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Dissertation Title Page UC Berkeley UC Berkeley Electronic Theses and Dissertations Title “Singing by Course” and the Politics of Worship in the Church of England, c1560–1640 Permalink https://escholarship.org/uc/item/1t48923s Author Apgar, James Campbell Nelson Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California “Singing by Course” and the Politics of Worship in the Church of England, c1560–1640 By James Campbell Nelson Apgar A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor James Davies Professor Diego Pirillo Spring 2018 Abstract “Singing by Course” and the Politics of Worship in the Church of England, c1560–1640 by James Campbell Nelson Apgar Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair “Singing by course” was both a product of and a rhetorical tool within the religious discourses of post-Reformation England. Attached to a variety of ostensibly distinct practices, from choirs singing alternatim to congregations praying responsively, it was used to advance a variety of partisan agendas regarding performance and sound within the services of the English Church. This dissertation examines discourses of public worship that were conducted around and through “singing by course,” treating it as a linguistic and conceptual node within broader networks of contemporary religious debate. I thus attend less to the history of the vocal practices to which “by course” and similar descriptions were applied than to the polemical dynamics of these applications. Discussions of these terms and practices slipped both horizontally, to other matters of ritual practice, and vertically, to larger topics or frameworks such as the nature of the Christian Church, the production of piety, and the roles of sound and performance in corporate prayer. Through consideration of these issues, “singing by course” emerges as a rhetorical, political, and theological construction, one that circulated according to changing historical conditions and to the interests of various ecclesiastical constituencies. 1 For my family i Table of Contents Acknowledgments iii Abbreviations v Editorial Procedures vi Preface vii Chapter One — Introduction: A Category and a Network 1 I. “By Course” 3 II. “Quire-wise” 5 III. Scholarship on Music and the History of Religion 10 IV. Project Organization and Significance 14 Chapter Two — “Not certainely knowne”: “Singing by Course” and Histories of Worship 16 I. A Choral Past, A Congregational Present 17 II. Choirs, Congregations, and Historical Polemic 20 III. Constructing the History of “Singing by Course” 27 IV. Constructing Ceremonial Uniformity through “Singing by Course” 35 Chapter Three — “Like tennice balles”: “Singing by Course” and Order in Worship 42 I. Music, Sound, and Order in Early Modern England 43 II. “Such a sounde as may be discerned” 46 III. Critiques of the Established Church 52 IV. Defenses of the Established Church 63 Chapter Four — “Gods earthly Angels”: “Singing by Course” and Theologies of Worship 70 I. “An unisone with the Angels” 71 II. “Let vs therefore be followers of the holy angels in praising God” 78 III. “The same order of singing is obserued, euen in Heauen” 83 IV. “Accordynge to the aungels, ye synge quyer to quyer” 87 V. The Politics of Transcendence 93 Bibliography 104 ii Acknowledgments It is appropriate that a dissertation focused partly on ideals of collaboration should have been made possible through the support of so many friends and family members (as if the two were separable). From my first days as a graduate student I was welcomed into Berkeley through the kindness of my more experienced colleagues Adeline Mueller, Sean Curran, Emily Frey, Ulrike Petersen, Jen Wang, Chelsea Nicole Spangler, Tiffany Ng, and Anicia Timberlake, with whom I shared many laughs, much food, and a little karaoke. John Kapusta was the best cohort-mate for which one could ask, even if our partnership in musicological crime was cut short by his move to New York. Margaret Jones and Jon Meci allowed me to fall in step with their cleverness and delightful irreverence, as well as to share enough beers and brunches to keep up my spirits. I wish Barbara Dietlinger had been here for ten years instead of one, although she will provide a lifelong incentive to visit Munich. I shared fun and challenging conversations with Alessandra Jones, Jiselle Rouet, and Nour Rayes. Current and former Music Department staff members Melissa Hacker, Lisa Robinson, Jim Coates, and Mark Mueller are among the most dedicated and capable people I have ever encountered, and Music Librarian John Shepard honored every request with enthusiasm. Professor Mary Ann Smart supervised me in several capacities with a staggering intellect and a steady hand. From afar Kerry McCarthy nurtured my interest in William Byrd not only with her commanding scholarship but also with her care and responsiveness. Above all, it was a pleasure to spend these years, difficult though they often were, discussing early modern culture with my advisor Davitt Moroney. He read every word I ever sent him—even those long-deleted paragraphs on trinitarian theology in the fourth century—with exceptional curiosity and an eye for detail. I will never forget the steadfast empathy he offered in some of my darkest hours. I am fortunate to have developed wonderful friendships in the world of professional singing. Celeste Winant has a beautiful soul; I have treasured our mutual openness and honesty, and have chuckled at the way she towered over me as we held down many an alto section. Tonia D’Amelio is a consummate artist and gives great hugs. It has been a special privilege to sing with the men of Clerestory during the last years of my degree. Having given up other performance opportunities to make room for the completion of this document and a deeper dive into church music leadership, I am especially grateful for their combination of flexibility, professionalism, and skill. The two Berkeley churches I have served have offered diversion (in the best sense), cheer, and fulfillment. The people of St. John’s Presbyterian, notably music director Todd Jolly, stuck with me as I adapted to a tracker organ, and expressed deep appreciation for my compositions, arrangements, hymn harmonizations, and conducting. Working with the staff and congregation there could not have been more pleasant. All Souls Episcopal Parish took a chance on me in the first stage of what could prove to be a complete career transition. Directing the music program at a place that seeks to cultivate such a full sense of community has been exhilarating and occasionally frustrating. In passing the musical reins to me, Christopher Putnam shared his wisdom early, often, and with good humor. Joy Ng retired as I was still discovering the full measure of her collegiality, but there has been no lack of joy in working with Nettie Pinell. Both full-time clergy members, the Rev. Phil Brochard and the Rev. Liz Tichenor, are unflappable, not to mention destined for higher ecclesiastical things. Liz in particular has buoyed my spirits at the times I have felt most overwhelmed. Emily Hansen Curran is little less than a superhero. The musicians are a remarkable bunch. Tripp Hudgins was already a friend, but I’ve had the fortune to plumb further the depths of his musicality and iii sensitivity. Ed Hofmann has quietly made everything work, and not so quietly sung and strummed his heart out at exactly the right moments. Sarita Cannon has nailed everything I have handed her. The volunteer singers—Emily, Erica, Judith, Jenn, Jocelyn, Caroline, Carol, Rebecca, Deirdre, Joe, Ross, Matt, Kyle, Richard, John, and others—have been delightful and intrepid. My mother, father, sister Sarah, and brother Clayton have been there from my first forays into cynicism and argument. They have since listened patiently to, and on occasion simply stomached, the new dimensions of critique to which Berkeley opened my eyes, all the while modeling many good ways of living for the youngest in the family, even though I have often failed to follow. Three other people deserve special mention. Estelí Gomez and I do not talk often enough, but when we do I am reminded of why she will always be one of my dearest friends. I hope that as she travels the world singing we will often find ourselves in the same town, whether for mere minutes or for many years. Nell Cloutier is simply a love. Her fierce intellect, courage, and grace leave me in awe, while her infectious energy and compassion have lifted me up on many sad days. I miss her often. Finally, the most important—as well as tiniest—person in my life is my wife Melanie. She is my whole world. I have never known a more creative thinker. Her abilities as a scholar and her passion for teaching are surpassed only by a boundless generosity of spirit. She has read my prose and discussed my ideas innumerable times. Working, cooking, eating, walking, driving, and relaxing with her have been my daily sustenance and happiness. Taking me as I am, she does not swim for shore when I tread waters of self-doubt, but rather floats faithfully beside me. Many clichés apply, especially my inability to express enough love and gratitude. January 1, 2018 iv Abbreviations CCCM Corpus Christianorum: Continuatio Mediaevalis. Turnhout: Brepols, 1966–. CCSL Corpus Christianorum: Series Latina. Turnhout: Brepols, 1953–. CUP Cambridge University Press Folger Hooker, Richard. Of the Laws of Ecclesiastical Polity, Book V. Edited by W. Speed Hill. Vol. 2 of The Folger Library Edition of the Works of Richard Hooker, edited by W.
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