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Anglican arrogance: small-minded choirmembers - music

 

What is "Episcopal" music?

We often hear colonize communicate affect about down ties to our Anglican heritage, which dates back about 500 years. One area that draws concentration is music. To accost the distrust of what is allowed Episcopal music, we might look to our own denominational hymnbook, The Episcopal Hymnal (1982). Compiled by the Durable Administration on Minster Music, this copy absolutely reflects what is both accepted and sanctioned. A brief sampling of selections from TEH '82 must shed some light on what is authoritative and what is not.

First, a appraisal of origins will be useful. Of the 726 hymns in this book, a number of are Gregorian chants, which originated in the Average Ages. They were codified under Pope Gregory in the 8th century and compiled in the Roman Varied Liber Usualis. An case of chant (or "plainsong") is Of the Father's Love Begotten. Naturally, it existed only in Latin for centuries. Other chants in the hymnal add in Russian Orthodox, Slovak and Czech.

Another font of hymns is the Lutheran chorale, having been cool, calm and collected expressly for the German Improvement to afford a singable complementary to chants. They were first found in collections by Johann Walther, Martin Luther's right-hand man commissioned to bring music back to the associates by if singable tunes in the vernacular, i. e. , German. An exemplar of this is A Mighty Bastion (words by Luther with tune consequential from a German bar song and later in line by J. S. Bach, a dedicated Lutheran). Don't disregard Angels We Have Heard on High, also in black and white by a Lutheran, Felix Mendelssohn, who by the way was a adapt from Judaism.

Many of our hymns are on loan from the imposing American "Sacred Harp" school, found in songbooks like Virginia Harmony and David's Psalter. Amazing Grace is an case of this, in print by an ex-slaveship captain. A few, like Donald Fishel's Alleluia No. 1 or Kathleen Thomerson's I Want to Walk are in recent times collected and are coupled with the non-denominational rebirth change of the late 60s/early 70s. Some come from other denominations like Methodist, Baptist, Presbyterian and even Shaker (Tis the Gift to be Simple).

Finally, let's not not remember Christmas carols, many of which are French in cause (Il est n), Negro Spirituals (Go Down Moses) and Hispanic folk songs (Durmete, Nio Lindo). In fact, in the preface to our hymnal, the Administration states plainly they by design tried to characterize the church's diversity by selecting from non-European traditions such as Afro-American and Asian.
There are, of course, hymns in black and white by professing Episcopalians/Anglicans, like Ralph Vaughn Williams' For All the Saints, or Healey Willan'sO Lamb of God in the benefit music portion of the book, or Sir C. Hubert H. Parry's "Jerusalem" set to O Day of Peace. And there are a few tunes by Thomas Tallis, Orlando Gibbons, and other notable Elizabethans who were chronologically close in description to Henry VIII's break-away from Rome, but these are in the minority! (And if any William Byrd tunes had been singled out by the hymnal committee, it would have been ironic indeed, since even though he and Tallis held the copyright monopoly under Elizabeth I, Byrd was a lasting Roman Catholic!) All in all, MOST of our hymnody was in print by NON-ANGLICANS

After all is said and done, a appraisal of TEH '82 reveals that "Episcopal" music is exceedingly "Eclectic" music. Our minster has rented from many traditions and put its seal of admiration on it. So the next time you feel anxious that we are trailing touch with our roots, just bear in mind our musical roots broaden out far and wide, and yet it is still an Anglican tree, i don't know stronger for its diversity!

P. S. : James and his wife were complete Episcopalian in 1979. Since this writing, Mr. Weinberg has left the Anglican spiritual union due to corruption, heresy and immoral politics in the Episcopal Minster (ECUSA).

James began piano schooling at age 5 with his mother. In time he calculated at a array of classified studios plus the Eastman School. After high school, he entered SUNY Fredonia as an organ major, transferring to Stetson Academy in Deland FL. While raising a young family, James entered Peabody Teacher's Institution in Nashville. Later he taught as a Navy announcement journalist, and once a civilian again, spent five years as a classical radio anchor & producer at WPLN in Nashville. In 1985, James accomplished a bachelor's amount in house of worship music at Belmont Institution (cum laude) and returned for a master's in music education, conferred in 1991. His area of highlighting for the M. M. E. extent was Elementary/Primary Educational Methodology. His placement was at Montessori College in Brentwood credo pre-school all through 6th grade. Now in his 6th year of coaching piano at Belmont Conservatory in Nashville, James has 35 students. He is also organist at Belmont Heights Baptist Church. See http://88keys. 8m. net


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