Music in the History of the Western Church: With an Introduction on Religious Music Among Primitive and Ancient PeoplesDickinson, Edward
History
Music in the History of the Western Church: With an Introduction on Religious Music Among Primitive and Ancient Peoples
Dickinson, Edward
Church music
These psalms and canticles are divided
between the morning and evening worship, and not all of them are
obligatory.
The “service,” in respect to musical style, has moved step by step with
the anthem, from the strict contrapuntal style of the sixteenth century,
to that of the present with all its splendor of harmony and orchestral
color. It has engaged the constant attention of the multitude of English
church composers, and it has more than rivalled the anthem in the zealous
regard of the most eminent musicians, from the time of Tallis and Gibbons
to the present day.
The anthem, although an almost exact parallel to the “service” in musical
construction, stands apart, liturgically, from the rest of the service in
the Church of England, in that while all the other portions are laid down
in the Book of Common Prayer, the words of the anthem are not prescribed.
The Prayer Book merely says after the third collect, “In quires and
places where they sing here followeth the anthem.” What the anthem shall
be at any particular service is left to the determination of the choir
master, but it is commonly understood, and in some dioceses is so
decreed, that the words of the anthem shall be taken from the Scripture
or the Book of Common Prayer. This precept, however, is frequently
transgressed, and many anthems have been written to words of metrical
hymns. The restriction of the anthem texts to selections from the Bible
or the liturgy is designed to exclude words that are unfamiliar to the
people or unauthorized by ecclesiastical authority. Even with these
limitations the freedom of choice on the part of the musical director
serves to withdraw the anthem from that vital organic connection with the
liturgy held by the “service,” and it is not infrequently omitted from
the daily office altogether. The object of the fathers of the Church of
England in admitting so exceptional a musical composition into the
service was undoubtedly to give the worship more variety, and to relieve
the fatigue that would otherwise result from a long unbroken series of
prayers.
Public-domain text, read in full here on John Shaqi.
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