1st Edition
English Cathedral Music and Liturgy in the Twentieth Century
By Martin Thomas
Copyright 2015
284 Pages
by
Routledge
284 Pages
by
Routledge
284 Pages
by
Routledge
Also available as eBook on:
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... Read more
Introduction; Chapter 1 The Victorian Background; Chapter 2 Music in English Cathedrals 1900–1950, General Background; Chapter 3 Examples from Individual Cathedrals Illustrating the Themes of Chapter 2; Chapter 4 Music in English Cathedrals 1950–2005, General Background; Chapter 5 Examples from Individual Cathedrals Illustrating the Themes of Chapter 4; Chapter 6 Conclusions;
Biography
The Revd Dr Martin Thomas is a former Canon Precentor of St Edmundsbury Cathedral and a Church of England parish priest and academic. He holds first class degrees in Music (Edinburgh) and Theology (Oxford) and completed his PhD thesis at UEA. He has contributed many articles to scholarly and popular journals including Anglican and Episcopal History; The Church of England Newspaper; In Illo Tempore; Cathedral Music; and Art and Christian Enquiry. He also provided the ’Music’ chapter for a recent history of Wymondham Abbey and edited Five Ways of the Cross.
'Martin Thomas's new publication deals with a period of recent musical and liturgical reform. He applies a critical eye to the contributions of a great many living figures, and we can expect that forceful opinions will produce strong reactions. In circles where musical orthodoxy rubs shoulders with well-worn historic repertoire, this welcome study calls for high quality new music, written in a higher service.' Philip Wilby, University of Leeds, UK 'This very fascinating and brilliant study, the first of its kind in this field, is too important to be ignored. It will definitely engender controversy. It is entirely relevant to present-day church musicians and their concerns for musical enhancement of worship. Dr. Thomas has amply supported his interesting thesis and given us an exhaustive study from which musicians of all denominations will profit.' The Diapason
