THE NEW SCHAFF-HERZOG
pronounced in the eighteenth century — a drift that tended to set aside those broad choral effects that keep church music from too close similarity to secular music. During the latter part of this century became established in usage that special form of " chant " which is usually called " Anglican," a form which is doubtless historically connected with the " Psalm- tones " of the Gregorian system but has been developed along different lines from the latter. The stock of psalm tunes was also gradually augmented, though their variety was restricted by the fact that the metrical versions to which they belonged were in but a few meters. Prominent names in this period are Michael Wise, c. 1648-87; Pelham Humphrey, 1647-74; Henry Purcell, 1658- 1695; John Blow, 1648-1708; and Jeremiah Clarke, d. 1707. The whole of the eighteenth century was a time of lethargy and barrenness, except for the work of a few sterling composers, like William Croft, 1678-1727; Maurice Greene, 1695-1755; and William Boyce, 1710-79. During this century, however, came the prodigious influence of Handel upon the musical life of England, which in many ways affected the whole standard of church music by magnifying the choral oratorio as a characteristic musical form. During this century, too, occurred the notable defections from the Church of England that established the Independent and Methodist forms of dissent, with some others, as influential elements in English religious life. The dissenters generally were eager for congregational hymn-singing, and it was their interest that brought about the multiplication of " hymns " as distinct from " psalms," together with the consequent multiplication of much more flexible tunes than had been earlier attempted. It is here that is to be sought the origin of that type of hymn-tune which is sometimes called the " part-song " tune, to distinguish it from the heavier " chorale," which later developed into a striking feature of English church music.
During the nineteenth century there was a steady and vigorous advance in the quality of English interest in things musical. At the outset this was promoted largely from within the Church, but later it received impetus more from without, t 1«i " ^ut tne e^ec* uPon the musical aspects
Century. °^ PUD^C worship has been continuous. With the rapid advance in methods of musical instruction of all kinds, including the foundation of many strong music-schools, and with the increase in such facilities for musical knowledge as popular choral societies, public concerts of various degree, including the opera, etc., the number of competent musicians has been greatly augmented and the whole standard of popular appreciation elevated. Even when the objects in view were not at all churchly, the gains have been unmistakable for church music.
In the field of choir music, the century begins with a serious effort on the part of certain cathedral musicians, like Thomas Attwood, 1765-1838; Samuel Wesley, 1766-1837, and others, to provide a new literature of anthems and other service music, of different degrees of elaboration, which should be at once devotional and expressed in modern musical idiom. Still more fertile was the middle portion of
the century, under leaders like John Goss, 1800-80; Samuel Sebastian Wesley, 1810-76; Henry Smart, 1813-79; Frederick Arthur Gore Ouseley, 1825-89, and many more. The current style of expression during this period was strongly influenced, perhaps too much so, by the extreme popularity of Mendelssohn in England and the vogue of his concert oratorios. Almost all church composers exercised their talents in the field of oratorio-writing as well as in church music proper. In the latter part of the century the general current of production moves on with volume and momentum, but with a steadily increasing amount of attention to striking emotional effects, sometimes verging upon the theatrical and merely sensational, yet on the whole with an earnest purpose to make the resources of modern musical utterance genuinely serviceable in religious worship. Prominent composers in this time are John Bacchus Dykes, 1823-76; Joseph Barnby, 1838-96; John Stainer, 1840-1901; Arthur Seymour Sullivan, 1842-1900; and Charles Hubert Hastings Parry, b. 1848. Besides the fine list of anthems and services, of cantatas and oratorios, from these writers, many of them contributed worthily to the remarkable body of hymn-tunes for congregational use which has brought the impress of English church music to bear everywhere throughout the English-speaking world and among churches of every name. It is during this latest period, also, that the advance of English organ music has become most noticeable, bringing into view a large number of expert players, with an immense quantity of works, usually devised with special reference to effectiveness in connection with public worship.
In all this nineteenth-century development, there was less of that ideality and technical intensity which marked the greater periods of German church music, but one may fairly claim that in practical efficiency for the specific uses in view modern English music affords its finest examples of true worship-music. Waldo S. Pratt.
Bibliography: On Hebrew music consult: J. L. Saalchflta, Geschichte und Wilrdigung der Musik bei den Hebraern, Berlin, 1829; C. Engel, Music of the Most Ancient Nations, London, 1864; E. Hutchinson, Music of the Bible, Boston, 1864; F. Delitzsch, Physiologie und Musik in ihrer Bedeutung, Leipsic, 1868; E. David, La Musique chez la Juifs, Paris, 1873; F. Jacox, Bible Music, London and Boston, 1872, new ed., London, 1878; F. L. Cohen, Rise and Development of Synagogue Music, in Anglo-Jewish Historical Papers, pp. 80-135, London, 1888; Sir John Stainer, The Music of the Bible, New York, 1890; F. Consolo, Libro dei canti d'Israele, Florence, 1892; J. Weiss, Die musikalischen Instrumente in den heiligen Schriften des A. T., Graz, 1895; E. Pauer, Traditional Hebrew Melodies, London, 1896; F. Vigouroux, La Bible et Us decouvertes modemes, iv. 305-322, Paris, 1896; idem, Dictionnaire, xxvii. 1347-60, Paris, 1906; Biichler, in ZATW, xix.-xx., 1899-1900; H. Gressman, Musik und Musikinstrumente im Alien Testament, Giessen, 1903; H. Smith, The World's Earliest Music, London, 1904; C. H. Cornill, Music in the O. T., Chicago, 1909; C. Engel, Music of the most Ancient Nations, particularly -f the Assyrians, Egyptians, and Hebrews, with special Reference to the recent Discoveries in Western Asia and Egypt, New York, 1910; P. Wagner, Judaism in Music, London, 1910; J. Wellhausen in SBOT, vol. on Psalms; Benzinger, Archaologie, pp. 237- 246; DB, iii. 456-463; EB, iii. 3225-43; JE, ix. 118-135; the commentaries on the passages named in the text.
On II., works of an encyclopedic character are: S. Kuemmerle, Encyclopadie der evangelischen KirchenmusHc, 4 vols., Gtitersloh, 1888-95; G. Schilling, Universallexikon der Tonkunat, 2d ed- 7 vols., Stuttgart, 1840-42; J. W.