In German-speaking lands until the 1580s, Italian secular vocal music was mainly cultivated by a narrow elite of aristocrats and merchants who valued its exclusivity. Yet some German patriots – teachers, clergy and humanists – regarded such foreign imports as emasculating luxuries that would corrupt their national character. This article examines four collections of contrafacta of Italian villanellas and madrigals that were published in Erfurt and have been neglected by modern scholars: the Cantiones suavissimae (1576 and 1580), Primus liber suavissimas praestantissimorum nostrae aetatis artificum Italianorum cantilenas (1587) and Amorum filii Dei decades duae (1598). According to the prefatory material of these anthologies, their editors were motivated by a patriotic agenda of purifying Italian secular song and by a Lutheran belief in the intrinsic holiness of music. This article provides the first comprehensive identification of the originals of the contrafacta, showing that the latest Italian secular repertory travelled as speedily to Thuringian towns as to the better-known publishing centre of Nuremberg. The process of transformation in the contrafacta is discussed, including examples where church officials ruled that the change of text was insufficient to cleanse the tunes of their lascivious connotations.

中文翻译：

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爱国净化：1575-1600 年在图林根净化意大利世俗声乐

在 1580 年代之前的德语国家，意大利的世俗声乐主要是由重视其排他性的少数贵族和商人精英培养的。然而，一些德国爱国者——教师、神职人员和人文主义者——将这些外国进口商品视为削弱其民族性格的奢侈品。本文检视了在埃尔福特出版但被现代学者忽视的四本意大利维拉内拉和牧歌的合集：Cantiones suavissimae（1576 年和 1580 年）、Primus liber suavissimas praestantissimorum nostrae aetatis artificum Italianorum cantilenas（1587 年）和 Amorum filii Dei数十年（1598 年）。根据这些选集的前言材料，他们的编辑受到净化意大利世俗歌曲的爱国议程和路德教会对音乐内在圣洁的信仰的激励。本文首次全面鉴定了 contrafacta 的原件，表明最新的意大利世俗剧目传到图林根城镇的速度不亚于著名的纽伦堡出版中心。讨论了反事实的转变过程，包括教会官员裁定文本的改变不足以清除其淫荡内涵的例子。表明最新的意大利世俗剧目传到图林根城镇的速度与传到著名的纽伦堡出版中心一样快。讨论了反事实的转变过程，包括教会官员裁定文本的改变不足以清除其淫荡内涵的例子。表明最新的意大利世俗剧目传到图林根城镇的速度与传到著名的纽伦堡出版中心一样快。讨论了反事实的转变过程，包括教会官员裁定文本的改变不足以清除其淫荡内涵的例子。