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2 results

  • Chapter 5 - Double Motion

  • Simon Jackson, University of Cambridge
  • Book:
    George Herbert and Early Modern Musical Culture
    Published online:
    11 November 2022
    Print publication:
    01 December 2022, pp 139-174

  • Summary

    Chapter 5 examines Herbert’s attendance at the public choral liturgies of the church. Herbert was associated throughout his life with religious institutions that supported choral foundations: Westminster Abbey, Trinity College, Cambridge, Lincoln Cathedral, and, most famously, Salisbury Cathedral. Herbert’s practical interest in making music is well known; yet he was never a member of these choirs, and the music performed during public worship at these foundations is a repertoire that he would have experienced passively and aurally. This chapter reads Herbert’s poetic alongside contemporary developments in the composition and aesthetics of seventeenth-century liturgical choral music. In revealing striking analogues between Herbert’s verse and contemporary polyphonic church music, this chapter considers Herbert and his work in more receptive, attentive terms, affording significant new perspectives on the nature of devotional attention and early modern debates about the ‘beauty of holiness’ and the aesthetics of worship.

  • 5 - Music books

  • from ORAL TRADITIONS AND SCRIBAL CULTURE
  • Edited by John Barnard, University of Leeds, D. F. McKenzie, University of Oxford
  • With Maureen Bell, University of Birmingham
  • Book:
    The Cambridge History of the Book in Britain
    Published online:
    28 March 2008
    Print publication:
    14 November 2002, pp 127-138

  • Summary

    The patent granted to William Byrd and Thomas Tallis in 1575 to print both music books, except Psalm books, and ruled music paper draws attention to the close relationship between printed and manuscript production of music books. When printed and manuscript books for the period are considered together it becomes clear that their history is intertwined and that, for both categories, contents, layout and method of production were determined by the social contexts of their composition and their audience. Music writing with any speed and accuracy was a skill which took practice to acquire. The work of the London clergyman, Thomas Myriell, dating from the early seventeenth century, contains examples of presentation and working manuscripts. Music in Scotland, as also in smaller centres throughout Britain, was largely dependent on London for the supply of printed music books. By the end of the seventeenth century London was still the centre of music publishing.