Die Sakralisierung des Alpenraums: Kulturelle Interpretationsmuster der rätischen Kapuzinermission (17. und 18. Jh.)

The Capuchins of the Rhaetic Missions had to deal with local forms of catholic piety, which for them were almost as exotic as the religious practices of non-Christian communities in Asia or America. Therefore they regarded it as their task to propagate the true faith among the “schismatic” Catholics from the Grisons. For this purpose, the Capuchins developed a particular pattern of interpretation: They created a sacred territory in which the divine grace can be experienced by the faithful. Hence the missionaries built new churches and chapels, decorated the old ones in baroque style and brought numerous of holy relics from Italy. Thus, they enforced the sacralisation of the alpine space. Recent developments in cultural studies and social sciences make it possible to capture such processes of spacing more precisely. In the course of the “spatial turn”, space is no longer conceived as a physical entity but now is regarded as a human construct. The paper discusses possibilities and limitations of “space” as an analytical category for the study of mission within Catholicism. The sociological concept of space developed by Martina Löw (2001) is used as starting point. This allows the simultaneous consideration of social interactions and cultural contexts in construction of “sacred space”.

«Einige Zeit aufs Singen verwendet». Musik als Kernressource dörflicher Kultur am Beispiel des schweizerischen 18. Jahrhunderts

Dealing with popular music in premodern times historical research usually focuses on so called “Volksmusik”. But already in the 18th century researchers were disappointed to find only few traces of imaginary “traditional” music in Switzerland. They unfortunately overlooked that common people kept on with their own stubborn musical culture: Beginning with the Reformation the authorities encouraged the communities to employ schoolmasters who were able to teach music. Their goal was that everybody should be able to participate in liturgical music actively. Over generations even people with no special musical talent adopted their own repertoire of psalms plus techniques of reading music and polyphonic singing. Spontaneous choral singing evolved into a common everyday practice. The most ambitious and brightest teachers even taught instrumental lessons at home on their proper pianos and chamber organs or encouraged the villagers to build new prestigious organs in their churches. The financial burden of such instruments weighted heavily on the communities. Some of them received financial support from the government, albeit unwillingly because it was obvious to the rulers that the villages just wanted to overtop each other. Homemade music was the most important issue in the cultural life of most parishes. Rich communes spent a lot of money to win the best voices on-site for their church choirs. Belonging to an elitists’ singer association paved the way to the farmer-village’s highlevel sociability.