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The Cultivation of Church Music

Published online by Cambridge University Press:  01 January 2020

W. H. Monk
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Extract

Two accidents in combination must form my excuse for the present attempt to address you on so important a subject as Church Music. I was asked to read a similar paper at the recent session of the Church Congress at Newcastle. After my return in the middle of October, and while my mind was still occupied with the subject, our worthy Secretary inquired whether I could occupy a blank unexpectedly occurring in his arrangement of papers for the Musical Association. With great diffidence I inquired whether he thought an afternoon might be thus occupied, and he was good enough to say it was a “grand subject,” and would be acceptable. But I must disclaim any intention of going into any one of the practical parts of the subject, since to do so within an hour's compass, in a way worthy of this Association and of my audience, would be simply impossible. What I really wish to do is to put before you certain facts as regards the “Cultivation of Church Music” in England, with a proposal for a distinct step in advance, which I trust you may be disposed to encourage.

Type
Research Article
Information
Proceedings of the Musical Association , Volume 8 , 1881 , pp. 29 - 58
Copyright
Copyright © Royal Musical Association, 1881

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References

∗ He speaks of the practice of singing the upper part of 3, believing it to be the way, instancing: “and at the Savoy Chapel, they sing the treble parts only of Tallis's responses, the Plain-Song being omitted, like the part of Hamlet on a celebrated occasion. But this mistake is committed everywhere.”—Page 414 of Report.Google Scholar

∗ Founded to a great extent on one of the Gregorian Tones: “I have selected it to show how great and impressive their influence is, even when handled with all the freedom of treatment which the nineteenth century teaches.”Google Scholar

∗ Reference is particularly made to Southwell, where from a choir of three voices on each side (A.T.B.) the Commission suppressed the alto from one side and the tenor from the other! The Antiphonal Service was, of course, at an end.Google Scholar