The art of music, Vol. 06 (of 14) : $b Choral and church musicCole, Rossetter G. (Rossetter Gleason)
History
The art of music, Vol. 06 (of 14) : $b Choral and church music
Cole, Rossetter G. (Rossetter Gleason)
Music -- History and criticism; Musicians
The movement in favor of congregational song quickly passed to
England, where, however, complex conditions prevented the development
of any such uniform type as the chorale. The establishment of the
Church of England, with its revised liturgy and musical service, had
scarcely been effected when it came into collision with opposition
within the Protestant fold far more intense and bitter than any
encountered from its Roman Catholic foes. The Puritan party, in its
excessive repugnance to all forms of ritualism or ceremonial and in its
invincible conviction that everything artistic in worship was sinful,
fiercely attacked the Anglican Church as an insincere compromise with
popery. Following Calvin’s leadership, Puritanism threw overboard the
whole structure of formal worship in the historic church and permitted
in the service no music at all except the congregational singing of the
metrical psalms. In this wholly democratic conception of worship-music
there was obviously no incentive to any higher form of musical
expression. The only contribution of the Dissenters, therefore, to the
literature of church-music was their hymnody, or rather psalmody, for
the words, even though many times rewritten and reparaphrased, were
rigidly limited to the Psalms. The first complete English metrical
Psalter[48] was the famous one by Sternhold and Hopkins in 1562, which
held sway among Puritan congregations for nearly two centuries and a
half and was likewise supreme in the Anglican Church for at least a
century and a half. The new version of the Psalter by Tate and Brady,
published in 1696, remained in favor till a still later date or till
about the middle of the nineteenth century, but the popularity of
both was seriously challenged by the splendid version of Isaac Watts
in 1719. The origin of the sixty-five different psalm-tunes in the
Sternhold and Hopkins collection has been open to much controversy. It
seems highly probable that most of them were of English composition,
though many were doubtless written in imitation of hymn-tunes that were
favorites among the French, Swiss, and German Protestants.
Public-domain text, read in full here on John Shaqi.
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