522–40), was responsible for the original drafting of the musical paragraph. Beginning with Sampson's printed commentaries on the Psalms and on the Epistles of St Paul, the literary precedents and historical continuities upon which Sampson's topos in Ceremonies was founded are traced in detail. Identified through recurring patterns of scriptural and patristic citation, and understood via transhistorical shifts in the meaning o...
Early Music, 2010
... on the seminal work of Nicholas Temperley, Robin Leaver and Rivkah Zim (along with others in ... more ... on the seminal work of Nicholas Temperley, Robin Leaver and Rivkah Zim (along with others in adjacent fields), Beth Quitslund tackles ... numerous additions to and revisions of 'Sternhold and Hopkins' by Marian exiles on the Continent, notably William Whittingham (chapters 3 ...
This foreword clarifies the aims of the new journal, Historical Performance (IU Press), and an ov... more This foreword clarifies the aims of the new journal, Historical Performance (IU Press), and an overview of its contents.
Medieval Studies Institute of Indiana University, January 2015
Med-Ren Certaldo and Newcastle University 2013
Med-Ren Certaldo 2013 Musicology Lecture Series, Indiana University 2013
Henry VIII 500th Anniversary Conference at Hampton Court, 2009 Med-Ren Utrecht, 2009
MUSIC, CHURCH, AND HENRY VIII’S REFORMATION Dana T. Marsh The Queen’s College, Oxford Submitted ... more MUSIC, CHURCH, AND HENRY VIII’S REFORMATION
Dana T. Marsh
The Queen’s College, Oxford
Submitted for the degree of Doctor of Philosophy, Trinity Term 2007
The defining intellectual, historical and cultural influences on Henry VIII’s Reformation have remained virtually unchanged in musicological narratives since the 1960s. In recent decades, however, scholars in the field of Reformation historiography have completely revised their view of the same period. It is a chief aim of this study to address the resultant historiographical disjunction between the two disciplines. Typically, musicological investigations have focused first on specific institutional archives and their connected music manuscript evidence. The present thesis looks beyond these methodological foci via an interdisciplinary approach, supported by a range of primary source materials that incorporate musical, historical, cultural and sociological elements.
The historical presuppositions conventionally taken for granted in framing the musicological narrative of Henrician reform will be reassessed in part one. Part two centres on changes in religious policy and doctrine: first, a fresh look at the musical consequences of the dissolution of the monasteries; second, an investigation of musical invective in printed evangelical polemics of the early 1540s; third, a reassessment of religious dissent among church musicians, with a new look at the heresy trial of John Merbecke. Part three offers for the first time a coherent rationale for the prevalent musical conservatism of Henry VIII’s church, deriving chiefly from Bishop Richard Sampson’s psalm commentaries (1539), and his ‘short explanations’ on St Paul’s first letter to the Corinthians (1546). These neglected texts are also deployed in a reexamination of musical guidelines in the document, Ceremonyes to be vsyd in the churche of Englonde (1540). A broader view of the circumstances surrounding the emergence of the King’s Litany (1544) further reveals a unique fusion of ‘traditionalism’ and ‘reform’ – an ostensible via media – finding elements of kingship, church and society brought together into a culturally integrated whole.
N.B. - Chapter 5 has been expanded and published in Early Music History (2010)
The Journal of Ecclesiastical History, 2009
Early Music History, 2010
This study focuses on the ritual ‘conservatism’ of Henry VIII's Reformation through a new loo... more This study focuses on the ritual ‘conservatism’ of Henry VIII's Reformation through a new look at biblical exegeses of the period dealing with sacred music. Accordingly, it reconsiders the one extant passage of rhetoric to come from the Henrician regime in support of traditional church polyphony, as found in A Book of Ceremonies to be Used in the Church of England, c.1540. Examining the document's genesis, editorial history and ultimate suppression by Archbishop Thomas Cranmer, it is shown that Bishop Richard Sampson, Dean of the Chapel Royal (1522–40), was responsible for the original drafting of the musical paragraph. Beginning with Sampson's printed commentaries on the Psalms and on the Epistles of St Paul, the literary precedents and historical continuities upon which Sampson's topos in Ceremonies was founded are traced in detail. Identified through recurring patterns of scriptural and patristic citation, and understood via transhistorical shifts in the meaning o...
Early Music, 2010
... on the seminal work of Nicholas Temperley, Robin Leaver and Rivkah Zim (along with others in ... more ... on the seminal work of Nicholas Temperley, Robin Leaver and Rivkah Zim (along with others in adjacent fields), Beth Quitslund tackles ... numerous additions to and revisions of 'Sternhold and Hopkins' by Marian exiles on the Continent, notably William Whittingham (chapters 3 ...