Temperley,
Nicholas. The Music of the English Parish
Church, Vol.1. Cambridge: Cambridge University Press, 2006.
There's nothing like a "good old fashioned Anglican Prayer Book service" and good old fashioned Anglican hymns to keep the raffish and raucous
bawlings, ill-advised opinings, odd voices, and other worship-loons, especially in America, minimized and dismissed.
Good Lord, deliver us from raucous bawlings, howlings, croonings and other such indecent and unseemly noises during divine worship. Grant that we would offer such as is Biblical, reverent, learned, studied, wise, historic and dignified. May we do so in humility, the fear of the Lord, and with thanksgiving, befitting Thy Majesty and to Thy glory, through our only Advocate and Mediator, Christ Jesus, Amen.
The website offers this promotional:
“This book is the most thorough and
extensive history of English parish church music ever published, covering the
period from the late middle ages to the present day. Through the ages English
parish churches have resounded to all manner of music, ranging from the rich
choral polyphony of Henry VIII's or Victoria's reigns to the bare unaccompanied
psalm tunes of the seventeenth century. Temperley has found in this neglected
field a wealth of fascinating music, as well as a host of intellectual problems
to intrigue the scholar. A recurring theme of the book is the conflict between
two incompatible goals for Protestant parish church music: artistic performance
and popular expression. Professor Temperley suggests that the Elizabethan
metrical psalm tunes were survivors of a mode of popular music that preceded
the familiar corpus of ballad tunes. Passed on by oral transmission through
several generations of unregulated singing, these once lively tunes changed
gradually into very slow, quavering chants. This later style, which came to be
called 'the old way of singing', is fully described and explained here for the
first time. Temperley guides the reader through the complex social, theological
and aesthetic movements that played their part in the formation of the late
Victorian ideal of the surpliced choir in every chancel, and he makes a fresh
assessment of that old bugbear, the Victorian hymn tune. His findings show that
the radical liturgical experiments of the last few years have not dislodged the
Victorian model for the music of the English parish church.
Contents
Tables, Plates, Figure, Prefaces,
Abbreviations
1. The Significance of Parish Church Music
2. The Reformation Era (1534-1559)
1.
Parish Church Music Before
the Reformation
2.
Parish Church Music Under
Edward VI
3.
Popular Song of the
Reformation
4.
Metrical Psalms in England
up to 1533
5.
Marian Exiles
6.
Early Psalm Tunes
7.
Summary and Evaluation
3. The Establishment of Anglicanism (1559-1644)
1.
Parish Church Music Under
Elizabeth 1
2.
Parish Church Music Under
the First Two Stuarts
3.
“The Whole Book of Psalms”
4.
The Official Tunes
5.
The “Common” Tunes
6.
Harmonized Psalm Books:
East and Ravenscroft
7.
Popular Harmony
8.
Summary and Evaluation
4. Commonwealth and Restoration (1644-1700)
1.
Puritan Ascendance and the
Parish Church
2.
Efforts to Reform the
Psalms and their Performance
3.
Restoration of Church and
King
4.
The “Old Way of Singing”
5.
Summary and Evaluation
5. Urban Parish Church Music
1.
Motives for Reform
2.
Parish Church Government
and Finance
3.
Provincial Town Churches
4.
London Churches
5.
Metrical Psalms and Hymns
6.
Choir and Congregation
7.
Organ and Charity Children
8.
Organ Voluntaries
9.
Unreformed Church Music
10.
Summary and Evalution
6. Country Psalmody (1685-1830)
1.
Reforming Psalmody Without
an Organ
2.
Separation of the Choir:
the Singing Gallery
3.
Anthems for Country Choirs
4.
Chants and Service Music
5.
Psalm Tunes
6.
Compilers and Composers
7.
Performing Practice: the
Clef Problem
8.
Style of Country Psalmody
9.
The Church Bands
10.
Summary and Evaluation
7. Reform Movements (1760-1830)
1.
The Evangelical Movement
2.
Evangelical Aims For
Parish Church Music
3.
Traditional High
Churchmanship
4.
Improved Psalmody
5.
Churches, Organs, and
Barrel Organs
6.
The Survival of Country
Psalmody
7.
Summary and Evaluation
8. The Rediscovery of Tradition (1800-1850)
1.
The Romantic Movement
2.
The Oxford Movement
3.
Tractarian Aims for Parish
Music
4.
Anglican Hymnody
5.
Summary and Evaluation
9. The Victorian Settlement (1850-1900)
1.
The Ritualist Controversy
2.
The Middle Ground: Choral
Service
3.
Music for Choral Worship
4.
The Deluge of Hymns
5.
Character of the Victorian
Hymn Tune
6.
Organ Accompaniment
7.
Summary and Evaluation
10.
The Twentieth Century
1.
Anglican Worship in the
Twentieth Century
2.
Aesthetes and Populists
3.
Chanting the Psalms
4.
Parish Communion
5.
Liturgical Experiment
6.
Changing the Physical
Setting
7.
The Continuing Practice of
Hymnody
8.
Summary and Evaluation
11.
Past and Present
Appendix 1 and 2, Plates,
Bibliography, and Index
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