This book examines the stylistic development of English cathedral
music during a period of liturgical upheaval, looking at the
attitudes of cathedral clergy, liturgists, composers, leading
church music figures and organisations to music and liturgy.
Arguments that were advanced for retaining an archaic style in
cathedral music are considered, including the linking of musical
style with liturgical language, the recommending of a subservient
role for music in the liturgy, and the development of a language of
fittingness to describe church music. The roles of the RSCM and
other influential bodies are explored. Martin Thomas draws on many
sources: the libraries and archives of English cathedrals;
contemporary press coverage and the records of church music bodies;
publishing practices; secondary literature; and the music itself.
Concluding that an arresting of development in English cathedral
music has prevented appropriate influences from secular music being
felt, Thomas contrasts this with how cathedrals have often
successfully and dynamically engaged with the world of the visual
arts, particularly in painting and sculpture. Presenting
implications for all denominations and for patronage of the arts by
churches, and the place of musical aesthetics in the planning of
liturgy, this book offers an important resource for music,
theology, liturgy students and ministry teams worldwide.
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