Grounded in the liturgical tradition and scholarship, the author explores what he calls the "new traditionalism" that notes the recent resurgence of interest in ancient forms of liturgy and spiritual practice. Everett communicates the seriousness with which he approaches his subject by offering a brief history of psalms and an exegesis of selected psalm texts. As a composer, he speaks clearly about the process of capturing the essence of each psalm in the brief, but beautiful antiphons that accompany them. The psalter itself consists of musically notated antiphon melodies with chord symbols followed by the printed psalm textwhich is read aloud... Many alternative and emerging church communities have begun exploring ancient music and liturgical traditions despite a lack of high-quality, published liturgical music, which does not require (or even desire) an organ and a four- part choir. The Emergent Psalter serves to provide that resource. Featuring music written for two emerging communities (Transmission in New York and Church of the Apostles in Seattle), this book is an excellent resource for anyone producing alternative worship service or thinking of starting one."

Sacred music has long contributed fundamentally to the making of Europe. The passage from origin myths to history, the sacred journeys that have mobilized pilgrims, crusaders, and colonizers, the politics and power sounded by the vox populi all have joined in counterpoint to shape Europe s historical longue duree. Drawing upon three decades of research in European sacred music, Philip V. Bohlman calls for a reexamination of European modernity in the twenty-first century, a modernity shaped no less by canonic religious and musical practices than by the proliferation of belief systems that today more than ever respond to the diverse belief systems that engender the New Europe. In contrast to most studies of sacred musical practice in European history, with their emphasis on the musical repertories and ecclesiastical practices at the center of society, Bohlman turns our attention to individual and marginalized communities and to the collectives of believers to whose lives meaning accrues upon sounding the sacred together. In the historical chapters that open Revival and Reconciliation, Bohlman examines the genesis of modern history in the convergence and conflict that lie at the heart of the Abrahamic faiths Judaism, Christianity, and Islam. Critical to the meaning of these religions to Europe, Bohlman argues, has been their capacity to mobilize both sacred journey and social action, which enter the everyday lives of Europeans through folk religion, pilgrimage, and politics, the subjects of the second half of his study. The closing sections then cross the threshold from history into modernity, above all that of the New Europe, with its return to religion through revival and reconciliation. Based on an extensive ethnographic engagement with the sacred landscapes and sites of conflict in twenty-first-century Europe, Bohlman calls in his final chapters for new ways of hearing the silenced voices and the full chorus of sacred music in our contemporary world. Ethnomusicologists from different traditions as well as scholars of religious studies and the history of modern Europe will find Revival and Reconciliation a fascinating exploration of the connections between sacred music and the role it plays in the formations of the modern self."

Aristide Cavaille-Coll (1811-1899) is often referred to as the greatest organ builder of all time. The pipe-organ, being the most complicated musical instrument mechanically and tonally, as well as the most expensive, adds significantly to that world's greatest designation. The talents required to be such a person range far from music-making to advanced physics, architecture, and engineering. That, plus the obvious knack to raise vast sums of money. Cavaille-Coll's Monumental Organ Project for Saint Peter's, Rome: Bigger Than Them All, by Ronald Ebrecht, is the story of the quest to build the largest-ever mechanical-action organ in the biggest church at the time. Cavaille-Coll's model for that organ and the book he wrote outlining his proposal are the core of Ebrecht's discussion. Cavaille-Coll bestrode a century as well as an art-form. His century complicated the project with the most intricate, intractable problems. Saint-Peter's Square, now a part of the Vatican City State, was then part of the newly-united Italy, which had just deposed the pope as ruler of the center of Italy and taken the papal lands. The east end of the basilica facing the square and the Tiber became a much disputed boundary. It was a part of the Italian state so hotly contested that the Italian Republicans would not accept the concept of an organ hanged from the basilica wall, lest it shift. Before, or since, has the music sphere ever provoked such a question that could bring nations to swords?

The Supplement continues the tradition of the Catalogue in that it is designed as an aid for the church musician and or pastor seeking to plan unified worship services. It will also be of use to those church musicians who follow the Liturgical Calender and plan music appropriate to the appointed lessons, as well as a source for non-church choir directors who would like to locate choral settings based on a particular passage from Scripture. The Supplement emphasizes music published since 1995, or titles that were overlooked in the previous editions. Entries are arranged from Genesis through Revelation. Each main entry citation provides the biblical reference (book, chapter, and verse), as well as a reference to additional passages from Scripture used in the anthem. The composer, arranger, or editor and the title are listed as they appear on the octavo. Information on voicing, solos, and instrumental accompaniment is noted; the name of the publisher, the most recent date of publication and the octavo number appear at the end of each citation, where information on instrumental parts, other versions of the same title, and collections where the work might appear are also listed. Composer and title indexes round off the work.

Designed for general readers and scholars, this study explores the Lutheran commentary in Bach's St. John Passion and suggests that fostering hostility to Jews is not its subject or purpose. Also included are a literal, annotated translation of the libretto and an appendix discussing anti-Judaism and Bach's other works.

La musica napoletana conosce uno straordinario successo europeo fin dai primi decenni del Settecento. I contributi raccolti in questo volume presentano le fonti e la fortuna dei Napoletani, e di Pergolesi in particolare, a Dresda, in Boemia e in Slesia. Le fonti pergolesiane vengono esaminate fin nei dettagli di scrittura, tanto in vista della nuova edizione critica quanto nella prospettiva della prassi esecutiva storicamente informata. La corrispondenza diplomatica tra Dresda e Napoli si rivela un canale ricchissimo di scambi di informazioni e di partiture. Lontano dalla corte sassone, per la diffusione della musica napoletana giocano un ruolo essenziale alcune famiglie nobiliari boeme. Le case di ordini religiosi (cistercensi, gesuiti) si scambiano tra Boemia e Slesia moltissime composizioni sacre, variamente adattate secondo i bisogni locali. Le opere napoletane sono popolarizzate dalle compagnie girovaghe di cantanti, che solitamente provengono dall'Italia settentrionale. Nuovi elementi biografici e analisi di opere arricchiscono la nostra conoscenza di conterranei o contemporanei di Pergolesi come Giovanni Alberto Ristori, Nicola Porpora, Domenico de Micco e Leonardo Leo. Neapolitan music enjoyed an extraordinary European success starting with the first decades of the 18th century. The contributions to the present volume illustrate the sources and the reception of the Neapolitans, and foremost of Pergolesi, in Dresden, in Bohemia and in Silesia. Pergolesi sources are described down to details of writing, with an eye both to the new critical edition and to historically informed performing practice. Diplomatical correspondence between Dresden and Naples was widely used as a source of musical information and a means of exchanging scores. Far from the Saxon court, the Neapolitan music is encouraged by some prominent Bohemian aristocrats. Different religious houses (cistercians, jesuits) exchange sacred music, variously adapted to local needs. Neapolitan opera is popularised through wandering troupes, coming mostly from Northern Italy. New biographical data and work analyses enrich our knowledge of contemporaries or fellow countrymen of Pergolesi's such as Giovanni Alberto Ristori, Nicola Porpora, Domenico de Micco and Leonardo Leo.

Since Britten's death in 1976, numerous articles and books have been written about his life and work. Much has been made of the strong influences of his pacifism and his homosexuality. It is often suggested that Britten felt himself to be an outsider from 'normal' society, and that this accounts for the his concern to portray the 'outsider' in his operas. There is no doubt that this is an important aspect of Britten's art, but the present work attempts to show that his music embraces much wider and more universal concerns, and in addressing those concerns there is a clearly defined pattern of spiritual influence. Part One of the book examines Britten's early life, and the strong presence which the Church had in his childhood and adolescence. It explores the way in which certain spiritual influences were first manifested, and how, like the more specifically musical 'themes' which Donald Mitchell has noted, they can be traced throughout Britten's life and work. The author was privileged to have conversations with two clergymen who were influential in Britten's life, as well as gathering valuable insights through a long series of conversations with Sir Peter Pears. Part Two examines a wide range of the composer's music in which a spiritual dimension can be traced. The specifically liturgical music has received rather less critical notice than Britten's larger works. The music is discussed here, and shown to possess musical characteristics in common with the larger works. Britten could not be described as a conventional Christian; still less is it true to describe him, as Eric Walter White has done, as 'keen, wherever possible, to work within the framework of the Church of England'. Nevertheless, his spirituality was rooted in the religious experience of his childhood. This book seeks to demonstrate that Britten retained a sense of the Christian values absorbed in childhood and adolescence, and that these - along with the specifically Christian heritage of plainsong - were strongly influential in his choice and treatment of themes.

Felix Mendelssohn is one of the most celebrated figures of the early Romantic period. As a composer of sacred texts, he is chiefly remembered today for the oratorios Paulus (1836) and Elijah (1846). In this groundbreaking study, Siegwart Reichwald offers a meticulous analysis of Paulus, beginning with a general overview of the oratorio traditions of the early nineteenth century. He details the phases of the compositional process of Paulus as well as principles governing its development. Numerous musical examples, figures, and tables accompany the text. This thorough treatment of Paulus, while shedding light on Mendelssohn's approach to the oratorio and to sacred music in general, will be of interest to students of musicology.

The tradition of Old Hispanic liturgical chant is here examined through a new methodology, enabling striking new insights into its use. Medieval Iberian liturgical practice was independent of the Roman liturgy. As such, its sources preserve an unfamiliar and fascinating devotional journey through the liturgical year. However, although Old Hispanic liturgical chanthas long been considered one of the most important medieval chant traditions, what musical notation to survive shows only where the melodies rise and fall, not precise intervals or pitches. This lack of pitch-readable notation has prevented scholars from fully engaging with the surviving sources - a gap which this book aims to fill, via a new methodology for analysing the melodies and the relationship between melody and text. Focussing on three genres of chant sung during the Old Hispanic Lent (the threni, psalmi, and Easter Vigil canticles), the book takes a holistic view of the texts and melodies, setting them in the context of their liturgical and intellectual surroundings, and, for the Easter Vigil, exploring the relationship between different Old Hispanic traditions and other western liturgies. It concludes that the theologically purposeful text selections combine with carefully shaped melodies to guide the devotional practice of their hearers. Emma Hornby is a Reader in Music , University of Bristol; Rebecca Maloy is Associate Professor of Music, University of Colorado at Boulder.

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Geistliche Lieder und Psalmen, 1567, was compiled and published by Johann Leisentrit, a Roman Catholic priest who from 1559 to the time of his death in 1586, was Dean at the Cathedral of St. Peter's in Bautzen, a town in southeastern Germany. His hymnbook appeared in three complete editions (1567, 1573, 1584), and in abridged editions in 1575, 1576, and 1589. By adapting the vernacular hymn, a genre created by Protestant reformers, Leisentrit hoped to bring back to the "true church" (wahrglaubiger Christlicher Kirchen) those who had defected to Lutheranism. This was a formidable ambition because his diocese was located adjacent to the Moravian-Bohemian regions where the Protestant movement was born and remained vital. Containing approximately 260 texts set to 175 notated melodies, many borrowed from Protestant sources and adapted to serve Roman Catholic objectives, Leisentrit's book was the second Catholic hymnbook to be published in the sixteenth century. It surpassed its Protestant and Catholic precursors in scope and provided a model for the profusion of hymnbooks of numerous confessions that appeared in Germany in the seventeenth and eighteenth centuries . Wetzel and Heitmeyer present their study in two parts: The first comprises six contextual chapters that survey earlier German achievements in hymnody, provide analyses of the texts and music in Leisentrit's book, and assess his achievement within the volatile environment of the Counter Reformation. The second gives the melodies in modern notation along with the first stanzas of the texts; provides detailed concordances and references to sources that identify textual and musical provenances; and concludes with six appendixes to facilitate scholarly cross-references. Fourteen of the seventy wood engravings from Leisentrit's book, many of which are visual representations of the prevailing confessional conflicts, are given in enlarged reproductions. The authors provide the only comprehensive study in English of a unique religious figure and his efforts to achieve confessional reconciliation in the decades following the Council of Trent. They add to a more accurate interpretation of the relationship between Lutherans and Catholics in the sixteenth century and support the hypothesis that some Lutherans remained more liturgically formal than their Catholic contemporaries.

Shpil: The Art of Playing Klezmer is both a history of this popular form of traditional Jewish music and an instructional book for professional and amateur musicians. Since the revival of klezmer music in the United States in the mid-1970s, Yiddish songs and klezmer dance melodies have served as the soundtrack for a resurgence of interest in Ashkenazic Jewish culture across the globe. Klezmer has taken root not only in America s major urban centers New York City, Chicago, San Francisco but also in emerging Jewish music hotspots like St. Petersburg, Buenos Aires, Krakow, and Tokyo. Its high energy, emotionally driven sound, and evocative Yiddish lyrics have found audiences everywhere. Shpil offers an expansive history of klezmer, from its medieval origins to the present era, and its contributors encompass a cast of world-renowned musicians who have recorded, performed, and studied klezmer for years. Individual chapters concentrate on the most common instruments found in a klezmer ensemble violin, clarinet, accordion, bass, percussion, and voice and conclude with a selection of three songs that illustrate and exemplify the history and techniques of that instrument. Shpil includes a glossary and a discography of both classic and new klezmer and Yiddish recordings, all designed to guide readers in an appreciation of this remarkable musical genre and the art of playing and singing klezmer tunes. Shpil: The Art of Playing Klezmer is ideal for amateur enthusiasts, musical scholars, beginning artists, and professional musicians, both solo and ensemble indeed, anyone who wants to experience the joy of listening to and playing this thousand-year-old folk music.

Christian churches and groups within Anglo-American contexts have increasingly used popular music as a way to connect with young people. This book investigates the relationships between evangelical Christianity and popular music, focusing particularly on electronic dance music in the last twenty years. Author Stella Lau illustrates how electronic dance music is legitimized in evangelical activities by Christians discourses, and how the discourses challenge the divide between the secular and the sacred in the Western culture.

Unlike other existing books on the relationships between music cultures and religion, which predominantly discuss the cultural implications of such phenomenon, Popular Music in Evangelical Youth Culture examines the notion of spirituality in contemporary popular electronic dance music. Lau s emphasis on the sonic qualities of electronic dance music opens the door for future research about the relationships between aural properties of electronic dance music and religious discourses. With three case studies conducted in the cultural hubs of electronic dance music Bristol, Ibiza and New York the monograph can also be used as a guidebook for ethnographic research in popular music.

Whether you're in a band yourself or part of a ministry involved with teams, this book can help you on your journey. For thirty years, musician, songwriter, and worshipper Tom Lane has worked in the Christian worship music industry and alongside churches, ministries, and movements around the world associated with worship. In this collection of articles, Tom encourages honesty and clear communication from all sides while aiming for the right thing - to be a band that worships, first and foremost. Spiritual, relational, professional, and practical issues relevant for individuals and groups in worship ministry of any kind are addressed head on. Historically, bands have helped lead revolutions, crusades, campaigns, churches, rallies, and entire nations. The role bands play in worship, though important, is not the pinnacle of the calling or mandate according to Jesus. While it's okay to have a good rock band and want to go places, many creatively gifted Christians miss the mark entirely and are derailed by their own quests for something other than God. Likewise, worship teams sometimes miss the mark by placing too much emphasis on performance and not enough on relationships. This book will help lay the foundation for a healthier pursuit of creative dreams and a closer walk with God. The book includes a Top 10 Must-Do List for Bands, with quotes from an A-list of musicians and worship leaders, including Paul Baloche, Matt Redman, Tim Hughes, Daniel, Brenton Brown, Vinnie Colaiuta, Carl Albrecht, Mia Fieldes, Kathryn Scott, Lincoln Brewster, and more!

Beth Szczepanski examines how traditional and modern elements interact in the current practice, reception and functions of wind music, or shengguan, at monasteries in Wutaishan, one of China's four holy mountains of Buddhism. The book provides an invaluable insight into the political and economic history of Wutaishan and its music, as well as the instrumentation, notation, repertoires, transmission and ritual function of monastic music at Wutaishan, and how that music has adapted to China's current economic, political and religious climate. The book is based on extensive field research at Wutaishan from 2005 to 2007, including interviews with monks, nuns, pilgrims and tourists. The author learned to play the sheng mouth organ and guanzi double-reed pipe, and recorded dozens of performances of monastic and lay music. The first extensive examination of Wutaishan's music by a Western scholar, the book brings a new perspective to a topic long favored by Chinese musicologists. At the same time, the book provides the non-musical scholar with an engaging exploration of the historical, political, economic and cultural forces that shape musical and religious practices in China.

The interrelationship of music and theology is a burgeoning area of scholarship in which conceptual issues have been explored by musicologists and theologians including Jeremy Begbie, Quentin Faulkner and Jon Michael Spencer. Their important work has opened up opportunities for focussed, critical studies of the ways in which music and theology can be seen to interact in specific repertoires, genres, and institutions as well as the work of particular composers, religious leaders and scholars. This collection of essays explores such areas in relation to the religious, musical and social history of nineteenth-century Britain. The book does not simply present a history of sacred music of the period, but examines the role of music in the diverse religious life of a century that encompassed the Oxford Movement, Catholic Emancipation, religious revivals involving many different denominations, the production of several landmark hymnals and greater legal recognition for religions other than Christianity. The book therefore provides a valuable guide to the music of this complex historical period.

The Art of Avaz and Mohammad Reza Shajarian: Foundations and Contexts, by Rob Simms and Amir Koushkani, examines the traditional art of singing classical Persian poetry, as represented by its greatest living exponent. This in-depth study surveys the social and historical context of the twentieth-century tradition of avaz while placing Shajarian's early career within this complex culture, from being a child prodigy of Qur'an recitation in Mashhad to his rise to national prominence in the 1970s. As a globetrotting celebrity who is renowned for singing medieval poetry with impeccable technique and radiant inspiration, Shajarian's life and work provide a compelling case study for larger issues of reconciling tradition and modernity, and the crucial role of the individual in maintaining and renovating traditional art forms. Avaz is discussed in the broader context of Iranian narrative performance traditions, where the performer retells well-known scripts in a way that is appropriate to the audience and the present occasion, spinning the tale to convey a personal message. Shajarian's career also exemplifies the huge changes that Iranian musical culture underwent in the 1960s and 70s. Finally, the study includes a detailed examination of the materials and creative processes of Shajarian's artistic craft, including his acquisition process and training, vocal technique, selection and treatment of poetry, use of traditional musical materials, and his balance of engaging preset materials with improvisation. The Art of Avaz and Mohammad Reza Shajarian is an impressively detailed study of the music, life, and environment of the most influential musician in Iranian classical music of the past three decades.

Ferdinand III played a crucial role both in helping to end the Thirty Years' War and in re-establishing Habsburg sovereignty within his hereditary lands, and yet he remains one of the most neglected of all Habsburg emperors. The underlying premise of Sacred Music as Public Image for Holy Roman Emperor Ferdinand III is that Ferdinand's accomplishments came not through diplomacy or strong leadership but primarily through a skillful manipulation of the arts, through which he communicated important messages to his subjects and secured their allegiance to the Catholic Church. An important locus for cultural activity at court, especially as related to the Habsburgs' political power, was the Emperor's public image. Ferdinand III offers a fascinating case study in monarchical representation, for the war necessitated that he revise the image he had cultivated at the beginning of his reign, that of a powerful, victorious warrior. Weaver argues that by focusing on the patronage of sacred music (rather than the more traditional visual and theatrical means of representation), Ferdinand III was able to uphold his reputation as a pious Catholic reformer and subtly revise his triumphant martial image without sacrificing his power, while also achieving his Counter-Reformation goal of unifying his hereditary lands under the Catholic church. Drawing upon recent methodological approaches to the representation of other early modern monarchs, as well as upon the theory of confessionalization, this book places the sacred vocal music composed by imperial musicians into the rich cultural, political, and religious contexts of mid-seventeenth-century Central Europe. The book incorporates dramatic productions such as opera, oratorio, and Jesuit drama (as well as works in other media), but the primary focus is the more numerous and more frequently performed Latin-texted paraliturgical genre of the motet, which has generally not been considered by scholars as a vehicle for monarchical representation. By examining the representation of this little-studied emperor during a crucial time in European history, this book opens a window into the unique world view of the Habsburgs, allowing for a previously untold narrative of the end of the Thirty Years' War as seen through the eyes of this important ruling family.

It may seem unexpected to assert that controversy surrounds the introduction of hymns in religious life in England. Though many scholars have worked to catalog and index hymns, few have investigated the evolution of hymns, and their proposed meaning to religious celebration. A historical as well as a critical project, The Matter and Manner of Praise undermines the compulsion to assume that hymn-making and religion were always considered to coexist effortlessly. Most histories of hymnody and evangelical movements in England have elided the depth of feeling and concern that surrounded the debate over hymns and their use during liturgy. McCart uncovers, reexamines, and comments upon this debate. He illuminates a partly unexplored topic in English church history, by tracing the controversial shift from metrical psalms to hymnody, and also takes into account legal issues and litigation that developed over the introduction of hymns into church life. An insightful study that should be fascinating reading for anyone interested in teasing apart the historical nature of religious ceremonies and hymns.

Psalms in the Early Modern World is the first book to explore the use, interpretation, development, translation, and influence of the Psalms in the Atlantic world, 1400-1800. In the age of Reformation, when religious concerns drove political, social, cultural, economic, and scientific discourse, the Bible was the supreme document, and the Psalms were arguably its most important book.The Psalms played a central role in arbitrating the salient debates of the day, including but scarcely limited to the nature of power and the legitimacy of rule; the proper role and purpose of nations; the justification for holy war and the godliness of peace; and the relationship of individual and community to God. Contributors to the collection follow these debates around the Atlantic world, to pre- and post-Hispanic translators in Latin America, colonists in New England, mystics in Spain, the French court during the religious wars, and both Protestants and Catholics in England. Psalms in the Early Modern World showcases essays by scholars from literature, history, music, and religious studies, all of whom have expertise in the use and influence of Psalms in the early modern world. The collection reaches beyond national and confessional boundaries and to look at the ways in which Psalms touched nearly every person living in early modern Europe and any place in the world that Europeans took their cultural practices.

Quotations on Jewish Sacred Music is a collection of over 700 quotations culled from an array of sources, including rabbinic and theological texts, sociological and anthropological studies, and historical and musicological examinations. The book is divided into five chapters: What Is Jewish Music?; Spirituality and Prayer; Hazzan-Cantor; Cantillation-Biblical Chant; and Nusach ha-Tefillah-Liturgical Chant. Taken as a whole, these quotations demonstrate both the centrality of music in Jewish religious life and the diversity of thought on the subject. They can be used with profit in sermons, speeches, and papers, and may be read in order or selectively. This is a valuable and easy-to-use reference book for scholars, musicians, synagogue staff, and anyone else seeking concise thoughts on major aspects of Jewish sacred music.

for SATB and organ The Mass for All Saints is a captivating setting of the Latin Missa brevis. The accessible choral lines, idiomatic organ part, and colourful harmonies make this an ideal work for choirs looking for a fresh take on familiar words.

Nearly all religious traditions have reserved a special place for sacred music. Whether it is music accompanying a ritual or purely for devotional purposes, music composed for entire congregations or for the trained soloist, or music set to holy words or purely instrumental, in some form or another, music is present. In fact, in some traditions the relation between the music and the ritual is so intimate that to distinguish between them would be inaccurate. The A to Z of Sacred Music covers the most important aspects of the sacred music of Buddhism, Christianity, Confucianism, Hinduism, Islam, Judaism, and other smaller religious groups. It provides useful information on all the significant traditions of this music through the use of a chronology, an introductory essay, a bibliography, appendixes, and hundreds of cross-referenced dictionary entries on major types of music, composers, key religious figures, specialized positions, genres of composition, technical terms, instruments, fundamental documents and sources, significant places, and important musical compositions.

'Church Music and Protestantism in Post-Reformation England' breaks new ground in the religious history of Elizabethan England, through a closely focused study of the relationship between the practice of religious music and the complex process of Protestant identity formation. Hearing was of vital importance in the early modern period, and music was one of the most prominent, powerful and emotive elements of religious worship. But in large part, traditional historical narratives of the English Reformation have been distinctly tone deaf. Recent scholarship has begun to take increasing notice of some elements of Reformed musical practice, such as the congregational singing of psalms in meter. This book marks a significant advance in that area, combining an understanding of theory as expressed in contemporary religious and musical discourse, with a detailed study of the practice of church music in key sites of religious worship. Divided into three sections - 'Discourses', 'Sites', and 'Identities' - the book begins with an exploration of the classical and religious discourses which underpinned sixteenth-century understandings of music, and its use in religious worship. It then moves on to an investigation of the actual practice of church music in parish and cathedral churches, before shifting its attention to the people of Elizabethan England, and the ways in which music both served and shaped the difficult process of Protestantisation. Through an exploration of these issues, and by reintegrating music back into the Elizabethan church, we gain an expanded and enriched understanding of the complex evolution of religious identities, and of what it actually meant to be Protestant in post-Reformation England.