While in these the outlines closely resembled those of Roman services, yet in practice Morning and Evening Prayer (corresponding not to the Mass, but to Breviary offices) received a special accent, with a musical treatment equal to that of the Communion itself. In consequence, Anglican ritual music has always tended to be quite distinct in its texts and spirit.
The English Reformation was a peculiarly complicated movement. Although the reactions on the Continent under Luther and Zwingli were immediately known in England and approved by Inany, the secession of Henry VIII. was occasioned by his personal pique at the Pope's attitude toward his marriages. At 'first the English love of independence was quite as influential as any convictions about doctrine. But later, when Mary had exasperated the nation by her cruelties and when the refugees returned from Geneva at Elizabeth's accession, the Anglican position became decidedly Calvinistic. Thenceforward two parties began to form - the moderates, who would keep all possible continuity with the ancient church, and the radicals (later called Puritans), who preferred to sweep away all traditions and begin afresh. The latter were more and more inclined to oppose ritual music because of its associations with the Catholic system,
For a time it was demanded that whatever music was usee, should so fit the syllables with solid chords that every word of the text should be obvious to the hearer - a not unnatural reaction against the profuse and int-ricate style of nlany contrapuntal settings. F or short texts it was entirely applicable, but for the longer canticles it was heavy and hampered musical expression overmuch. Before the end of the century, then, this plain harmonic type of writing was again supplemented by ample counterpoint.
Among the famous early settings of parts of the liturgy were the Litany (Stone, 1544), the Canticles, Creed, Psalms and Communion in PlainSong (Merbecke, 1550), and the Preces, Versicles and Responses (Tallis, I552?). The composition of whole Services-settings in .notet style of all the canticles, etc., required in Morning or Evening Prayer or in the Communion (analogous to the Mass) - became frequent after r 560. With these, as variable parts, caine the writing of ' anthems,' the English counterpart of the older Latin motets. This latter form has h id a remarkable modern development.
The first venture in hymn-tunes was the Goostlie Psalmes of Coverdale (1539), derived from Lutheran sources. This was overshadowed by the metrical Psalter begun by Sternhold in 1548 and gradually enlarged in England and at Geneva until 1559, when three very different variants diverge - the Genevan, much influenced by Marot's French version and discontinued after 1570, the English (or' Old Version'), completed in 1562 and supreme in the Anglican Church till about 1700 or after, and the Scottish, completed ill 1564 and used till 1650' The English variant was almost wholly in' common metre' and at the best had but about 40 tunes of a plain type, while the Scottish used m~ny metres and had over 140 tunes in a much richer style. The readiness of Knox and his circle to utilize the best Calvinistic music is curiously in contrast with the English reluctance.
The Papal Chapel and Musical Developments
