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THE ANTHEMS of WILLIAM BYRD THESIS Presented to the Graduate

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THE ANTHEMS of WILLIAM BYRD THESIS Presented to the Graduate 719 THE ANTHEMS OF WILLIAM BYRD THESIS Presented to the Graduate Council of the North Texav State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF TJSTIC by Fred L. Propst, B. Mus. Lake Charles, Louisiana January, 1955 PREFACE In his prefix to Psalmes, Sonets, and Songs of Sadness and Pietie, published in 1588, William Bryd writes: Reasons briefely set downe by the auctor to perswade euery one to learne to singe. 1st. It is a knowledge easely taught, and quickly learned where there is a good Master and an apt Scollar. 2nd. The exercise of singing is delightful to nature, and good to preserue the health of Man. 3rd. It doth strengthen all parts of the brest, and doth open the pipes. 4th. It is a singuler good remedie for a stutting and stammering in the speech. 5th. It is the best means to procure a perfect pronunciation, and to make a good Orator. 6th. It is the onely way to know where Nature hath bestowed the benefit of a good voyce: which gift is so rare, as there is not one among a thousand, that hath it: and in many, that excellent gift is lost, because they want Art to express Nature. 7th. There is not any Musicke of Instruments whateuer, comparable to that which is made of the voyces of Men, where the voyces are good, and the same well sorted and ordered. 8th. The better the voyce is, the meeter it is to honor and serue God therewith; and the voyce of man is chiefely to be employed to that end. Since singing is so good a thing, I wish all men would learn to sing. iii TABLE OF CONTENTS Page PREFACE . ... Page LIST OF TABLES. v LIST OF ILLUSTRATIONS... ...... ....... vi Chapter I. THE BACKGROUND OF THE TIMES OF WILLIAM BYRD. 1 II. A BIOGRAPHY OF WILLIKM BYRD. 15 III. THE GENESIS OF THE ANGLICAN CHURCH SERVICE AND THE DEVELOPMENT OF TEE ANTHEM. 21 IV. ANALYSIS 01 THE ANTHEM B0 THINE EAR . 37 V. A STUDY OF SOME SELECTED FEATURES OF BYRD'S STYLE . 64 #. 88 BIBLIOGRAPHY. * * . iv LIST OF TABLES Table Page 1. General Form of the Anthem Bow Thine Ear . 41 2. Conjunct and Disjunct Movement of the Vocal Lines inBowThineTEar. *off41. .*0 5'3 3. Dissonances Used in Bow Thine Ear . 60 4. Cadences Ending Each Phrase. * . 67 5. Root-Movement in Twenty-two of William Byrd's Anghems.m..... .4.1....,.,.. 70 6. Root-Movement Found in Historical Ainthology Qf iusic Between 1200-1800. 71 7. Cross and False Relationships Found in the Anthems of William Byrd. 79 V LIST OF ILLUSTRATIONS Figure Page 1. Use of Strict Imitation. Bow Thine Ear, meas. 14 . .0. ..0. 42 2. Word Accentuation and Stretto. Bow Thine Ear, meas. 15-17 . .~~. 45 3. Emphasis of Words Through Ornamentation. Bow Thine Ear, meas. 19-21 . .~~~&* 46 4. Motival Development. Bow Thine ar, meas. 26-27. , . .+*47 5. Homophonic Antiphonal Technique. Bo Thine Ear, meas. 32-33 and 37-38 . 48 6. Use of imitation and tonal answer. Bow Thine Ear.,meas. 42-44 . .#.0.a.*.0.0 .~~~~.0.0.0. 50 7. Descendinr Movement in Phrase 1 and 5 com- pared. Bow Thine Zar, meas. 1-2, 65-66. 51 8. Evidence of Kixolydian Mode. Bow Thine Ear, . 52 meas. 76-78. * 9. Voice Ranges in Box Tine Far. 53 10. Passing Tones. Bow Thine Sar, meas. 2 . 54 11. MVultiple Passing Tones. Boy Thine a_, meas. 12. Accented Passing Tone. Bow Thine Ear, meas. 29 . 55 13. 9-8 Suspension. Bow Thine Ear, meas. 17 . 56 14. 4-3 Suspension. Bow Thine Ear, meas. 53 . 57 15. 7-6 Ornamental Suspension and False Relation- ship Between C and C#. Blow Thine Ear, meas. 46. -.a , . - . , . ,# . 58 vi Figure Page 16. Cross Relation, Bow Thine Bar, meas. 31-32 . 60 17. Upper Neighboring Tone. Bow Thine Bar, meas. 6..*.0.1. .a.0.0.#.0.#.*.0.61 18. Lower Neighboring Tones. Bbw Thine Ear, meas. 30 . 62 19. Nota-cambiata. Bo Thine 3aL, mecs. 60. 63 20. Two Rhythms, 4/4 and 3/4 in One Vocal Line. T " his Day Christ Was Born," means. 27-29. 75 21. Two Simultaneous soprano Parts With Different Rhythm Patterns. "This Day Christ Was Born," meas. 18-19. 75 22. Three Si.multaneous Voices, Soprano, Alto and Baritone, Each with a Different Rhythm Figuration. "This Day Christ Was Born," meas. 8-9. 76 23. Dance Rhythm. 'Make Ye Joy To God," meas. 13. 77 24. False Relationship Unprepared. From the Anthem Sav Me 0 God, meas. 21 . 78 25. Descending Horizontal Line. From the Anthem "Look Down, 0 Lord," meas. 1 . 81 26. Descending borizontal Line. From the Anthem "I Laid Me Down To Rest," meas. 1-3. 81 27. Ascending Horizontal Line. From the Anthem "The Proud Are Risen Up,"meas. 6-8 . 82 28. Ascending Horizontal Line. From the Anthem "Arise, Lord, Into Thy Rest," meas. 4-6. 82 29. Horizontal Word-Painting. From the Anthem 'Sing We Merrily," mess. 76-79 . 83 30. Torizontal tord-Painting. From the Anthem "Behold, 0 God," meas. 52 . 83 vii Figure Page 31. Vertical Sonority. Found in Anthem "0 Praise Our Lord, Ye Saints," meas. 151-153. .84 32. Word-Painting. Fro: the Anthem " Praise Our Lord, Ye Saints," meas. 1. 85 33. Word-Painting. From the Anthem "Arise, 0 Lord, Why Sleepest Thou," meas. 16-17. 85 3)4. Word-Painting. Prom the Anthem "I) God, The Proud Are Risen," meas. 37-38. 86 35., Word-Painting. From the "Verse" Anthem "Alack, When I Look Back," meas. 4 . .86 vii: CHAPTER I THE BACKGROUND OF THE TIMES OF WILLIA BYRD The sacred anthem has had a unique conception and development that compares readily to that of other major forms of sacred music. The average sabbath worshipper in our Baptist, Protestant or other non-Catholic churches either enjoys or endures the morning anthem without so much as a thought as to the origin of the music presented. Since an abundance of this music is used in our services, it is the purpose of this study to trace the history of the anthem from its origin in the early Tudor period to its culmination in the works of William Byrd. A special study will be made of the anthems by this master of the form. William Byrd, who achieved lasting fame in the musical development of England, was probably born about 1543 and died in 1623. No adequate appraisal of the anthems of Byrd can be made without first developing an understanding of the background of the times in which he lived. In 596 A.D. apostles of the Catholic religion reached the shores of England. This group, under the leadership of the Benedictine monk Augustine, was entrusted with a number of manuscripts and other articles necessary for the divine 1 2 cult. They founded churches and monasteries and also established the form of the liturgy as adopted and practiced by the leading church of the occidental Christians, the Church of Rome. Roman ecclesiastical music, the Gregorian chant, was thus taught early in many parts of the British Islands by monks who had studied its form and practice at Rome.1 From the Saxon annals it is learned that in the reign of Egbert (800 A.D.) music, as well as other liberal arts, began to flourish in England.2 Organs were introduced into churches and monasteries in 981 A.D. The monks were thus the first teachers of music to the English people. Others who were influential in the development of music as a science were often the rulers of the country. King Alfred the Great founded in 886 A.D. a professorship at Oxford for the cultivation of musical science.3 The development of part-singing in Britain was much influenced by developments in nearby countries, especially France and Flanders. Coussemaker established the fact that the "invention of the art of sounding one or two additional parts to a given melody, be it Gregorian 1 Paul Henry Lang, Music in Western Civilization, p. 63. 2 Frederick L. Ritter, Music in England, p. 13. 3Ibid., p. 22. 3 chant or secular melody, must be attributed to the French.4 Important evidence is available concerning part- singing in Great Britain. There is recorded in the twelfth century a "Description of Wales" by Giraldus Cambrensis (c. 1147-1220). Giraldus, who was a cultured man, the friend of scholars in England, France and Italy, writes: In their musical concerts they do not sing in unison like the inhabitants of other countries, but in many different parts; so that in a company of singers, which one very frequently meets with in Wales, you will hear as many different parts and voices as there are performers, who all at length unite, with organic melody, in one consonance and sweetness of B flat. LVarious hypotheses have been advanced concerning the meaning of "the soft sweetness of B flat"C In the northern district of Britain, beyond the Humber, and on the borders of Yorkshire, the inhabitants make use of the same kind of sym- phonious harmony, but with less variety; singing only in two parts, one murmuring in the bass, the other warbling in the acute or treble. Neither of the two nations had acquired this peculiarity by art, but by long habit, which has rendered it natural and familiar; and the practice is now so firmly rooted in them, that it is unusual to hear a simple and single melody well sung; and, what is still more wonderful, the children, even from their infancy, sing in the same manner.
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