Dr. Edward John Hopkins
Total Page:16
File Type:pdf, Size:1020Kb
Load more
										Recommended publications
									
								- 
												
												Romance of Psalter and Hymnal : Authors and Composers
Psalter and Hymnal The Leonard Library OTpcltffe College Toronto shelf No....\.:3.. .... STACKS Register No.... ...&.. I ,; J^^"fl ; I I ISHiH I 999 - - and F. G. EDWARDS. Romance of Psalter and Hymnal, cr. 8vo, doth, 2s. 1889 ROMANCE OF PSALTER AND HYMNAL. Presented to Wycliffe College Library, Toronto, by Magistrate James Edmund Jones, Convener and Secretary Hymnal Committee, General Synod, 1905 - 1938 ROMANCE OF PSALTER AND HYMNAL antr gurijxcrrs KY THE REV. R. E. WELSH, M.A., AND F. G. EDWARDS, " Author of United Praise" HODDER AND STOUGHTON, 27, PATERNOSTER ROW, MDCCCLXXX1X. Printed by Hazel), Watson, & Viney, Ld., London and Aylesbury. PREFACE. r I ^HE past thirty years have witnessed the issue of a host of Hymnals, each having its own special feature or guiding purpose. The Tractarian Movement and, at an earlier period, the Methodist Revival, awakened emotions and left tastes and ten dencies which contributed largely to this outburst of the Churches into song. Roundell Palmer's Book Praise and Ancient and of ', Hymns Modern^ published in 1860, of which a million copies have been sold every year, are significant landmarks. This multiplication of Hymnals has naturally excited a new and keener curiosity regarding the makers and the historic associations of the Hymns and Psalms with which our lips have become so familiar. The present volume seeks to meet and guide this new takes of our choicest sacred curiosity ; some PREFACE. verse and endeavours to throw around it the living interest of curious origin, personal incident, and historic episode, which weave for us a veritable romance, the Romance of Sacred Piaise. - 
												
												Download Booklet
The Temple Church and Henry III and his Queen who had bequeathed their english organ music its Organs bodies to the Church. (The King and Queen were finally buried at Westminster Abbey.) The resulting from the temple church The Temple Church is an oasis of calm in the ‘Hall Church’ – a masterpiece of Early English centre of London, positioned between Fleet Street Gothic – is a marvellous soaring space full of and the Embankment. For over 800 years it has light, in contrast to the Norman and Transitional been a place of worship. It is a building of great proportions of the Round. 1 Fanfare (from ‘Four Extemporizations’) Percy Whitlock [7.08] beauty, built by the London Templars who in the 2 Solemn Melody (arr. West) Henry Walford Davies [4.18] Temple had their Church, two halls, cloister By the fourteenth century, the Templars in Europe 3 Voluntary in D, op. 5, no. 5 John Stanley [5.16] and domestic buildings. Here they remained until were falling from favour. In October 1307, every their suppression. Templar in France was arrested on the orders of 4 - 5 Choral Song & Fugue (ed. Emery) Samuel Sebastian Wesley [7.05] King Philip the Fair and accused of blasphemy 6 Allegretto grazioso Frank Bridge [4.15] The Church has two distinct spaces: the Round and heresy. The motives were financial – the 7 - 9 Sonata I in C-sharp minor Basil Harwood Church and Chancel. The Round Church was King needed money to pay off huge debts – and Allegro appassionato [6.44] consecrated in 1185 and modelled on the circular the Templars were rich in land and treasure; they Andante [3.28] Church of the Holy Sepulchre in Jerusalem. - 
											
Anglican Chants from Rochester Cathedral
ROCHESTER CATHEDRAL OLD CHORISTERS’ ASSOCIATION Archivist: James Strike, chorister 1950-52. ANGLICAN CHANTS FROM ROCHESTER CATHEDRAL Hearing the Psalms of David sung to an Anglican Chant is part of our Christian experience; part of our Liturgy and Worship. This article looks at the number of Anglican Chants which derive from the Choir of Rochester Cathedral. Chants which were composed by Rochester Cathedral Organists and have, over a period of time, and through the publication of Chant Books, become established in Cathedrals, Greater Churches, Chapels and Royal Foundations in England and around the world. Singing Myles Coverdale’s English wording of the psalms, to what we now know as the Anglican Chant, was first introduced in the early seventeenth century. The origin of the Anglican Chant has been widely debated, but there are two strong recognized beginnings: early Gregorian plainsong for the Latin Rite, and simple ‘hymn tunes’ used for the Protestant Metrical Psalters of the Reformation. (1) Chanting the Psalms can be traced back to St. Gregory (Pope, 590 –604) who fostered the liturgical music of Plainsong; chanting which was model, vocal and unaccompanied. The English monk, scholar and historian, Venerable Bede, writing in the early eighth century, records: ‘ When Theodore arrived in England in 664, sacred music was only known in Kent. And when Putta was consecrated Bishop of Rochester in 669, he was extraordinarily skilful in the Roman Style of music which had been learned from the disciples of the Holy Pope Gregory’. (2) The Period of Restoration (from 1543) caused considerable disruption to church music. Eventually, after a turbulent time, the Protestant Service in the English language became accepted. - 
												
												Durham E-Theses
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. - 
												
												Scottish Church Music Its Composers and Sources (1891)
Scottish Church Music V///,•'>';/.'// -r'-'/f'/fm CORNELL UNIVERSITY LIBRARY FROM The Carnegie Corporation wnsic Cornell University Library ML 3186.L89 Scottish church music its composers anc 3 1924 022 338 754 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022338754 SCOTTISH CHUECH MUSIC Scottish Church Music ITS COMPOSEES AND SOUECES JAMES LOVE WILLIAM BLACKWOOD AND SOKS BDINBUEaH AND LONDON MDCCOXCI : : ; • ; PEEFACE. In this book will be found an account of the source and history —so far as is known to me—of upwards of One Thousand Psalm and Hymn Tunes; Theee Hundred Chants, Dox- OLOGIES, AND SCEIPTURE SENTENCES OE AnTHEMS, — being those contained in the following works : — ' The United Presbyterian Hymnal, with Accompanying Tunes,' 1877; 'The United Presbyterian Psalter, with Accompanying Tunes,' 1878; ' The Presbyterian Hymnal Scripture Sentences and Chants,' 1886, —-all published by the authority of the Synod of the United Presbyterian Church ' The Free Church Hymn Book, with Tunes,' 1882 ' The Scottish Psalter, . with Appropriate Tunes and Chants,' 1883, —^both published by authority of the General Assembly of the Free Church of Scotland ' The Scottish Hymnal (Appendix Incorporated), with Tunes, for Use in Churches,' 1885 vi PREFACE. 'The Book of Psalms and Paraphrases (in Metre), with Tunes, for Use in Churches,' 1886, —both published by authority of the General Assembly of the Church of Scotland. There are also about Five Hundred Biographical Notices OF THE Composers, and an Appendix containing some par- ticulars REGARDING THE PRINCIPAL COLLECTIONS OF PSALM- ODY ISSUED IN SCOTLAND SINCE 1700.