Andreas Loewe, Ph.D (Cantab, 2001), is Dean of Melbourne, and Fellow of the Conservatorium of Music, the University of Melbourne. Publications include Johann Sebastian Bach’s St John Passion (Brill, 2014) and Richard Smyth and the Language of Orthodoxy (Brill, 2003).Katherine Firth, Ph.D. (Oxford Brookes, 2009), manages the academic programs at International House, the University of Melbourne. Recent publications include Your PhD Survival Guide (Routledge, 2021) and How to Fix your Academic Writing Trouble (Open UP, 2018).

• AcknowledgementsList of IllustrationsAbbreviationsIntroduction1 Structure and Scope of This Book1 Luther’s Theory of Music1 Music among the Seven Liberal Arts2 Sources for Luther’s Theory of Music3 Luther’s Theory of Music4 The Origins of Music5 Music as a ‘Habitus’ and Model of Goodness and Praise2 Hymns and Sacred Songs1 Singing, Preaching, and Praising God through Music2 Lutherans, Music, and the Reformation3 Lutheran Music in the Second Half of the Sixteenth Century4 Lutheran ‘Kantoreien’ as Instruments of Reform3 Martin Luther’s ‘Mighty Fortress’1 Genesis and Dissemination2 Reception from 1600 to 19453 A Hymn of Confidence in God’s Eternal Salvation4 Martin Luther on Images1 Radical Reforms in Wittenberg2 Luther’s Understanding of Images3 Reading ‘Law and Grace’: A Composite ‘Merkbild’ (Image of Remembrance)5 Teaching the Reformation to Read Images of Hate1 Luther’s Adversarial Images2 Later Reception of Luther’s Anti-Semitic Polemic6 Luther and Drama1 Martin Luther and Popular Pre-Reformation Drama2 Luther’s Objections to Popular Drama and Ceremonies3 Lutheran Biblical Drama4 Joachim Greff and Popular Drama5 Dramatising the Bible6 Towards a Protestant Dramatisation of the Passion7 Performing the Passion and Resurrection8 In Defence of Passion Drama9 A Matter of Church PolityConclusionAppendix 1: Luther’s Prefaces to the ‘Symphoniae Iucundae’Appendix 2: Comparing ‘Law and Grace’ (1529–1550)BibliographyIndex

Andreas Loewe, Ph.D (Cantab, 2001), is Dean of Melbourne, and Fellow of the Conservatorium of Music, the University of Melbourne. Publications include Johann Sebastian Bach’s St John Passion (Brill, 2014) and Richard Smyth and the Language of Orthodoxy (Brill, 2003).Katherine Firth, Ph.D. (Oxford Brookes, 2009), manages the academic programs at International House, the University of Melbourne. Recent publications include Your PhD Survival Guide (Routledge, 2021) and How to Fix your Academic Writing Trouble (Open UP, 2018).

• AcknowledgementsList of IllustrationsAbbreviationsIntroduction1 Structure and Scope of This Book1 Luther’s Theory of Music1 Music among the Seven Liberal Arts2 Sources for Luther’s Theory of Music3 Luther’s Theory of Music4 The Origins of Music5 Music as a ‘Habitus’ and Model of Goodness and Praise2 Hymns and Sacred Songs1 Singing, Preaching, and Praising God through Music2 Lutherans, Music, and the Reformation3 Lutheran Music in the Second Half of the Sixteenth Century4 Lutheran ‘Kantoreien’ as Instruments of Reform3 Martin Luther’s ‘Mighty Fortress’1 Genesis and Dissemination2 Reception from 1600 to 19453 A Hymn of Confidence in God’s Eternal Salvation4 Martin Luther on Images1 Radical Reforms in Wittenberg2 Luther’s Understanding of Images3 Reading ‘Law and Grace’: A Composite ‘Merkbild’ (Image of Remembrance)5 Teaching the Reformation to Read Images of Hate1 Luther’s Adversarial Images2 Later Reception of Luther’s Anti-Semitic Polemic6 Luther and Drama1 Martin Luther and Popular Pre-Reformation Drama2 Luther’s Objections to Popular Drama and Ceremonies3 Lutheran Biblical Drama4 Joachim Greff and Popular Drama5 Dramatising the Bible6 Towards a Protestant Dramatisation of the Passion7 Performing the Passion and Resurrection8 In Defence of Passion Drama9 A Matter of Church PolityConclusionAppendix 1: Luther’s Prefaces to the ‘Symphoniae Iucundae’Appendix 2: Comparing ‘Law and Grace’ (1529–1550)BibliographyIndex

Andreas Loewe, Ph.D (Cantab, 2001), is Dean of Melbourne, and Fellow of the Conservatorium of Music, the University of Melbourne. Publications include Johann Sebastian Bach’s St John Passion (Brill, 2014) and Richard Smyth and the Language of Orthodoxy (Brill, 2003).Katherine Firth, Ph.D. (Oxford Brookes, 2009), manages the academic programs at International House, the University of Melbourne. Recent publications include Your PhD Survival Guide (Routledge, 2021) and How to Fix your Academic Writing Trouble (Open UP, 2018).

• AcknowledgementsList of IllustrationsAbbreviationsIntroduction1 Structure and Scope of This Book1 Luther’s Theory of Music1 Music among the Seven Liberal Arts2 Sources for Luther’s Theory of Music3 Luther’s Theory of Music4 The Origins of Music5 Music as a ‘Habitus’ and Model of Goodness and Praise2 Hymns and Sacred Songs1 Singing, Preaching, and Praising God through Music2 Lutherans, Music, and the Reformation3 Lutheran Music in the Second Half of the Sixteenth Century4 Lutheran ‘Kantoreien’ as Instruments of Reform3 Martin Luther’s ‘Mighty Fortress’1 Genesis and Dissemination2 Reception from 1600 to 19453 A Hymn of Confidence in God’s Eternal Salvation4 Martin Luther on Images1 Radical Reforms in Wittenberg2 Luther’s Understanding of Images3 Reading ‘Law and Grace’: A Composite ‘Merkbild’ (Image of Remembrance)5 Teaching the Reformation to Read Images of Hate1 Luther’s Adversarial Images2 Later Reception of Luther’s Anti-Semitic Polemic6 Luther and Drama1 Martin Luther and Popular Pre-Reformation Drama2 Luther’s Objections to Popular Drama and Ceremonies3 Lutheran Biblical Drama4 Joachim Greff and Popular Drama5 Dramatising the Bible6 Towards a Protestant Dramatisation of the Passion7 Performing the Passion and Resurrection8 In Defence of Passion Drama9 A Matter of Church PolityConclusionAppendix 1: Luther’s Prefaces to the ‘Symphoniae Iucundae’Appendix 2: Comparing ‘Law and Grace’ (1529–1550)BibliographyIndex