Download A Short History of English Church Music by Erik Routley, Eric Routley, Lionel Dakers PDF

By Erik Routley, Eric Routley, Lionel Dakers

Starting from the medieval interval to the current day, it is a short heritage of church tune because it has constructed throughout the English culture. defined as "a fast journey", it offers a wide historic survey instead of an in-depth learn of the topic, and in addition predicts most probably destiny traits.

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Dixon", scored for treble and bass; the remained scored in 3 parts + treble, tenor and figured bass. Expression marks as in 1769 source except those in v 3 which are from Rippon's Collection, c. 1796. The impression one gets from studying this and similar books is that choral singing was to this culture something very different from what it Was in a cathedral. The choir was, as it were (I do not mean physically) nearer to the congregation. The kind of tune that most people regard as 'characteristically Methodist' is the tune which, once it has got launched, breaks into a sort of primitive polyphony with an imitative/wgato towards the end.

Writing later about this period, an unknown writer in the reign of James I comments that in many places funds originally designed for the maintenance of choirs were diverted to the establishment of 'lectures': that is another prominent puritan • Barriefc Jenkins (Studies in Church Music) 1967. A Crisis of Cultures 21 signal. The minds need nourishing, and the appointment of 'lecturers' in certain parishes was encouraged—these being men whose special duty it was to preach at greater length and depth than the ordinary worship demanded—to deepen people's intellectual apprehension of the Faith.

This is exactly what happened at the Restoration. As a promoter, King Charles II knew what he was about. The first step in re-establishing the Chapel Royal as a centre of musical excellence was to pack off the most promising of its children to be trained by French musicians and to imbibe the atmosphere of the court of Louis XIV. TECM Volume 3, after three introductory numbers from the transition period, presents The New Professionals 33 Pelham Humfrey (1647-74), Michael Wise (c. 1648-87) and John Blow (1649-1708), to which list it is certainly proper to add the names of Thomas Tudway (c.

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