Professor Temperley suggests that the Elizabethan metrical psalm
tunes were survivors of a mode of popular music that preceded the
familiar corpus of ballad tunes. Passed on by oral transmission
through several generations of unregulated singing, these once
lively tunes changed gradually into very slow, quavering chants.
Temperley guides the reader through the complex social, theological
and aesthetic movements that played their part in the formation of
the late Victorian ideal of the surpliced choir in every chancel,
and he makes a fresh assessment of that old bugbear, the Victorian
hymn tune. His findings show that the radical liturgical
experiments of the last few years have not dislodged the Victorian
model for the music of the English parish church. This volume
provides an anthology of parish church music of all kinds from the
fifteenth century to the twentieth, newly edited from primary
sources for study or for performance.
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