Many studies have been devoted to the producers of Lutheran music in seventeenth-century Germany – composers, editors, publishers and printers. Little attention, however, has been paid to the tastes and preferences of the consumers of this music. This article represents the first study of this subject, and draws on music inventories and account books to examine the Lutheran market for sacred music during this period. It presents a number of key findings, all of which relate to purchasing patterns: that community members donated a considerable amount of music to Lutheran institutions; that music prices remained quite stable for decades; that Lutherans cultivated the older motet alongside the newer sacred concerto throughout much of the century; that Lutherans sought out music by Italians and northern Catholics as well as by Lutherans; and that after c. 1640, the composer Andreas Hammerschmidt dominated the Lutheran market for sacred music, outselling all of his contemporaries. For Frederick Gable and Jeffrey Kurtzman,longtime mentors, colleagues and friends

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品味问题：17 世纪路德教会的神圣音乐市场

许多研究致力于 17 世纪德国路德会音乐的制作人——作曲家、编辑、出版商和印刷商。然而，很少有人关注这种音乐消费者的品味和偏好。本文是对这一主题的第一次研究，并利用音乐清单和账簿来研究这一时期路德教会的神圣音乐市场。它提出了许多与购买模式有关的关键发现：社区成员向路德教会机构捐赠了大量音乐；几十年来音乐价格保持相当稳定；在本世纪的大部分时间里，路德教会在新的神圣协奏曲旁边培养了旧的颂歌；路德教会从意大利人和北方天主教徒以及路德教会中寻找音乐；在c之后。1640 年，作曲家安德烈亚斯·哈默施密特 (Andreas Hammerschmidt) 主宰了路德教会的圣乐市场，销量超过了他的所有同时代人。对于 Frederick Gable 和 Jeffrey Kurtzman，长期的导师、同事和朋友