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Church Music and the Council of Trent 577 November 1563, a new formulation was devised and the task of carrying out the provisions for church music was entrusted to the Provincial Synods.3 The Council confined itself to a few principles which were designed to delimit the scope of church music.
The Council of Trent The canons and decrees of the sacred and oecumenical Council of Trent, Ed. and trans. J. Waterworth (London: Dolman, 1848) Hanover Historical Texts Project Scanned by Hanover College students in 1995. Notes and J. Waterworth's Preface The Complete Text By Session Bull of Indiction The First Session
The Council of Trent: Reform and Controversy in Europe and Beyond (1545–1700). Vol. 1 Louvain’s Contribution to the Ongoing Historiography on the Council of Trent 19 and musical culture. Moreover, this volume focusses on the global impact of Trent through missions in the Americas, Africa, and Asia.
reformers had called into question not only its theology and how it was articulated but also the nature of its community, its liturgy, its rituals and the music associated with them. A direct precursor of those musical changes was Luther’s translation of the Bible from Latin to German, completed in 1534, a work that became a true monument
The pronouncements of local church councils through-out Europe on the subject of abuses in music were but reflections of a general dissatisfaction with the condition of liturgical affairs.1 And by 1563, when the Council of Trent finally adopted its official position on the matter, the Council fathers could look back upon decades of com-
The Council of Trent addressed church music in the 16th century to curb abuses and establish fundamental principles. It insisted that music uplift worshippers and have intelligible text, avoiding secular expressions.
Reform and controversy in Europe and beyond (1545–1700), I: Between Trent, Rome and Wittenberg; II: Between bishops and princes; III: Between artists and adventurers. Edited by Wim François and Violet Soen.
