DOCSLIB.ORG

The Old Hundredth Psalm Tune

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Old Hundredth Psalm Tune A H I S T O R Y O F T H E OL D H U N D R E D T H P S A L M T U N E IT H P E N W S E CIM S. w; A L M . H AVE GA . W H . R E V . R . , , C T O F S T . N I C H O L A S A N D H Y C W C E T . R E O R , O N O RAR AN O N, O R S E R W IT H A PR E FAT OR Y N OT E V M A N R H T D D E J. W W G . BY R T . R . I I , F N E W Y ' B I S H O P O O R . N E W Y O R ' M N R O E A S O B T H R S . 1 8 5 4 . E nte ed accord in to A ct of Con r ss in the ar 1854 b r , g g e , ye , y M A S N B R T H E R S O O , ’ I S h e Y rk n the Clerk s Offi ce of the o ut ern D istrict of N w o . S T E R E O T Y P E D B Y P R I N T E D B Y T H O IflA S B . S M I T H , JO H N A . G R A Y V 916 V ilIiam Street. 87 Cliff S t . PR E FAT OR Y N O T E . H E R E no n T is probably musical compositio , with the exception of the ancient Ambrosian and G n n n n regoria to es , that has bee so u iver n n sally su g by worshippi g assemblies , as the Old n P m n and n n n Hu dredth sal Tu e , certai ly o e so familiar to the ear of Protestant communi It ties . has proved equally acceptable to the instructed and the uninstructed musical taste . W n in an n n n n he y co gregatio , through ig ora ce t n d or bad tas e , it has bee for a time lai aside to make way for more modern yet more feeble n n n n in tu es , it has bee take up agai , after the t ermission n n and , with i creased i terest ; as its n n n n and strai s have bee give out by the orga , fi n its rst to es raised by the choir or the clerk, f c n n and c devout af e tio s have bee roused, voi es which had been long silent have swelled the loud in chorus of praise . It has been known this iv PREFATORY NOTE . country from its first settlement . It was in all probability used by the earliest Church of E ng n n in V n and la d missio aries irgi ia , it was cer t ainly one of the songs of the Puritan fathers of ’ N ew E n n nc fi nd in A n gla d, si e we it i sworth s P m ‘ P sal s , the book of salmody which they u H n . It one bro ght from olla d was , therefore , of the tun es to which the wild forests in this new world were fi rst made vocal with the praise N r u nfin of GOd . o was its se co ed to the early . E uropean settlers ; its loftystrains were taught by them to the 1 nhabitants of theforest they found here ; it was sung by the new - made con n J n E and m verts of the missio ary oh lliot, the various mission ary settlements amongst the In d n ia s it may yet be heard . T hehistory of such a composition must b e a ' n n ot n t o the mu sician matter of i terest o ly , but to all who have the slightest taste for music al and to w ho m art, especially those take delight the service of song in the hOu se of the L ord . H av r l Mr . e ga has performed a most acceptable in He work his curious researches . has care nt u b n can fully hu ed p , pro ably, everythi g that i n n and be d scovered relati g to its origi , has E V PR FATORY NOTE . established its authorship as satisfactorily as W e n n c an n ow be done . thi k it will b e ge er ally conceded that W illiam Fran c must hereafter be entitled to the credit of comp osi ng this most Bu remarkable of all metrical tunes . t the result ’ H v r al h of Mr . a e g s researc es is perhaps of more practical importanc e considered with reference n . s to the form of the tu e This , it eems , has n c n and n n bee greatly ha ged , he ce the heavi ess , and e n n almost t dious ess , which sometimes atte ds r its performan ce . Oould its old rhythm be e ’ “ the tune l stored , would more ful y accord with the joyful character of the psalm by which it is c and not n alled, would fail to b e eve more pop ular and useful than heretofore . The most estimable author of this work , a n C E n n clergyma of the hurch of gla d , is well known in the U nited States as well as in E ng n his d evotion o f la d , for to the cause sacred music and no one in our day has contributed n h as d one t o the r evival more tha he g of. a t aste c for pure ec lesiastical melodies and harmonies. f ‘ H isg Old Church in L on ' d on is r obabl h kind , p y the best book of t e which ’ n , R n and has appeared si ce the days of ave scroft, O E vi PREFAT RY NOT . n W it is gradually doi g its work of reform . e m ’ “ learn fro Mr . Mason s Musical L etters from ” ’ H v r l A M . a e a s c broad , that r g views of chur h music are happily illustr ated in his ow n chur ch . “ ” “ M . n n n M . The cha ti g was do e , says r , by the n n and n n w as whole co gregatio , the respo di g between the occupants of the lower floor and those of the galleries ; but the song was un iver m en n and n n n b sal , , wome childre u iti g armo ’ 7 niou s voices The tun es to which the hymn s n were su g , he tells us , were of the old eccle siastical c in m rh thm lass , a si ilar v to that which Mr . H . has shown to b e the origin al Old n P n and of the Hu dredth salm Tu e, were “ un in s g a quick time , or as fast as propriety ” n n n W would allow the e u ciatio of the words . e “ further learn from him that there were but one or tw o interludes introduced in a psalm of fi v e 7 “ nz and n ot sta as that these were very short, n t w o n more tha about measures , or the le gth ” of the l ast lin e of a common metre tune That the evil custom which so extensively prevails in hi n n n n t s cou try , of lo g i terludes betwee the nz n and im sta as , alike foreig to the psalm the t e , and n l n ul u favorab e to devotio , sho d be abol PREFATORY NOTE . vii i shed and n n not , that the co gregatio should be kept standing to be amused by the tones of n and the orga , or by the skill of the performer, thus be disturbed or interrupted in their wor A ship , is most devoutly to be desired . pass ing cadence of a few chords connecting the nz m a ul n sta as y be usef , but more tha this is rather a hinderance than a help to the religious ff e ect of the psalmody . Happy will it b e for the Church when a more pure and devotion al style of song shall and and n be restored , the light powerless tu es now so often heard shall give way to those which are better adapted to awaken religious ’ n and in n feeli g , which are more accorda ce with n the dig ity of public worship . W e most cor ’ diall n H y comme d Mr . aver g al s interesting vol ume On the History of the Old Hundredth Psalm n one n n n Tu e, as mea s of promoti g a reformatio so much n eeded . N M A R H T N G . J O . W I W I N E W Y R ' A i 1 854 .
Load more

Recommended publications
  • Service Music
    Service Music 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 Indexes Copyright Permissions Copyright Page Under Construction 441 442 Chronological Index of Hymn Tunes Plainsong Hymnody 1543 The Law of God Is Good and Wise, p. 375 800 Come, Holy Ghost, Our Souls Inspire 1560 That Easter Day with Joy Was Bright, p. 271 plainsong, p. 276 1574 In God, My Faithful God, p. 355 1200?Jesus, Thou Joy of Loving Hearts 1577 Lord, Thee I Love with All My Heart, p. 362 Sarum plainsong, p. 211 1599 How Lovely Shines the Morning Star, p. 220 1250 O Come, O Come Emmanuel 1599 Wake, Awake, for Night Is Flying, p. 228 13th century plainsong, p. 227 1300?Of the Father's Love Begotten Calvin's Psalter 12th to 15th century tropes, p. 246 1542 O Food of Men Wayfaring, p. 213 1551 Comfort, Comfort Ye My People, p. 226 Late Middle Ages and Renaissance Melodies 1551 O Gladsome Light, p. 379 English 1551 Father, We Thank Thee Who Hast Planted, p. 206 1415 O Love, How Deep, How Broad, How High! English carol, p. 317 Bohemian Brethren 1415 O Wondrous Type! O Vision Fair! 1566 Sing Praise to God, Who Reigns Above, p. 324 English carol, p. 320 German Unofficial English Psalters and Hymnbooks, 1560-1637 1100 We Now Implore the Holy Ghost 1567 Lord, Teach Us How to Pray Aright -Thomas Tallis German Leise, p.
    [Show full text]
  • 1494:1 Russellville, Arkansas
    10-11 z A HISTORICAL SURVEY OF PSALM SETTINGS FROM THE TIME OF THE REFORMATION THROUGH STRAVINSKY'S "SYMPHONIE DES PSAUMES" THESIS Presented to the Graduate Council of the North Texas State Teachers College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Virginia Sue Williamson, B. M. 1494:1 Russellville, Arkansas August, 1947 14948i TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS.. .... .......... v Chapter I. INTRODUCTION ...... ....... ... 1 II. LATIN PSALM SETTINGS..... ....... 6 III. THE REFORMATION AND CHURCH MUSIC . 13 IV. EARLYPSALTERS . 25 The Genevan Psalter English Psalters C e Psalter Sternhold and-Hopkins Psalter D Psalter Este Psalter Allison's Psalter Ainsworth Psalter Ravencroft's Psalter John Keble Psalter Cleveland Psalter The Bay Psalm Book V. SCHUTZ TO STRAVINSKY. ........... 51 Heinrich Schutz (1585-1682) Henry Purcell (1658 or 1659-1695) George Frederic Handel (1685-1759) Johann Sebastian Bach (1685-1750) Wolfgang Amadeus Mozart (1756-1791) Franz Peter Schubert (1797-1828) Felix Mendelssohn Bartholdy (1809-1847) Franz Liszt (1811-1886) Johannes Brahms (1833-1897) Cesar Franck (1822-1890) Charles Camille Saint-Saens (1835-1921) Mikail M. Ippolotov-Ivanov (1859----- Charles Martin Loeffler (1861-----) iii Chapter Page Albert Roussel (1869- ---- ) Igor Stravinsky (1882 .---- ) VI. SUMMARY AND CONCLUSION . 86 BIBLIOGRAPHY . 89 iv LIST OF ILLUSTRATIONS Figure Page 1. "L'Amour de moy" (Ps. 130), from the Psalter d'Anvers of 1541 . 32 2. Secular melody used by Bourgeois for Psalm 25 . 32 3. "Susato," used for Psalms 65 and 72 in Genevan Psalter .*.*.*. .*.9** .* . ,933 4. "Paris et Gevaet," used for Psalm 134 in the Genevan Psalter of 1551 .
    [Show full text]
  • Concordia Journal
    CONCORDIA JOURNAL Volume 28 July 2002 Number 3 CONTENTS ARTICLES The 1676 Engraving for Heinrich Schütz’s Becker Psalter: A Theological Perspective on Liturgical Song, Not a Picture of Courtly Performers James L. Brauer ......................................................................... 234 Luther on Call and Ordination: A Look at Luther and the Ministry Markus Wriedt ...................................................................... 254 Bridging the Gap: Sharing the Gospel with Muslims Scott Yakimow ....................................................................... 270 SHORT STUDIES Just Where Was Jonah Going?: The Location of Tarshish in the Old Testament Reed Lessing .......................................................................... 291 The Gospel of the Kingdom of God Paul R. Raabe ......................................................................... 294 HOMILETICAL HELPS ..................................................................... 297 BOOK REVIEWS ............................................................................... 326 BOOKS RECEIVED ........................................................................... 352 CONCORDIA JOURNAL/JULY 2002 233 Articles The 1676 Engraving for Heinrich Schütz’s Becker Psalter: A Theological Perspective on Liturgical Song, Not a Picture of Courtly Performers James L. Brauer The engraving at the front of Christoph Bernhard’s Geistreiches Gesang- Buch, 1676,1 (see PLATE 1) is often reproduced as an example of musical PLATE 1 in miniature 1Geistreiches | Gesang-Buch/
    [Show full text]
  • 18Summer-Vol24-No3-TM.Pdf
    Theology Matters Vol 24, No. 3 Summer 2018 Rediscovering the Office of Elder The Shepherd Model by Eric Laverentz At the center of our name, tradition, identity, and ethos guard the purity of the church in the lives of its as Presbyterians is a term that has lost almost all members. In dealing with offenses, the session holds connection with what it meant to most who have called both judiciary and executive authority. But the most themselves Presbyterians over the last five centuries. important function of elders is to watch over the flock, Even to many of our parents and grandparents being a of which they are under-shepherds, guarding, “presbyter” or “elder” meant something quite different counseling, comforting, instructing, encouraging, and than it means to most of us today. admonishing, as circumstances require. The penalties imposed on wrongdoers are censure, suspension from The not too distant past paints a picture of elders vested the communion of the Church, and excommunication.1 with spiritual authority who were deeply enmeshed in the lives of people. This is very different from the As foreign as this description of duties sounds to 21st service rendered in most elder-led churches today. We century ears, it was not the elders of First Presbyterian have seen a total shift in understanding of what it Church, Dayton, Ohio, in the 1880s who were guarding means to be an elder over the last generation or two. the purity of their members and exercising discipline The shift is so complete that few of us have any that were out of touch with the historical and Biblical institutional memory of the way it used to be.
    [Show full text]
  • Psalm 100 Sweelinck, Ed
    CM9412 Psalm 100 Sweelinck, ed. Hooper / SAATB a cappella Psalm 100 Vous tous qui la terr’ habitez Jan Pieterszoon Sweelinck For RANDALL HOOPER unlawfulpromotional SAATB Voices a cappella Duration: 3:49 to RANGES: copy use or only print FREE MP3 rehearsal and accompaniments www.carlfischer.com 2 About the Composer Jan Pieterszoon Sweelinck (1562-1621) was born and raised in Amsterdam. He worked as the organist at the Oude Kerk in Amsterdam from ca. 1580 until his death in 1621. Because the Calvinists saw the organ as a worldly instrument and forbade its use during religious services, he was actually a civil servant employed by the city of Amsterdam. It is assumed that his duties were to provide music twice daily in the church, an hour in the morning and in the evening. When there was a service, this hour came before and/or after the service. As well as being one of the most famous organists and teachers of this time, Sweelinck was the last and most important com- poser of the musically rich golden era of the Netherlanders. All of his vocal works Forwere printed in his lifetime. His polyphonic setting of Psalter has been called a monu- ment of Netherlandish music, unequalled in the sphere of sacred polyphony. From the outset he intended to set the entire Psalter, and he dedicated much of his creative life unlawfulto this music.promotional The texts are from the French metrical Psalter, not the Dutch version which was used in most Dutch churches. This is probably because the psalms were not intended for use in public Calvinist services but rather within a circle of well-to-do musical amateurs among whom French was the preferred language.
    [Show full text]
  • Cantus Christi Copyright © 2002 Christ Church, Moscow, Idaho 2004 Revised Edition
    Cantus Christi Copyright © 2002 Christ Church, Moscow, Idaho 2004 Revised Edition Published by Canon Press P.O. Box 8729, Moscow, ID 83843. 800–488–2034 www.canonpress.org 05 06 07 08 09 9 8 7 6 5 4 3 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any means, electronic, mechanical, photocopy, recording, or otherwise, without prior permission of the author, except as provided by USA copyright law. The publisher gratefully acknowledges permission to reprint texts, tunes and arrangements granted by the publishers, organizations and individuals listed on pages xviii and 443–445. Every effort has been made to secure current copyright permission information on the Psalms, hymns, and service music used. If any right has been infringed, the publisher promises to make the correction in subsequent printings as the additional information is received. ISBN: Cantus Christi (clothbound) 1–59128–003- 6 ISBN: Cantus Christi (accompanist’s edition) 1–59128–004–4 Tabl e of Conte nt s Manifesto on Psalms and Hymns by Douglas Wilson . v Introduction to Musical Style by Dr. Louis Schuler . ix List of Abbreviations . xvii Copyright Holders . xviii Section I Psalms . 1 Section II Hymns . 197 Baptism . 198 Communion . 202 Advent . 218 Christmas . 230 Epiphany . 251 Christ’s Passion . 255 Triumphal Entry . 268 Resurrection . 269 Ascension . 274 Pentecost . 276 All Saints . 280 Thanksgiving . 283 Adoration . 286 Supplication . 336 Evening Hymns . 377 Section III Service Music . 385 Indexes . 441 Copyright Permissions . 443 Chronological Index of Hymn Tunes . 446 Index of Authors, Composers, and Sources .
    [Show full text]
  • 1036 Scripture Passages Related to Hymns
    1036 Scripture Passages Related to Hymns GENESIS 2 CHRONICLES 1: Cantemos al Señor 695 6:14 No Hay Dios Tan Grande Como Tú 525 1: God of the Sparrow 485 1: Many and Great, O God 479 JOB 1: This Day God Gives Me 693 3:17–18 Jesus Shall Reign 478 1:1–2 Soplo del Dios Viviente 458 8:9 Cantemos un Himno Nuevo 431 1:3–5 Morning Hymn (Morning Has Broken) 4 14:1 Abide with Me 21 1:12 I Sing the Mighty Power of God 481 19:25 I Know That My Redeemer Lives! 434 1:12–13 In the Bulb There Is a Flower 491 19:25–27 I Know That My Redeemer Lives 795 1:31 Gracias por el Amor 696 19:25–27 Song of Farewell 796 2: God of the Sparrow 485 42:1–6 I Say “Yes,” My Lord 565 2:18–23 God, in the Planning and Purpose of Life 793 PSALMS 8:22 We Plow the Fields and Scatter 659 3:4 Christ Be beside Me 553 9:12–16 God of the Sparrow 485 4:8 Lord of All Hopefulness 556 9:15 In the Bulb There Is a Flower 491 8: How Great Thou Art 483 28:10–22 Nearer, My God, to Thee 794 8:4–5 El Cielo Canta Alegría 516 28:12 Blessed Assurance 582 9:10 You Are Mine 596 16: Center of My Life 566 EXODUS 16:11 Enséñame, Señor 561 3:5 Cantando la Alegría de Vivir 680 18:3 How Can I Keep from Singing? 570 6:10 When Israel Was in Egypt’s Land 488 19:2 Cantemos al Señor 695 11:4–8 When Israel Was in Egypt’s Land 488 19:2 Canticle of the Sun 482 15: At the Lamb’s High Feast We Sing 449 19:2–4 Vamos Cantando al Señor 689 16: Shepherd of Souls 755 19:5–7 Jesus Shall Reign 478 16:1–21 All Who Hunger 769 22:2 When My Soul Is Sore and Troubled 559 16:1–21 All Who Hunger, Gather Gladly 684 23: Heart
    [Show full text]
  • John Calvin and the Psalmody of the Reformed Churches
    John Calvin and the Psalmody of the Reformed Churches Author(s): Benson, Louis Fitzgerald Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Description: By the turn of the 20th century, Benson had become a leading authority in Reformed hymnology. His personal library, in fact, eventually contained over 9,000 volumes. In 1907, Benson delivered Princeton Theological Seminary's L.P. Stone Lectures, and his series of talks concerned the topic of congregational singing in the Calvinist tradition. Most of the lectures concern the development of church music in Geneva during John Calvin's lifetime. Kathleen O©Bannon CCEL Staff i Contents John Calvin and the Psalmody of the Reformed Churches 1 I. The Historical Background. 2 II. The Situation at Geneva and Calvin’s Proposals. 7 III. Inauguration Of The Calvinistic Psalmody At Strassburg. 11 IV. Clement Marot And The Court Psalmody. 14 V. Inauguration Of Psalmody At Geneva. 19 VI. The Genevan Psalter: Calvin, Marot And Beza. 21 VII. The Melodies of the Genevan Psalter. 25 VIII. Spread of the Genevan Psalmody in France. 30 IX. The Psalmody of the Reformed Churches of France. 33 X. Calvin: His Relations to Metrical Psalmody and Church Music. 36 XI. Appendix: The Decline Of Psalmody In French-Speaking Reformed Churches. 45 Appendix to this Electronic Text: Provenance 54 Indexes 58 Index of Pages of the Print Edition 59 ii This PDF file is from the Christian Classics Ethereal Library, www.ccel.org. The mission of the CCEL is to make classic Christian books available to the world. • This book is available in PDF, HTML, ePub, Kindle, and other formats.
    [Show full text]
  • The Genevan Psalter – 450 Years Clarion 61 (2012): 332-334 A.J
    The Genevan Psalter – 450 years Clarion 61 (2012): 332-334 A.J. de Visser In 1562 the first complete version of the Genevan Psalter was published. It had taken more than twenty years to get to that point and it had not been an easy journey. In this article we trace the history of the Genevan Psalter and offer some reflections on its character and significance.i Any historical discussion of the Genevan Psalter will have to mention the name of John Calvin. His understanding of worship was foundational for the Genevan Psalter. Calvin believed that the ministry of praise is an important part of the worship service and that singing God’s praises is a congregational ministry. One of Calvin’s problems with worship in the Roman Catholic Church was that the congregation was not singing anymore: Most of the singing was done by the clergy or by specialist singers. First and foremost, then, Calvin wanted the congregation to sing again. Another important aspect of Calvin’s understanding of worship is that he believed that especially the Psalms should be used for the ministry of praise. Even though Calvin was not completely opposed to the singing of hymns, there is no doubt that he preferred the Psalms. There was, however, a practical problem: How can a group of untrained voices like a congregation sing the Psalms? Would a congregation be able to chant the words of the Psalms literally as they are found in the Bible? Probably not. So Calvin adopted the practice which he had seen and heard in Strasbourg: Have the congregation sing metrical versions of the Psalms on melodies that are singable for the average person.
    [Show full text]
  • John Calvin Was the Head of the French Church and Where, Eventually, He Met and Married His Wife, the Quiet Idelette De Bure
    Reformation Study Tour August 31 – September 15, 2016 As your Reformation tour begins, it is our hope that you will experience new cultures, new thoughts, new landscapes and new joy. Our desire is that your tour is a time of refreshment, relaxation and adventure. It is also our hope that you will get a flavor for an exciting time of spiritual growth and historical changes when concepts of Sola Scriptura, Sola Gratia, Sola Fide spread across the landscapes of Europe and beyond. For many, 1517 marks the beginning of the Reformation. The seeds for the Reformation were sown many years before that, with the work of men like Jan Hus and John Wycliffe. We have created this tour book as a companion to your trip, with extra information on the places that you will visit and the people that will be mentioned along the way. There are also some fun facts on the various countries you are going to. Enjoy! We do hope that you will enjoy fellowship and worship with brothers and sisters in Christ during your tour both with fellow travelers and with those you meet along the way. Finally it is our hope that you will return home from your tour refreshed and enriched in mind and spirit. Our prayers go with you, Frank and Rowena Drinkhouse Reformation Tours, LLC Table of Contents 3 Tour map 4-10 Meet the travelers 11-13 Tour itinerary 14-16 Hotel information 17-19 Amsterdam 20 Rüdesheim 21-23 Heidelberg and Worms 24-26 Strasbourg 27-29 Zurich 30-33 Edinburgh 34-35 St.
    [Show full text]
  • 2016 Calvin Bibliography
    2016 Calvin Bibliography Compiled by Paul W. Fields I. Calvin’s Life and Times A. Cultural Context—Intellectual History B. Cultural Context—Social History C. Friends D. Polemical Relationships II. Calvin’s Works A. Works and Selections B. Criticism and Interpretation III. Calvin’s Theology A. Overview B. Revelation 1. Exegesis and Hermeneutics 2. Scripture C. Doctrine of God 1. Creation 2. Knowledge of God 3. Providence 4. Trinity D. Doctrine of Christ E. Doctrine of the Holy Spirit F. Doctrine of Humanity 1. Body 2. Covenant 3. Ethics 4. Image of God 5. Law 6. Sin 7. Will G. Doctrine of Salvation 1. Overview 2. Atonement 3. Deification 4. Justification 5. Predestination 1 6. Union with Christ H. Doctrine of the Christian Life 1. Overview 2. Piety 3. Prayer I. Ecclesiology 1. Overview 2. Polity J. Worship 1. Overview 2. Images 3. Liturgy 4. Music 5. Preaching 6. Sacraments IV. Calvin and Social-Ethical Issues V. Calvin and Economic and Political Issues VI. Calvinism A. Theological Influence 1. Overview 2. Baptism 3. Christian Life 4. Ecclesiology 5. Election 6. Eschatology 7. Missions 8. Natural Law 9. Preaching 10. Predestination 11. Revelation 12. Salvation B. Cultural Influence 1. Arts and Literature C. Social, Economic, and Political Influence D. International Influence 1. Brazil 2. France 3. Hungary 4. Ireland 2 5. Korea 6. Low Countries 7. New England 8. Poland 9. Scotland E. Critique VII. Book Reviews VIII. Bibliography I. Calvin’s Life and Times A. Cultural Context—Intellectual History Balserak, Jon and Richard Snoddy, eds. Learning from the Past: Essays on Reception, Catholicity and Dialogue in Honour of Anthony N.
    [Show full text]
  • Reinterpreting the Genevan Psalter: an Examination of Psalm 128 As Set by Goudimel, Sweelinck and Schütz
    Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship 2014 Reinterpreting the Genevan Psalter: an examination of Psalm 128 as set by Goudimel, Sweelinck and Schütz Sara A. (Sara Alicia) Ferguson Western Washington University Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Commons Recommended Citation Ferguson, Sara A. (Sara Alicia), "Reinterpreting the Genevan Psalter: an examination of Psalm 128 as set by Goudimel, Sweelinck and Schütz" (2014). WWU Graduate School Collection. 347. https://cedar.wwu.edu/wwuet/347 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Reinterpreting the Genevan Psalter: An Examination of Psalm 128 as Set by Goudimel, Sweelinck, and Schütz By Sara Alicia Ferguson Accepted in Partial Completion of the Requirements for the Degree Master of Music Kathleen L. Kitto, Dean of the Graduate School ADVISORY COMMITTEE Chair, Dr. Bertil H. van Boer, Jr Dr. Carla Rutschman Dr. Leslie Guelker-Cone MASTER’S THESIS In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non- exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work, and do not infringe or violate any rights of others.
    [Show full text]