Footnotes, Etc.:

Where We Got All this Stuff

Verbatim:
1 Nicholas Cook, A Guide to Musical Analysis (New York: W.W. Norton & Co., 1987) p. 1.
2 Robert Elmore, “The Place of Music in Christian Life” in Leland Ryken, ed., The Christian Imagination: Essays on Literature and the Arts (Grand Rapids, MI: Baker Book House, 1981) p. 431.
3 Anonymous, Musica Enchiriadis, trans. Leonie Rosenstiel (Colorado Springs, CO: Colorado College Music Press, 1976) 31.
4 Clement of Alexandria, De Institutione Musica, Bk. 1:2 in Oliver Strunk, Source Readings in Music History: Antiquity and the Middle Ages (New York: W.W. Norton & Co., 1965), p. 62.
5 Roger Scruton, The Aesthetics of Music (Oxford: Clarendon Press, 1997) p. 502.
6 C.S. Lewis, “How the Few and the Many Use Music” in Ryken, Christian Imagination, p. 437.
7 Frank Gaebelein, “The Christian and Music” in Ryken, Christian Imagination, p. 448.
8 Merchant of Venice, Act, 5,1
9 Cited at http://www.cyber-nation.com/victory/quotations/subjects/quotes_music.html

Husbandry:
1 I am indebted to Bill Mouser’s “Five Aspects of Man” study course for this insight.

Stauron:
1 James White, The Forgotten Trinity (Minneapolis: Bethany House, 1998), 26, (emphasis added).
2 ibid, as cited on p. 184.

Musica:
1 Motets are polyphonic (many-voiced) compositions in which each voice has its own melody. These melodies are usually imitative of each other. The music is set to a sacred text.
2 The ordinary are the parts of the Mass that are the same each week (Kyrie, Gloria, Credo, Sanctus, and Agnus Dei) as opposed to those parts which change each time according to the festival being celebrated or the church calendar.
3 Le Roy himself composed several exquisite settings of the Genevan Psalm tunes for lute.
4 The translation is from Oliver Strunk ed., Source Readings in Music History (New York: W. W. Norton & Company, Inc., 1950), 349.

Recipio:
1 Milton Terry, Biblical Hermenuetics, (Grand Rapids: Zondervan, 1974) p.90.
2 ibid. p.90.
3 OK. I had to have my Hebrew instructor John Schwandt point it out. And he got it from his instructor, Mark Futato.
4 Preface to Natalie Duddington’s translation of Pushkin’s The Captain’s Daughter.
5 Preface to Bayard Taylor’s translation of Goethe’s Faust.