This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
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This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Sing a new song: English and Scottish metrical psalmody from 1549‐1640 Volume 1 Timothy Charles Duguid, M.M. Doctor of Philosophy The University of Edinburgh 2011 ABSTRACT The Book of Psalms has occupied a privileged place in Christianity from its earliest years, but it was not until the sixteenth century that metrical versifications of the Psalms became popular. Because of the notable influence of Martin Luther and John Calvin, the musical phenomenon of metrical psalm singing spread throughout Protestant circles on the European mainland and in Britain. These versifications knew no boundaries among Protestants: reformers and parishioners, kings and laypeople, men and women, young and old memorised and sang the metrical psalms. In England and Scotland, the versifications written by Thomas Sternhold and John Hopkins became the most popular, as editions of these texts were printed in England from 1549 to 1828. The present study considers these metrical versifications and their melodies as they were printed and performed in England and Scotland from their inception until the final Scottish edition appeared in 1640. In particular, this study asserts that the years from 1560 to 1640 saw the development and reinforcement of two distinct ecclesiastical psalm cultures, one in England and the other in Scotland. Though based on a common foundation in the Sternhold and Hopkins texts, English and Scottish metrical psalmody preserved their distinct natures. However, both traditions also influenced their counterparts. The present study considers these cross‐influences and their effect on the tensions between conformity with foreign influences and fidelity to established practice in both countries. This study finally seeks to fill two significant gaps in current scholarship. It first compares the developments in English and Scottish metrical psalmody in the sixteenth and seventeenth centuries. Secondly, it considers the relationships between psalm tunes and their texts, with a closer musical analysis of the tunes than has previously been attempted. DECLARATION I declare that this thesis has been composed by myself, that it embodies the results of my own work, and that it does not include work forming part of any other degree or professional qualification except as specified. ______________________________ ____________________ ACKNOWLEDGEMENTS Among the people, Lord, I shal giue praises vnto thee: And eke amidst the nations all, to thee my song shalbe ̶ Psalm 108:3 (1564‐5 Forme of prayers) It is impossible to acknowledge everyone who has helped me over the past four years, but I am particularly grateful to Dr Noel O’Regan and Professor Jane Dawson who jointly supervised my work. Their combined knowledge in early‐modern music and history enabled me to bridge the divide between the two academic disciplines. I am thankful to them for their patience and continued encouragement, enthusiasm, and support over the past four years. In addition, the staffs of the following libraries have provided courteous and invaluable assistance: the libraries of the Universities of Edinburgh, Aberdeen, and Glasgow; Harris‐Manchester College Library, Oxford; the Senate House Library at the University of London; the National Library of Scotland; the British Library; Boston Public Library (USA); and St Paul’s Cathedral, London. This dissertation would not have been possible without the generous contributions of the following bodies: The University of Edinburgh Music Department, The Clan MacBean Foundation, The Clan McDougall Society of North America, The Reformed Presbyterian Church of North America, and the Arts and Humanities Research Council because of the research assistantships offered through “The World of Reformation Britain: As seen and heard in the Wode Psalter.” A number of individuals have also freely given of their time and expertise. Jamie Reid Baxter, particularly, provided enlightening discussions of Scottish metrical psalm singing and helpful comments on my research findings. Professor James Porter generously discussed with me some of his findings in the French psalm‐singing traditions and provided feedback regarding my studies and conclusions. Dr Robert Copeland has provided continued support throughout my postgraduate work, and Kevin Conklin helped me catalogue the contents of John Day’s Residue of the Whole Psalmes of David. In addition to Dr O’Regan and Professor Dawson, Elizabeth Reed suffered through hours of proof‐reading my dissertation drafts. And, I am thankful for the urging of Dr. David O’Hara, who suggested that I pursue my PhD in Scotland. Moving to a foreign country is not always the easiest thing for one to do, so I would be remiss if I did not thank my fellow church members at the Airdrie Reformed Presbyterian Chuch for becoming my family away from the United States. In particular, I am grateful to my pastor, Andrew Quigley, for his spiritual guidance and encouragement and for providing me with affordable housing for the past four years. Finally, I am severely indebted to my family, including my parents, Philip and Eleanor Duguid, and grandparents, Elizabeth Dennison and Charles and Edith Duguid, for their prayers and support. My sister and her husband, Jeff and Rebecca Adams, have also been a huge encouragement for me through my postgraduate work both in Colorado and here in Scotland. TABLE OF CONTENTS VOLUME 1 ABSTRACT .............................................................................................................. 1 DECLARATION ....................................................................................................... 2 ACKNOWLEDGEMENTS .......................................................................................... 3 LIST OF FIGURES .................................................................................................... 7 ABBREVIATIONS .................................................................................................. 10 INTRODUCTION ................................................................................................... 12 CHAPTER 1: THE BIRTHPANGS OF BRITISH METRICAL PSALMODY ....................... 25 1.1 The Establishment of an Anglo‐Genevan Exile Community ........................................... 25 1.2 Developing the New Sternhold and Hopkins Psalters ...................................................... 28 1.3 Modality and Genevan and Anglo‐Genevan Psalm Tunes ............................................... 37 1.4 Connecting Tunes and Texts ........................................................................................................ 52 1.5 Developing the Anglo‐Genevan Psalter ................................................................................... 59 1.6 Creating Two Psalm Traditions .................................................................................................. 69 CHAPTER 2: THE RETURN TO ENGLAND AND ENGLISH METRICAL PSALMODY ..... 74 2.1 John Day, Printer .............................................................................................................................. 75 2.2 Day's Metrical Psalters ................................................................................................................... 77 2.3 The Editors of the Whole booke Project .................................................................................. 88 2.4 Music of the Whole booke .............................................................................................................. 96 Whole booke Tunes from Anglo‐Genevan Editions ............................................................... 96 5 Whole booke Tunes Originating in the Day Editions ............................................................ 98 Anglo‐Genevan Tunes Rejected in the Whole booke ......................................................... 104 CHAPTER 3: CREATING A SCOTTISH METRICAL PSALTER ..................................... 116 3.1 Reforming Scotland ...................................................................................................................... 117 3.2 Robert Lekpreuik and his Contribution ............................................................................... 125 3.3 Distinctiveness of the Scottish Forme of Prayers ............................................................. 129 3.4 Robert Pont and his Contributions ........................................................................................ 133 3.5 Pont's Psalm Versifications and their Tunes ..................................................................... 138 3.6 John Craig and his Contributions ...........................................................................................