By Martin Clarke
The interrelationship of track and theology is a burgeoning quarter of scholarship within which conceptual matters were explored by way of musicologists and theologians together with Jeremy Begbie, Quentin Faulkner and Jon Michael Spencer. Their vital paintings has spread out possibilities for focussed, severe reports of the ways that song and theology may be obvious to have interaction in particular repertoires, genres, and associations in addition to the paintings of specific composers, spiritual leaders and students. This choice of essays explores such components with regards to the spiritual, musical and social background of nineteenth-century Britain. The e-book doesn't easily current a background of sacred song of the interval, yet examines the position of tune within the assorted non secular lifetime of a century that encompassed the Oxford flow, Catholic Emancipation, spiritual revivals related to many various denominations, the construction of a number of landmark hymnals and bigger criminal attractiveness for religions except Christianity. The e-book for that reason presents a precious advisor to the tune of this advanced ancient interval.
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Additional resources for Music and Theology in Nineteenth-Century Britain
19 It is also interesting to compare settings of the same words by Dykes and Sullivan. Sarah Flowers Adams’s ‘Nearer, my God, to Thee’, immensely popular with the Victorians, is a strange beast – one might expect extreme liberal theology from its Unitarian author yet its individualism and sense of personal faith and devotion is positively Evangelical. Dykes’s horbury could be taken almost as a textbook example of the high Victorian hymn tune at its most parlour ballad like, sentimental and dreary.
22 There is a wonderful sense of prevenient grace in this tune. Partly, perhaps, because of the regularity of the rhythm and the even balance between the descent in the first and third phrases and the ascent in the second and fourth it is confident without being complacent and reassuring without being cloying. In this respect, it is perfectly matched to Baker’s lines: Perverse and foolish oft I strayed, And yet in love he sought me, And on his shoulder gently laid, And home rejoicing brought me.
This led to annoyance with hymn-book editors who married their melodies to texts for which they were not suited. M. 27 It also meant that composers kept retrying to set a hymn to which they did not feel they had done justice. 28 How did hymn writers of different theological persuasions regard the tunes to which their texts were set? As it happens, we have a trinity of comments from across the Victorian theological spectrum about the tunes of Sullivan. 29 Bradley, Abide With Me, p. 160. Samuel Sebastian Wesley, A Few Words on Cathedral Music and the Musical 25 26 System of the Church (London, 1849), p.
Music and Theology in Nineteenth-Century Britain by Martin Clarke