David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0026
- Subject:
- Music, History, Western
A new edition of The English Hymnal was brought out in 1933. It had the invaluable advice and help of Martin Shaw, and was able to introduce some of his fine tunes that were not extant in 1906. In ...
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A new edition of The English Hymnal was brought out in 1933. It had the invaluable advice and help of Martin Shaw, and was able to introduce some of his fine tunes that were not extant in 1906. In many hymnals the first idea of the musical editors seems to have been to include as many new tunes by the editor himself and his friends as possible. The new book was also to contain a large proportion of plainsong. This task was undertaken by one of the committee, Mr W. J. Birkbeck. His accompaniments were remade to more modern and more sensible ideas by Dr J. H. Arnold. The preparation of the book employed the help of various friends, especially Nicholas Gatty and Gustav Holst, in finding neglected tunes and the true versions of others that had been “disfigured” into dullness in modern hymnals and indebted to Robert Bridges's “Yattendon Hymnal” and George Woodward's “Songs of Syon.”Less
A new edition of The English Hymnal was brought out in 1933. It had the invaluable advice and help of Martin Shaw, and was able to introduce some of his fine tunes that were not extant in 1906. In many hymnals the first idea of the musical editors seems to have been to include as many new tunes by the editor himself and his friends as possible. The new book was also to contain a large proportion of plainsong. This task was undertaken by one of the committee, Mr W. J. Birkbeck. His accompaniments were remade to more modern and more sensible ideas by Dr J. H. Arnold. The preparation of the book employed the help of various friends, especially Nicholas Gatty and Gustav Holst, in finding neglected tunes and the true versions of others that had been “disfigured” into dullness in modern hymnals and indebted to Robert Bridges's “Yattendon Hymnal” and George Woodward's “Songs of Syon.”
Rebecca Maloy
- Published in print:
- 2020
- Published Online:
- August 2020
- ISBN:
- 9780190071530
- eISBN:
- 9780190071561
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190071530.001.0001
- Subject:
- Music, History, Western
Songs of Sacrifice argues that liturgical music—both texts and melodies—played a central role in the cultural renewal of early Medieval Iberia. Between the seventh and eleventh centuries, Christian ...
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Songs of Sacrifice argues that liturgical music—both texts and melodies—played a central role in the cultural renewal of early Medieval Iberia. Between the seventh and eleventh centuries, Christian worship on the Iberian Peninsula was structured by rituals of great theological and musical richness, known as the Old Hispanic (or Mozarabic) rite. Much of this liturgy was produced during the seventh century, as part of a cultural and educational program led by Isidore of Seville and other bishops. After the conversion of the Visigothic rulers from Arian to Nicene Christianity at the end of the sixth century, the bishops aimed to create a society unified in the Nicene faith, built on twin pillars of church and kingdom. They initiated a project of clerical education, facilitated through a distinctive culture of textual production. The chant repertory was carefully designed to promote these aims. The creators of the chant texts reworked scripture in ways designed to teach biblical exegesis, linking both to the theological works of Isidore and others, and to Visigothic anti-Jewish discourse. The notation reveals an intricate melodic grammar that is closely tied to textual syntax and sound. Through musical rhetoric, the melodies shaped the delivery of the texts to underline words and phrases of particular liturgical or doctrinal import. The chants thus worked toward the formation of individual Christian souls and a communal, Nicene identity. The final chapters turn to questions about the intersection between orality and writing and the relationships of the Old Hispanic chant to other Western plainsong traditions.Less
Songs of Sacrifice argues that liturgical music—both texts and melodies—played a central role in the cultural renewal of early Medieval Iberia. Between the seventh and eleventh centuries, Christian worship on the Iberian Peninsula was structured by rituals of great theological and musical richness, known as the Old Hispanic (or Mozarabic) rite. Much of this liturgy was produced during the seventh century, as part of a cultural and educational program led by Isidore of Seville and other bishops. After the conversion of the Visigothic rulers from Arian to Nicene Christianity at the end of the sixth century, the bishops aimed to create a society unified in the Nicene faith, built on twin pillars of church and kingdom. They initiated a project of clerical education, facilitated through a distinctive culture of textual production. The chant repertory was carefully designed to promote these aims. The creators of the chant texts reworked scripture in ways designed to teach biblical exegesis, linking both to the theological works of Isidore and others, and to Visigothic anti-Jewish discourse. The notation reveals an intricate melodic grammar that is closely tied to textual syntax and sound. Through musical rhetoric, the melodies shaped the delivery of the texts to underline words and phrases of particular liturgical or doctrinal import. The chants thus worked toward the formation of individual Christian souls and a communal, Nicene identity. The final chapters turn to questions about the intersection between orality and writing and the relationships of the Old Hispanic chant to other Western plainsong traditions.
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0007
- Subject:
- Music, History, Western
The music of the English hymnal is divided into two main sections: the plainsong melodies and the comparatively modern music. The modern music only is dealt with here; the plainsong is discussed ...
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The music of the English hymnal is divided into two main sections: the plainsong melodies and the comparatively modern music. The modern music only is dealt with here; the plainsong is discussed separately. The music is intended to be essentially congregational in character, and this end has been kept in view both in the choice of tunes and in the manner of setting them out. Fine melody rather than the exploitation of a trained choir has been the criterion of selection: the pitch of each tune has been kept as low as is consistent with the character of the melody. The task of providing congregations with familiar tunes is difficult; for, unfortunately, many of the tunes of the present day that have become familiar and, probably merely from association, popular with congregations, are quite unsuitable to their purpose.Less
The music of the English hymnal is divided into two main sections: the plainsong melodies and the comparatively modern music. The modern music only is dealt with here; the plainsong is discussed separately. The music is intended to be essentially congregational in character, and this end has been kept in view both in the choice of tunes and in the manner of setting them out. Fine melody rather than the exploitation of a trained choir has been the criterion of selection: the pitch of each tune has been kept as low as is consistent with the character of the melody. The task of providing congregations with familiar tunes is difficult; for, unfortunately, many of the tunes of the present day that have become familiar and, probably merely from association, popular with congregations, are quite unsuitable to their purpose.
Michael Talbot (ed.)
- Published in print:
- 2000
- Published Online:
- June 2013
- ISBN:
- 9780853238256
- eISBN:
- 9781846313615
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846313615
- Subject:
- Society and Culture, Media Studies
Like literature and art, music has ‘works’. But not every piece of music is called a work, and not every musical performance is made up of works. The complexities of this situation are explored in ...
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Like literature and art, music has ‘works’. But not every piece of music is called a work, and not every musical performance is made up of works. The complexities of this situation are explored in this book, which examines a broad swathe of western music. From plainsong to the symphony, from Duke Ellington to the Beatles, this is at root an investigation into how our minds parcel up the music that we create and hear.Less
Like literature and art, music has ‘works’. But not every piece of music is called a work, and not every musical performance is made up of works. The complexities of this situation are explored in this book, which examines a broad swathe of western music. From plainsong to the symphony, from Duke Ellington to the Beatles, this is at root an investigation into how our minds parcel up the music that we create and hear.
Benjamin Brand
- Published in print:
- 2014
- Published Online:
- November 2014
- ISBN:
- 9780199351350
- eISBN:
- 9780199351374
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199351350.001.0001
- Subject:
- Music, History, Western
This book explores the complex interplay between relic cults and the liturgy in the Middle Ages. The cults of saints buried in churches throughout Christendom provoked expressions of devotion through ...
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This book explores the complex interplay between relic cults and the liturgy in the Middle Ages. The cults of saints buried in churches throughout Christendom provoked expressions of devotion through various media, including not only more familiar ones like hagiographic literature, sacred architecture, and visual art but also the texts, music, and ritual of the liturgy. This study situates this oft-neglected yet critical domain of religious life at the center of its examination of relic cults in medieval Tuscany, which boasted the rich and well-documented veneration of holy bishops and martyrs buried in the cathedrals and suburban shrines of its principal cities. Holy Treasure reveals that the music composed for these local saints—no fewer than ninety chants for the Mass and Divine Office—belonged to larger campaigns that included the writing of their lives and the building and decoration of their shrines. The authors of such programs were the self-appointed protectors of their relics, namely bishops and cathedrals canons, who strove for a monopoly over the material (if not spiritual) benefits of local cults. In so doing, Tuscan clerics drew on influential models—literary, architectural, musical, and ritual—from preeminent European powers, Rome, and the Carolingian Empire. By integrating detailed analyses of plainsong and ritual into this rich panorama, this study traces the dialectic between local, regional, and pan-European politics in revealing the centrality of the liturgy in the development of medieval relic cults.Less
This book explores the complex interplay between relic cults and the liturgy in the Middle Ages. The cults of saints buried in churches throughout Christendom provoked expressions of devotion through various media, including not only more familiar ones like hagiographic literature, sacred architecture, and visual art but also the texts, music, and ritual of the liturgy. This study situates this oft-neglected yet critical domain of religious life at the center of its examination of relic cults in medieval Tuscany, which boasted the rich and well-documented veneration of holy bishops and martyrs buried in the cathedrals and suburban shrines of its principal cities. Holy Treasure reveals that the music composed for these local saints—no fewer than ninety chants for the Mass and Divine Office—belonged to larger campaigns that included the writing of their lives and the building and decoration of their shrines. The authors of such programs were the self-appointed protectors of their relics, namely bishops and cathedrals canons, who strove for a monopoly over the material (if not spiritual) benefits of local cults. In so doing, Tuscan clerics drew on influential models—literary, architectural, musical, and ritual—from preeminent European powers, Rome, and the Carolingian Empire. By integrating detailed analyses of plainsong and ritual into this rich panorama, this study traces the dialectic between local, regional, and pan-European politics in revealing the centrality of the liturgy in the development of medieval relic cults.
Benjamin Brand
- Published in print:
- 2014
- Published Online:
- November 2014
- ISBN:
- 9780199351350
- eISBN:
- 9780199351374
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199351350.003.0008
- Subject:
- Music, History, Western
The public drama of the Mass was a classic “ritual of association” that obscured the often tense relationship between Tuscan bishops and chapters. Before an audience of congregants drawn to the ...
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The public drama of the Mass was a classic “ritual of association” that obscured the often tense relationship between Tuscan bishops and chapters. Before an audience of congregants drawn to the mother church, the bishop reenacted Christ’s crucifixion, underscoring his sacramental authority rather than that of a traditional lord and builder. Meanwhile, the canons played the part of his faithful ministers. On three occasions—the feasts of St. Martin and St. Donatus of Arezzo as well as the Dedication of the Church—the clergy sang plainsong proper (or specific) to the day that reinforced its image as an angelic choir and that of the bishop as a divinely inspired celebrant.Less
The public drama of the Mass was a classic “ritual of association” that obscured the often tense relationship between Tuscan bishops and chapters. Before an audience of congregants drawn to the mother church, the bishop reenacted Christ’s crucifixion, underscoring his sacramental authority rather than that of a traditional lord and builder. Meanwhile, the canons played the part of his faithful ministers. On three occasions—the feasts of St. Martin and St. Donatus of Arezzo as well as the Dedication of the Church—the clergy sang plainsong proper (or specific) to the day that reinforced its image as an angelic choir and that of the bishop as a divinely inspired celebrant.
Alejandro Vera
- Published in print:
- 2020
- Published Online:
- October 2020
- ISBN:
- 9780190940218
- eISBN:
- 9780190940249
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190940218.003.0002
- Subject:
- Music, Ethnomusicology, World Music
This chapter deals with musical life in Santiago cathedral during the 16th to 18th centuries. It considers, among other topics, its organization, structure, financing, and the agency of specific ...
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This chapter deals with musical life in Santiago cathedral during the 16th to 18th centuries. It considers, among other topics, its organization, structure, financing, and the agency of specific people, such as bishops, prebendaries, chapelmasters, and other musicians. It subsequently explains how this information casts light on more musical issues, such as performing practice, particularly during José de Campderrós’s time. The chapter also studies the repertoire, including plainsong and intonations, Latin polyphony, and Spanish pieces (especially villancicos), showing that the relative scarcity of music sources can be related not only to the restricted budget of the institution (especially until 1700) but also to specific features proper to is musical life. Then, it relates the different kinds of music mentioned before to the liturgical context, explaining both some of its similarities and differences with other cathedrals from the New World. As in the rest of the book, this chapter combines the study of historical documents and music sources.Less
This chapter deals with musical life in Santiago cathedral during the 16th to 18th centuries. It considers, among other topics, its organization, structure, financing, and the agency of specific people, such as bishops, prebendaries, chapelmasters, and other musicians. It subsequently explains how this information casts light on more musical issues, such as performing practice, particularly during José de Campderrós’s time. The chapter also studies the repertoire, including plainsong and intonations, Latin polyphony, and Spanish pieces (especially villancicos), showing that the relative scarcity of music sources can be related not only to the restricted budget of the institution (especially until 1700) but also to specific features proper to is musical life. Then, it relates the different kinds of music mentioned before to the liturgical context, explaining both some of its similarities and differences with other cathedrals from the New World. As in the rest of the book, this chapter combines the study of historical documents and music sources.
William Whyte
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780198848523
- eISBN:
- 9780191882937
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198848523.003.0010
- Subject:
- History, History of Ideas, British and Irish Early Modern History
This chapter describes musical participation in Corpus Christi College. Richard Fox’s apparently modest provision for liturgical music at Corpus is intelligible once the chapel ministers are viewed ...
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This chapter describes musical participation in Corpus Christi College. Richard Fox’s apparently modest provision for liturgical music at Corpus is intelligible once the chapel ministers are viewed within their wider collegiate community. The musical capabilities of this mixed community can in turn be mapped onto the genres and repertoires cultivated in Henrician England. Plainsong formed the bedrock of the liturgy: all members of college except the domestic staff were to be proficient in cantus planus, which would have constituted most of what was sung in chapel. Indeed, all members of college should, at least in theory, have been able to participate in the singing of chant. Ultimately, Fox’s economy of means at Corpus arguably represents neither a repudiation of more demonstrative forms of ritual expression, nor an ascetic disavowal of the spiritual worth of church music; instead, it can be read as a serious attempt to engage the whole community as active participants in worship.Less
This chapter describes musical participation in Corpus Christi College. Richard Fox’s apparently modest provision for liturgical music at Corpus is intelligible once the chapel ministers are viewed within their wider collegiate community. The musical capabilities of this mixed community can in turn be mapped onto the genres and repertoires cultivated in Henrician England. Plainsong formed the bedrock of the liturgy: all members of college except the domestic staff were to be proficient in cantus planus, which would have constituted most of what was sung in chapel. Indeed, all members of college should, at least in theory, have been able to participate in the singing of chant. Ultimately, Fox’s economy of means at Corpus arguably represents neither a repudiation of more demonstrative forms of ritual expression, nor an ascetic disavowal of the spiritual worth of church music; instead, it can be read as a serious attempt to engage the whole community as active participants in worship.
Jeremy Dibble
- Published in print:
- 2017
- Published Online:
- December 2016
- ISBN:
- 9780199699704
- eISBN:
- 9780191831812
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199699704.003.0019
- Subject:
- Religion, Church History, History of Christianity
Anglican church music, admired throughout the world for its professionalism and rich repertoire of service music, anthems, psalmody, and hymnody, owes its present status to the transformations it ...
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Anglican church music, admired throughout the world for its professionalism and rich repertoire of service music, anthems, psalmody, and hymnody, owes its present status to the transformations it witnessed during the nineteenth century. Under the panoply of the two larger issues of ecclesiastical reform and Romanticism, music in the parish church and cathedral was an important subject of debate among its principal protagonists, the clergy, choir, organist, and congregation, and the part it played in the delivery of liturgy across the spectrum of High and Low Church theological practices. This chapter charts how Anglicanism’s unique repository of hymnody, anthems, and service music, possessed enormously potent national characteristics of beauty, order, mystery, and quiet contemplation, on which the twentieth-century Anglican via media of choral worship would capitalize.Less
Anglican church music, admired throughout the world for its professionalism and rich repertoire of service music, anthems, psalmody, and hymnody, owes its present status to the transformations it witnessed during the nineteenth century. Under the panoply of the two larger issues of ecclesiastical reform and Romanticism, music in the parish church and cathedral was an important subject of debate among its principal protagonists, the clergy, choir, organist, and congregation, and the part it played in the delivery of liturgy across the spectrum of High and Low Church theological practices. This chapter charts how Anglicanism’s unique repository of hymnody, anthems, and service music, possessed enormously potent national characteristics of beauty, order, mystery, and quiet contemplation, on which the twentieth-century Anglican via media of choral worship would capitalize.