Joachimsthal, in Brown's view, represented a healthy Lutheran symbiosis of high art and folk art, Latin school and German vernacular, upper and lower classes, literate and illiterate, clergy and laity, men and women, and worship in public at church and in private at home.
Brown uses a wide range of resources to get at the material: narrative histories of Joachimsthal, diaries, sermons, the work of Herman and Mathesius, biographies, and studies.
Herl would admit occasional flourishes of both choral and congregational vigor as with Praetorius in Wolfenbuttel or Kuhnau and Bach in Leipzig (Worship Wars, 177), and Brown would point to substantial hymn singing in Joachimsthal before the Sunday service and at school and home (39).
Brown poses Joachimsthal as a case study to demonstrate just the opposite.
In a world like ours where technique, allied to advertising, is determinative in all areas of life not just in the technical ones, the tendency is to read the past as if technique of some sort--mobilizing the social matrix or hymn singing as technique--is the means whereby the Christian faith is communicated or people are "indoctrinated," Brown's study suggests that the Lutheran perspective as evidenced in Joachimsthal is very different from ours.
Apart from the matters just raised, it clarifies musical roots for various traditions because the context of sixteenth-century Joachimsthal was different from our melting pot.
Second, unlike our period, this study also makes clear that the people of sixteenth-century Joachimsthal unconsciously assumed a common folksong.
Chapter 1 establishes a context for the Brown's focus on Joachimsthal.
Mining was a dangerous occupation, and sources suggest that between one-third and two-fifths of Joachimsthal households were by necessity (i.
The longterm impact of the Lutheran hymns is best illustrated in chapter 7, "Counter-Reformation in Joachimsthal.
Little attempt was made to compare Joachimsthal to other Lutheran communities.