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• 1. Muenster, R. und Schmid, H. Bayerische Musikgeschichte.
• 2. Goethel, F. Ausstellungskatalog, Augsburg, Juli bis Oktober 1972.

• Vorbemerkung
• Glocken : Geschichte, Klang, Kunst und Mythos
• Einstimmung
• Kurze Glockengeschichte : Paulinus von Nola, Alexander der Große und Kaiser Augustus Signa ecclesiae : Die Ramsacher Glocke : Die Iggensbacher Glocke die "Glocka" von Heidenheim : die "Schedula diversarum artium" oder : Wie gieße ich eine Glocke? : der große Schritt : Moderne Glocken
• Vom Klang : Schlag- und Teiltöne : Melodie, Harmonie und Stimmung Notierung
• Vom Guss : der Fehlguss der Wiener Pummerin : ein Politikum : die Glockenrippe die drei "Blumentöpfe" : der Guss : Fehlgüsse und Missklang
• Von der Glockenzier : die Gilchinger Arnoldusglocke : Gotische Glockenzier : Renaissance und Barock : Glockenzier des Historismus und der Gegenwart
• Der Herr der Töne : Glocke und Klöppel : Glocken im Schalllabor : In der Klöppelschmiede der Dopplereffekt : der Klöppelfanger
• Von den Totenglocken : Trauerkultur : Läuteverbot als Strafe und Waffe : Totenglocke und "Memento mori"
• Wer läutet? : von Clochards, Mesnern und Computern : das Seil : Werkzeug des Glöckners
• Von den Türmen : "Turm im Turm": der Glockenstuhl : Blitzableiter und Stadtbrände Turmimpressionen : Solche und solche Türme
• Glocken und Krieg : Glockenbronze zu Kanonenerz : Glocken in der Brandschatzung Glocken in den Weltkriegen : Guss und Schuss
• Weihe und Wunder : Glockenweihe : Wetterglocken : Glockenaberglauben
• Glocke und Gemüt : der Heimatglocke trauter Klang : Glocken als Ärgernis : Glocke und Kunst : Läuten und Klingeln
• Von den Glockensagen : der Eigenwille der Glocke : Karl der Große und das Klageglöcklein Kohlberger Glockensage : das Haus "Zur steinernen Glocke" in Prag
• Das Lied von der Glocke : Weshalb die Glocke? : Schiller recherchiert : die Meyersche : Glockengießerei in Rudolstadt
• Bayerns klangvollste Kirchengeläute
• Altötting : Stiftspfarrkirche St. Philippus und Jakobus
• Amberg : Basilika St. Martin
• Aschaffenburg : Basilika St. Peter und Alexander
• Augsburg : Stiftsbasilika St.Ulrich und Afra
• Bamberg : Dom St. Peter und St. Georg
• Berchtesgaden : Stiftskirche St. Peter und Johannes der Täufer
• Bischberg : Pfarrkirche St. Markus
• Burghausen : Pfarrkirche St. Jakob
• Coburg : Evangelisch-lutherische Stadtkirche St. Moriz
• Donauwörth : Liebfrauenmünster
• Eichstätt : Willibaldsdom
• Freising : Dom St. Maria und St. Korbinian
• Füssen : Basilika St. Mang
• Garmisch : Katholische Pfarrkirche St. Martin
• Gößweinstein : Wallfahrtskirche zur Allerheiligsten Dreifaltigkeit
• Heidenheim : Evangelisches Münster St. Wunibald
• Ingolstadt : Münster zur Schönen Unserer Lieben Frau
• Kastl in der Oberpfalz : Pfarrkirche St. Peter
• Kitzingen : Evangelische Stadtkirche
• Landshut : Stadtpfarr- und Kollegiatsstiftskirche St. Martin und Kastulus
• Lindau : Evangelische Stadtkirche St. Stephan
• Miltenberg : Katholische Pfarrkirche St. Jakobus
• München : Frauenkirche
• München : Pfarrkirche St. Peter
• Nürnberg : Lorenzkirche
• Passau : Dom St. Stephan
• Regensburg : Dom St. Peter
• Rosenheim : Stadtpfarrkirche St. Nikolaus
• Rothenburg ob der Tauber : Kirche St. Jakob
• Scheyern : Klosterkirche Mariä Himmelfahrt und zum Heiligen Kreuz
• Steingaden : Wallfahrtskirche zum Gegeißelten Heiland auf der Wies
• Straubing : Basilika St. Jakob
• Vilshofen : Stadtpfarrkirche St. Johannes der Täufer
• Wengen im Allgäu : Pfarrkirche St. Johannes Baptist
• Würzburg : Kiliansdom
• Anhang
• Glossar
• Verzeichnis der erwähnten Orte und Glockengießer
• Literatureverzeichnis (in Auawahl)
• Quellenverziechnis der Audio-CD
• Bildnachweis
• Dank
• Impressum.

• Table of Contents
• Acknowledgments
• Abbreviations for Source Locations
• I. Sound, Space, and Confession in Counter-Reformation Bavaria
• Historical soundscapes
• Sound, space, and place
• Identity, discipline, and confessionalization
• The soundscapes of Counter-Reformation Bavaria
• The structure and scope of the book
• II. Sound and the Spaces of Worship
• Public churches and the experience of liturgical space
• Congregational song
• St. Michael in Munich, the Jesuits, and Counter-Reformation worship
• Cathedral, Collegiate, and Parish churches in the age of Tridentine reform
• The cathedral of Freising
• Unsere Liebe Frau in Munich
• St. Peter in Munich
• Liturgy in the religious orders
• Courtly spaces for liturgy: the Bavarian court chapel
• The court chapel of St. George and liturgical music in the sixteenth
• century
• The new court chapel of Mary of the Immaculate Conception and
• liturgical music under Maximilian I
• III. Sound and Spaces of Devotion
• Devotional polyphony for cultivated spaces
• Monastic devotion
• Confraternities and congregations
• The Marian Congregations
• Marian, Eucharistic, and other confraternities
• Corporate devotional services and gatherings
• Funerals and burials
• Salve services
• Seasonal devotions for Christmas and Lent
• Supplications and Celebrations
• Song and the soundscape
• IV. Sound and Confession in the Civic Sphere
• Bells and the urban soundscape
• Regulating the sounds of profane life
• Song in the public sphere
• Sound in public religious spectacles
• V. Music, Sound, and Processional Culture
• Corpus Christi processions
• The Corpus Christi procession in Munich
• Good Friday processions
• Processions of supplication and triumph
• VI. Sound, Pilgrimage, and the Spiritual Geography of Counter-Reformation Bavaria
• Pilgrimage in the Reformation and Counter-Reformation
• The music of pilgrimage: songs and litanies
• Bavarian pilgrimage songs
• The litany in Bavarian pilgrimage
• Sound in the practice of pilgrimage
• Departure
• En route and upon arrival
• A pilgrimage to St. Benno in Munich
• Bibliography
• Index.
• (source: Nielsen Book Data)

Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria explores the nature of sound as a powerful yet ambivalent force in the religious struggles that permeated Germany during the Counter-Reformation. Author Alexander J. Fisher goes beyond a musicological treatment of composers, styles, and genres to examine how music, and more broadly sound itself, shaped the aural landscape of Bavaria as the duchy emerged as a militant Catholic bulwark. Fisher focuses particularly on the ways in which sound-including bell-ringing, gunfire, and popular song, as well as cultivated polyphony-not only was deployed by Catholic secular and clerical elites to shape the religious identities of Bavarian subjects, but also carried the potential to challenge and undermine confessional boundaries. Surviving literature, archival documents, and music illustrate the ways in which Bavarian authorities and their allies in the Catholic clergy and orders deployed sound to underline crucial theological differences with their Protestant antagonists, notably the cults of the Virgin Mary, the Eucharist, and the saints. Official and popular rituals like divine worship, processions, and pilgrimages all featured distinctive sounds and music that shaped and reflected an emerging Catholic identity. Although officials imposed a severe regime of religious surveillance, the Catholic state's dominance of the soundscape was hardly assured. Fisher traces archival sources that show the resilience of Protestant vernacular song in Bavaria, the dissemination and performance of forbidden, anti-Catholic songs, the presence of Lutheran chorales in nominally Catholic church services into the late 16th century, and the persistence of popular "noise" more generally. Music, Piety, and Propaganda thus reveals historical, theological, and cultural issues of the period through the piercing dimension of its sounds, bringing into focus the import of sound as a strategic cultural tool with significant impact on the flow of history.
(source: Nielsen Book Data)

• Zeremonielle Funktionen von Musik am Hof Max Emanuels / Sebastian Werr
• Die Oper als politisches Medium Funktionen des Musiktheaters am Hof Max Emanuels / Bernhard Jahn
• "Pour le chant je suis du goust Italien, mais pour quelques instruments on exèle en france" : Bayerisch-französische Musikerbeziehungen unter Kurfürst Max Emanuel / Margret Scharrer
• "De' Bavari Monarchi Glorioso germoglio" : Musik am Kurkölner Hof zur Regierungszeit des Kurfürsten Joseph Clemens, Bruder Max Emanuels / Juliane Riepe
• Kurfürstin Therese Kunigunde von Bayern in Venedig (1705-1715) / Berthold Over
• Max Emanuels Aufenthalt in Brüssel und die Opéra du Quai au Foin (1682-1697) / Jean-Philippe von Aelbrouck
• Pietro Torri und das Wittelsbacher Musiktheater im Exil Neue Quellen und Erkenntnisse / Barbara Zuber
• Intertext, Hypertext, Pastiche : Zum "Parodie"-Problem in Pietro Torris Le Triomphe de la paix / Thomas Betzwieser
• Max Emanuel und seine französischen Musiker / Catherine Cessac
• Repräsentation im Wettstreit : Französische Stilzitate und musikalischtheatralische Festelemente in Torris Drammi per musica / Manuela Jahrmärker
• On Steffaniʼs Munich operas / Colin Timms
• Herrscherallegorie und Charakterdrama : Agostino Steffanis Niobe / Sieghart Döhring
• "Eccomi dunque intutto fortunato" : Filippo Balatri als Sänger am Hofe Max Emanuels / Daniela Sadgorski
• Kontrapunkt und Philosophie : Pietro Torris Sol di pianto / Inga Mai Groote
• Zum Repertoire der italienischen Kantatenkomposition am Münchner und Wiener Hof / Friedrich Wilhelm Riedel, Leonhard Riedel
• Von der Kompanie zum Orchester : Die Münchner Hofkapelle in der Regierungszeit Max Emanuels / Josef Focht
• Die Considerationes von Franz Lang für die Münchner Grosse Marianische Kongregation (1694-1706) und ihre Veröffentlichung (1717) / Anne-Claire Magniez.

• Gedruckte Passionslieder im niederbayerischen Raum von der Renaissance bis zur Gegenwart / Helmut Wagner
• Musikalische "Orte" und ihr Liedgut bei volksfrommer Begehung der Passion / Fritz Markmiller
• Die Reischacher Ölbergandacht / Michael Bauer
• Die Loferer Passion / Cesar Bresgen
• Passion in Mundart, ein "Sumpfstreifzug" / Hermann Unterstöger
• Das Passionssingen heute / Ernst Schusser.

• Table of Contents
• Acknowledgments
• Abbreviations for Source Locations
• I. Sound, Space, and Confession in Counter-Reformation Bavaria
• Historical soundscapes
• Sound, space, and place
• Identity, discipline, and confessionalization
• The soundscapes of Counter-Reformation Bavaria
• The structure and scope of the book
• II. Sound and the Spaces of Worship
• Public churches and the experience of liturgical space
• Congregational song
• St. Michael in Munich, the Jesuits, and Counter-Reformation worship
• Cathedral, Collegiate, and Parish churches in the age of Tridentine reform
• The cathedral of Freising
• Unsere Liebe Frau in Munich
• St. Peter in Munich
• Liturgy in the religious orders
• Courtly spaces for liturgy: the Bavarian court chapel
• The court chapel of St. George and liturgical music in the sixteenth
• century
• The new court chapel of Mary of the Immaculate Conception and
• liturgical music under Maximilian I
• III. Sound and Spaces of Devotion
• Devotional polyphony for cultivated spaces
• Monastic devotion
• Confraternities and congregations
• The Marian Congregations
• Marian, Eucharistic, and other confraternities
• Corporate devotional services and gatherings
• Funerals and burials
• Salve services
• Seasonal devotions for Christmas and Lent
• Supplications and Celebrations
• Song and the soundscape
• IV. Sound and Confession in the Civic Sphere
• Bells and the urban soundscape
• Regulating the sounds of profane life
• Song in the public sphere
• Sound in public religious spectacles
• V. Music, Sound, and Processional Culture
• Corpus Christi processions
• The Corpus Christi procession in Munich
• Good Friday processions
• Processions of supplication and triumph
• VI. Sound, Pilgrimage, and the Spiritual Geography of Counter-Reformation Bavaria
• Pilgrimage in the Reformation and Counter-Reformation
• The music of pilgrimage: songs and litanies
• Bavarian pilgrimage songs
• The litany in Bavarian pilgrimage
• Sound in the practice of pilgrimage
• Departure
• En route and upon arrival
• A pilgrimage to St. Benno in Munich
• Bibliography
• Index.
• (source: Nielsen Book Data)

Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria explores the nature of sound as a powerful yet ambivalent force in the religious struggles that permeated Germany during the Counter-Reformation. Author Alexander J. Fisher goes beyond a musicological treatment of composers, styles, and genres to examine how music, and more broadly sound itself, shaped the aural landscape of Bavaria as the duchy emerged as a militant Catholic bulwark. Fisher focuses particularly on the ways in which sound-including bell-ringing, gunfire, and popular song, as well as cultivated polyphony-not only was deployed by Catholic secular and clerical elites to shape the religious identities of Bavarian subjects, but also carried the potential to challenge and undermine confessional boundaries. Surviving literature, archival documents, and music illustrate the ways in which Bavarian authorities and their allies in the Catholic clergy and orders deployed sound to underline crucial theological differences with their Protestant antagonists, notably the cults of the Virgin Mary, the Eucharist, and the saints. Official and popular rituals like divine worship, processions, and pilgrimages all featured distinctive sounds and music that shaped and reflected an emerging Catholic identity. Although officials imposed a severe regime of religious surveillance, the Catholic state's dominance of the soundscape was hardly assured. Fisher traces archival sources that show the resilience of Protestant vernacular song in Bavaria, the dissemination and performance of forbidden, anti-Catholic songs, the presence of Lutheran chorales in nominally Catholic church services into the late 16th century, and the persistence of popular "noise" more generally. Music, Piety, and Propaganda thus reveals historical, theological, and cultural issues of the period through the piercing dimension of its sounds, bringing into focus the import of sound as a strategic cultural tool with significant impact on the flow of history.
(source: Nielsen Book Data)