Music and Power at the Court of Louis XIII
Sounding the Liturgy in Early Modern France
- English
- PDF
- Available on iOS & Android
About this book
What role did sacred music play in mediating Louis XIII's grip on power in the early seventeenth century? How can a study of music as 'sounding liturgy' contribute to the wider discourse on absolutism and 'the arts' in early modern France? Taking the scholarship of the so-called 'ceremonialists' as a point of departure, Peter Bennett engages with Weber's seminal formulation of power to consider the contexts in which liturgy, music and ceremonial legitimated the power of a king almost continuously engaged in religious conflict. Numerous musical settings show that David, the psalmist, musician, king and agent of the Holy Spirit, provided the most enduring model of kingship; but in the final decade of his life, as Louis dedicated the Kingdom to the Virgin Mary, the model of 'Christ the King' became even more potent – a model reflected in a flowering of musical publication and famous paintings by Vouet and Champaigne.
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Information
Table of contents
- Cover
- Half-title
- Title page
- Copyright information
- Contents
- List of Figures
- List of Tables
- List of Music Examples
- Acknowledgments
- Note on the Texts
- Introduction: Music, Liturgy, and Power
- 1 David's Harp, Apollo's Lyre: Psalms, Music, and Kingship in the Sixteenth Century
- 2 Accession: The Coronation, the Holy Spirit, and the Phoenix
- 3 The Sword of David and the Battle against Heresy
- 4 The Penitent King
- 5 Pillars of Justice and Piety: The Entrée, the Te Deum, and the Exaudiat te Dominus
- 6 Plainchant and the Politics of Rhythm: The Royal Abbey of Montmartre and the Royal Congregation of the Oratory of Jesus Christ
- 7 Succession: The Vow of 1638 and Christ the King
- Conclusion
- Bibliography
- Index