| Series |
Studies in church music
Studies in church music. ^A646242
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| Contents |
I. Repairing the structure: Need for reconstruction noted: Vaughan Williams and Holst -- The conservative craftsmen: Walford Davies ; Harwood ; Somervell ; Wood ; Bairstow ; Ireland: a new status for church music -- The sons of the craftsmen: Nicholson ; Harris ; Darke ; Statham ; The eminent organ loft ; Musicians of nonconformity ; Public schools ; Martin and Geoffrey Shaw -- II. Enlarging the west door: Masters of ceremonies: Howells ; Bliss ; Walton ; Rubbra ; Gibbs ; Wellesz ; Seiber -- Letting in more air: Britten ; Joubert ; Bush ; Leighton ; Milner ; Two great occasions, 1953 and 1962 -- Organ music -- Developments overseas: The United States and Canada ; Der Kapellmeister -- Hymns and psalms: From the English hymnal to Père Gélineau -- III. Taking down the west door: The terrors of the "modern music" -- From romantic to electronic: National music ; Janacek ; Martinu ; Kodaly ; Villa-Lobos ; Poulenc ; Messiaen ; Langlais ; Martin ; Szymanowsky ; Fortner ; Stravinsky ; Krenek -- Some English experiments: Tippett ; Maxwell Davies ; Birtwistle ; Williamson -- IV. Going in and out: The vexation of pop -- The twentieth century church light music group: Beaumont ; Appelford ; Alldis ; "Rhythm in religion" -- Mr. Williamson's dialect -- A touch of satire: Sidney Carter ; TWTWTW ; "A man dies" ; Expendable music -- Evangelistic "pop": Sankey ; Graham ; Sankey demythologized. |
| Abstract |
With the aid of many musical illustrations, the author discusses church music, its recent developments, and the many composers of church music. Attention is given the current "pop" manifestations. |
| Abstract |
"At the beginning of 1901, Sir Arthur Sullivan had just died and Sir John Stainer was still alive. Each had made his mark in the history of church music--but it is doubtful that either could have foreseen the major revolution in all thinking about the arts in the churches that the twentieth century was to bring. Dr. Routley, with the aid of many musical illustrations, tells the story of church music during this important period. He brings the reader in at the point where Victorian convention still reigned in its massive conservatism and tradition of good craftsmanship and shows how this was followed by a period of reaction under Vaughan Williams. Subsequent periods of increasingly rapid oscillation between reaction and counter-reaction led to church music of the most advanced kind and, eventually, to the new experiments in 'church-pop'. The relationship between these movements and the social upheaval of our century are clearly brought out, and certain peripheral matters--such as the development of organ playing and building, and the development of hymnody--are given their due place in the scheme. In this book 'church music' is interpreted chiefly as being hymns, psalms, anthems and cantatas, although some reference is made to works on a larger scale. Additionally, Twentieth Century Church Music presents the first full-length of the 'popular' experiments in church music during recent years."--Dust jacket. |
| Bibliography note | "Bibliographical index of music and musicians": pages 217-234. |
| Bibliography note | Includes bibliographical footnotes and discography (pages 235-239). |
| LCCN | 64005901 |
