Anglican Chant and Chanting in England and America, 1660-1811

The history of Anglican chanting practices is continuous from musical and liturgical antecedents in the pre-Reformation Latin rite to the persent, except for the brief mid-seventeenth century Interregnum. When the Latin Offices and Mass were consolidated and translated into English, the imprecision of the rubrics governing ritual left their implementation to practitioners and thus, distinct customs of particular institutions--cathedrals, collegiate chapels and churches, parish churches--became the decisive determinants of liturgical performance style. The various forms of chant trace their historical lineage to Sarum plainsong tones harmonized in four parts in faburden style. Composed treble melodies replaced psalm tone tenors in the English chant tune, a psalmodic formula for chanting psalms and canticles. Some of the new canon of liturgical melodies came from the "Chapel Royal repertory," sent out from London in the 1670s as a model for choral service. The chanting service, with solo verses and chant tune choruses, was another practical innovation of the Restoration period. In the eighteenth century, the chant tune developed its own notation and performance conventions, taking its seven-bar length from the unbalanced phrases--nine syllables to sixteen--of the first verse of the invitatory psalm, Venite exultemus.

Name thesis:degree_name

Ph.D.

Level thesis:degree_level

Dissertation

Discipline thesis:degree_discipline

Musicology

Grantor

University of Illinois at Urbana-Champaign

Year dc:date

2014

Author dc:creator

• Wilson, Ruth Mack

• Religion, History of
• Music

Identifier

(UMI)AAI8823292

OAI identifier oai:identifier

oai:www.ideals.illinois.edu:2142/70865