Durham E-Theses Changes in the Methodist Hymnody during the eighteenth and nineteenth centuries Hind, Roland How to cite: Hind, Roland (1968) Changes in the Methodist Hymnody during the eighteenth and nineteenth centuries, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9933/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail:
[email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ABSTRACT OP THESIS. .» Changes in Methodist Hymnody during the Eighteenth and Nineteenth Centuries. Submitted by Roland Hlnd.B.A..M.Lltt* for the degree of M.A. At first the singing was either unaccompanied, led by a choir of Charity Children, with the Parl6h Cleric as precentor; or accompanied by an instrumental band* Tunes were florid, with much faulty verbal accentuation. Taste reached its nadir 1770-1840. Style became superficial, boisterous, with repeats and fugal imitations; the melody and harmony were crude, deriving from nineteenth century Italian opera* There was slavish adoration and adaptation of the great classical composers* In the mid-nineteenth century, through the influence of the Oxford Movement, there were surpliced choirs; prose chant8 were sung and there were tentative attempts at plain- song* Tunes were like part-songs* There was also a better type of more sophisticated composer who produced good melody and sober harmony.