Relevant bibliographies by topics / English Church music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'English Church music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "English Church music"

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Hunter, David. "English Country Psalmodists and their Publications, 1700–1760." Journal of the Royal Musical Association 115, no. 2 (1990): 220–39. http://dx.doi.org/10.1093/jrma/115.2.220.

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The singing of metrical psalms, canticles, some anthems and a few hymns in the ‘old way’ constituted almost the sole musical activity in English parish church services after the Restoration. By the start of the eighteenth century a reform was under way. Parish clerks ceased to line out the psalms for the benefit of congregations. As the clergy and gentry generally disdained to assist the improvement of music and only the wealthiest urban churches could afford organs, congregations took their lead from choirs trained by itinerant singing-masters. Church music became divided between the art musi
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Barron, Caroline M. "Church music in English towns 1450–1550: an interim report." Urban History 29, no. 1 (2002): 83–91. http://dx.doi.org/10.1017/s0963926802001086.

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In the towns of late medieval England (where perhaps 10 per cent of the population may have lived) the parish churches were being continuously expanded, adapted and decorated. Chantry and fraternity chapels were added between the nave pillars, or at the eastern ends of the aisles and here, as well as at the high altar, masses were celebrated and prayers recited with incessant devotion by the living for the repose of the souls of those who had died. These intercessory services, together with those of the usual liturgical round which took place in the choir and in the nave, were increasingly acc
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Hillsman, Walter. "The Victorian Revival of Plainsong in English: its Usage under Tractarians and Ritualists." Studies in Church History 28 (1992): 405–15. http://dx.doi.org/10.1017/s0424208400012596.

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The revival of plainsong in mid-nineteenth-century English parish churches constituted one of the most distinctive developments in church music of the period. Even a brief study of the subject affords valuable insights into church musical usage and its interweaving with changes in musical taste and churchmanship.
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Taylor, Philip. "The Gyffard Partbooks II Early English Church Music." Musicology Australia 34, no. 2 (2012): 330–31. http://dx.doi.org/10.1080/08145857.2012.738054.

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Hillsman, Walter. "Women in Victorian Church Music: Their Social, Liturgical, and Performing Roles in Anglicanism." Studies in Church History 27 (1990): 443–52. http://dx.doi.org/10.1017/s0424208400012237.

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Musical outlets for English women in the medieval Church were generally restricted to convents, where they sang plain-song. Even female participation in liturgical plays like the Easter drama (with solo parts for the Marys at the Sepulchre) was normally not allowed. Singing in cathedral, collegiate, and major parish churches was limited to men and boys; in cathedral and collegiate foundations, only male singers could fulfil the statutory requirements of membership. The Henrician dissolution of religious houses thus put an effective musical damper on women in English church music for several ye
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Temperley, Nicholas. "The Lock Hospital Chapel and its Music." Journal of the Royal Musical Association 118, no. 1 (1993): 44–72. http://dx.doi.org/10.1093/jrma/118.1.44.

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It has been generally recognized that the music of the Lock Hospital chapel was an important new influence in English and American church music during the late eighteenth and early nineteenth centuries. The chapel attracted fashionable congregations and thereby disseminated an elegant, theatrical type of hymnody that was far removed from the norms of church music, whether in cathedral, town church, village parish or dissenting meeting-house. Many hymn tunes first used at the Lock Hospital became enormously popular; some still remain in common use; and their style became the model for a ‘school
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Burgess, Clive, and Andrew Wathey. "Mapping the soundscape: church music in English towns, 1450–1550." Early Music History 19 (October 2000): 1–46. http://dx.doi.org/10.1017/s0261127900001959.

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Topography and its metaphors have long dominated the historiography of towns and they continue to do so in the modern renaissance of what might be called ‘urban musicology’. Maps, plans and townscapes – likewise ‘soundscapes’ – have proved valuable in representing the diversity and disposition of activity, alongside the interplay of time and space and of private and public spheres. Yet at the same time a number of implications present in these constructs have yet to be fully explored, with consequences in turn for the ways in which we theorise the structures and dynamics of musical cultures. I
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Julian Onderdonk. "Studies in English Church Music, 1550–1900 (review)." Notes 67, no. 1 (2010): 110–12. http://dx.doi.org/10.1353/not.2010.0030.

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Cole, Suzanne. "‘Popery, Palestrina, and Plain-tune’: the Oxford Movement, the Reformation and the Anglican Choral Revival." Bulletin of the John Rylands Library 90, no. 1 (2014): 345–68. http://dx.doi.org/10.7227/bjrl.90.1.16.

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Following an extended period of neglect, the early 1840s saw a dramatic revival of interest in English church music and its history, which coincided with the period of heightened religious sensitivity between the publication of Newman‘s Tract 90 in early 1841 and his conversion to Roman Catholicism in October 1845. This article examines the activities and writings of three men who made important contributions to the reformation of the music of the English church that took place at this time: Rev. Frederick Oakeley; Rev. John Jebb and the painter William Dyce. It pays particular attention to th
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Morehen, John. "The English Anthem Text, 1549–1660." Journal of the Royal Musical Association 117, no. 1 (1992): 62–85. http://dx.doi.org/10.1093/jrma/117.1.62.

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The extensive repertory of English anthems composed between the passing of the Act of Uniformity (1549) and the cessation of church services precipitated by the Civil War during the 1640s has been the focus of such concentrated attention in recent years that, on first sight at least, few important facets appear to have languished in neglect. Amongst those aspects of the anthem which have been subjected to detailed scrutiny are the genre itself,' the associated printed and manuscript music sources, the many vexing problems of performance practice, and the anthem settings of most of the principa
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Dissertations / Theses on the topic "English Church music"

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Kilbey, Margaret. "Music-making in the English parish church from the 1760s to 1860s, with particular reference to Hertfordshire." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:ad312575-0d25-401a-a06a-a31fda3b7db8.

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This dissertation focuses on a previously unexplored aspect of music-making in the English parish church during the 1760s to 1860s, namely its local development in response to inter-related episcopal, elite, clerical and economic influences. The historiography suggests ineffectual episcopal leadership and little gentry engagement with parochial church music-making during this period. By contrast, this study presents evidence of their influence, particularly during the late eighteenth to early nineteenth centuries. Elite support for Sunday and charity schools was allied with a desire to improve
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King, Deborah Simpkin. "The Full Anthems and Services of John Blow and the Question of an English Stile Antico." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332091/.

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John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the
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Rees, Robin Lodowick Douglas. "The role of music and musicians in current English parish church worship : the attitudes of clergy and organists." Thesis, University of Sheffield, 1990. http://etheses.whiterose.ac.uk/1808/.

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One of the many issues currently confronting the Church of England is the role of music in worship. It is not a new debate, but has been brought into sharper focus in recent years in the wake of liturgical change. After examining the fundamental issues of the debate, the author considers them in the context of the present day. Other current matters of concern will also be discussed. The effects of liturgical change are then considered. The discussion is then widened to include: - a review of current hymnals and psalters; - a survey of the courses and qualifications in church music available in
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Fandrich, David John. "The birthing process select anthems of Samuel Sebastian Wesley and the nineteenth-century English musical renaissance /." 24-page ProQuest preview, 2008. http://proquest.umi.com/pqdweb?did=1507552661&sid=1&Fmt=2&clientId=10355&RQT=309&VName=PQD.

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Bart, Carol Vanderbeek. "Developing worship enrichment through congregational song at Ramapo Valley Baptist Church, Oakland, New Jersey." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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Wiebe, Laura J. ""Peopled with invisible presences": Oxford and the Tudor revival, ca. 1890-1939." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2788.

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The `Tudor revival' of late nineteenth and early twentieth-century England saw unprecedented enthusiasm for the study and performance of English Renaissance music. The revival, which emphasized choral music, was characterized by a rich and interconnected fabric of events including manuscript discoveries, the publication of sundry new scholarly and performing editions, the founding of ensembles who specialized in early music, and an overall increase in the study and performance of Tudor music. Narratives of the Tudor revival have traditionally focused on the role of institutions and ensembles i
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Nelms, Jonathan P. "A guide to the liturgical use of the Baptist Hymnal (1991) in fourfold Sunday worship at First Baptist Church, Cookeville, TN." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Green, Richard T. (Richard Thurmond). "Remembrance of the Fiftieth Anniversary of the Dedication of the Moravian Church at Lititz, Pennsylvania, 13 August 1837: An Edition of Moravian Music." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500942/.

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This thesis is a musical reconstruction of the primary services held on 13 August 1837, for the fiftieth anniversary of the dedication of the Moravian church at Lititz, Pennsylvania. The work includes general background on the Moravians and interprets information from contemporary sources to place the music in its accurate historical context. The edition of music comprises more than one half of the paper, and is taken from the original manuscript scores used. Included in the edition are five concerted anthems for choir and orchestra, and eighteen hymns from eighteenth- and early nineteenth-cen
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Treacy, Susan. "English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331253/.

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Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the
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Cichy, Andrew Stefan. "'How shall we sing the song of the Lord in a strange land?' : English Catholic music after the Reformation to 1700 : a study of institutions in Continental Europe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0bdfe9b2-b5c6-48fe-a565-ddb699b72312.

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Research on English Catholic Music after the Reformation has focused almost entirely on a small number of Catholic composers and households in England. The music of the English Catholic colleges, convents, monasteries and seminaries that were established in Continental Europe, however, has been almost entirely overlooked. The chief aim of this thesis is to reconstruct the musical practices of these institutions from the Reformation until 1700, in order to arrive at a clearer understanding of the nature of music in the post-Reformation English Catholic community. To this end, four institutions
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Books on the topic "English Church music"

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Blezzard, Judith. Borrowings in English church music, 1550-1950. Stainer & Bell, 1990.

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Blezzard, Judith. Borrowings in English church music, 1550-1950. Stainer & Bell, 1990.

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Studies in English church music, 1550-1900. Ashgate, 2009.

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Music in medieval English nunneries: Performing piety. Palgrave Macmillan, 2006.

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Zon, Bennett. The English plainchant revival. Oxford University Press, 1998.

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English cathedral music in New York: Edward Hodges of Trinity Church. Organ Historical Society, 1994.

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Mormonism and music: A history. University of Illinois Press, 1989.

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The Reformation in rhyme: Sternhold, Hopkins and the English metrical psalter, 1547-1603. Ashgate, 2009.

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Persichetti, Vincent. Hymns and responses for the church year: For choir and congregational use. Elkan-Vogel, 1991.

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Music and the Wesleys. University of Illinois Press, 2010.

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Book chapters on the topic "English Church music"

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Leaver, Robin A. "Liturgical Necessity in the English Church." In Music and the Renaissance. Routledge, 2017. http://dx.doi.org/10.4324/9781315090900-13.

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Harper, John. "Changes in the fortunes and use of the organ in church, 1500–1800." In Studies in English Organ Music. Routledge, 2018. http://dx.doi.org/10.4324/9781315163857-3.

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Butt, John. "Roman Catholicism and being musically English: Elgar's church and organ music." In The Cambridge Companion to Elgar. Cambridge University Press, 2005. http://dx.doi.org/10.1017/ccol9780521826235.009.

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COLE, SUZANNE. "‘A Great National Heritage’: The Early Twentieth-Century Tudor Church Music Revival." In Tudorism. British Academy, 2011. http://dx.doi.org/10.5871/bacad/9780197264942.003.0005.

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This chapter examines the revival of interest in early English choral music that took place in the first quarter of the twentieth century. It pays particular attention to the religious agendas driving this revival, and to the role of the Tudor Church Music edition, published in the 1920s by Oxford University Press, in promoting this music as a ‘national heritage’ of which all Englishmen could be proud.
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Fernández, Johanna. "The Church Offensive." In The Young Lords. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469653440.003.0007.

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In winter 1969, the Young Lords recited scripture, channeled the revolutionary Jesus, and occupied the First Spanish United Methodist Church for its indifference to social violence, which combined with its promises of happiness in the hereafter, they argued, cloaked a project of social control. Rechristened, The People’s Church, the Lords’ prefigurative politics and project included a free medical clinic and redress of community grievances and needs, from housing evictions to English translation at parent-teacher meetings. Their hot morning meals to poor school-aged children became what is now the federal school breakfast program. As antidote to the erasure of culture and history that accompanied colonization and slavery in the Americas, they sponsored alternatives to public school curricula on the Puerto Rican independence movement, black American history, and current events. In the evening, they curated spurned elements of Afro-Puerto Rican culture and music performed by underground Nuyorican Poets and new genres of cultural expression, among them the spoken word poetry jam, a precursor to hip hop. They served revolutionary analysis with Mutual Aid. Their daily press conferences created a counternarrative to representations of Puerto Ricans as junkies, knife-wielding thugs, and welfare dependents that replaced traditional stereotypes with powerful images of eloquent, strategic, and candid Puerto Rican resistance.
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Mann, Joseph Arthur. "Music as Propaganda for the Church of England after the Toleration Act." In Printed Musical Propaganda in Early Modern England. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979237.003.0005.

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The passage of the Toleration Act meant religious freedom for non-Anglican Protestants but signaled a fundamental shift in the position of the Church of England in English society. Prior, the Church of England benefited from a government-backed monopoly on legal religious practice in England. The loss of these legal inducements meant that the Church of England had to compete equally, for the first time, in a marketplace of religious ideas. Chapter four exposes how the Church of England responded to this change with pro-music pamphlets advertising the joyful nature of the Anglican service in contrast to the austere practices of other Protestant denominations. It argues that while nonconformists wrote massive treatises arguing fine theological points about music in divine worship, Anglicans produced pamphlets that were addressed to the average reader in terms they could understand. It also connects these pro-music pamphlets to other accessible works written by Anglican propagandists that promote the Church of England in this new marketplace of ideas. Overall, the chapter reveals the previously-unknown propaganda functions of these Anglican music pamphlets and reveals that they were part of a larger, equally unknown, pro-Anglican propaganda campaign that directly responded to the results of the Toleration Act.
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McCarthy, Kerry. "The Gyffard Partbooks." In Tallis. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635213.003.0011.

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The Gyffard Partbooks are a priceless source of Tallis’s music because 95 percent of their contents are found nowhere else. Unlike most surviving collections of Latin church repertory in England, this is an anthology of three-voice and four-voice music. It shows Tallis and his mid-century colleagues (some of them considerably younger) writing on a smaller scale. The chapter looks in detail at a number of Tallis’s works in the Gyffard books, including an enigmatic four-voice mass and a motet (Sancte Deus) that shows close ties to the distinguished Tudor court musician Philip van Wilder. This is the last pre-Reformation chapter in the book. Starting with the music described in Chapter 12, Tallis will begin writing for services in English.
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McCarthy, Kerry. "The Wanley and Lumley Partbooks." In Tallis. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635213.003.0012.

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At this point in Tallis’s story, musicians have begun singing in English for radically simplified church services. The Wanley and Lumley partbooks are two of the oldest musical documents of the English Reformation. They contain some of Tallis’s earliest works in the new reformed style. This chapter traces the changes in English music during the 1540s and looks at the origins of Tallis’s English anthems and services. At this point, he was in a position of great authority in the royal household chapel (itself the arbiter of liturgical taste for the rest of the nation) and under considerable pressure to write successful works in a new style. He thrived under this pressure, as we can see in a perfect miniature such as the anthem If ye love me.
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McCarthy, Kerry. "The Chapel Royal (1543–85), I." In Tallis. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635213.003.0005.

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Tallis spent the last four decades of his life with the English Chapel Royal, singing and composing as a member of the private royal household. He held this post under four successive English monarchs. This is by far the best documented phase of his career, showing him as part of a close-knit musical community associated with the Chapel Royal. He lived through immense ideological and liturgical changes during his time at court; he soon found himself in one of the few situations in England where elaborate church music was still being cultivated by professional musicians. He experienced these forty years from an almost unique position of stability and power.
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McCarthy, Kerry. "St. Mary-at-Hill (1536–38)." In Tallis. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635213.003.0002.

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The second document of Tallis’s career shows him as part of a flexible roster of half a dozen musicians at the London parish of St. Mary-at-Hill. He was paid for a total of twelve months’ work across two different annual accounts. This parish expended a great deal of money and effort on music. Polyphonic music was regularly copied, chant books were bought, and the organ was maintained. There was also a small choir school for boys. By the time Tallis was there in the later 1530s, the English church had already cut all religious and administrative ties to Rome, but the full round of complex traditional music was still in place. St. Mary-at-Hill often served as a springboard to more prestigious jobs; many of Tallis’s colleagues there went on to serve at cathedrals or in the Chapel Royal.
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